Scan 38
Musical Courier 1905-11-29: Vol 51 Iss 1340, 1905
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1HARMONIC FORMULAS.
2BY A. J. GOODRICH.
4II.
5MODERN composers, while retaining many of the natural chord formulas, have added to their themes a more unified and consistent expression by means of a tonic or dominant pedal note. In certain instances this immutable foundation imparts to the music a rural effect; in other instances the organ point may contribute seriousness or tenacity of purpose to the design. The serenade, for string orchestra by Elgar (op. 20), affords a charming illustration of this modern application.
7One of the most remarkable instances of a continuous pedal note occurs in the berceuse, op. 57, by Chopin. The lower accompaniment is an unchanging ground base founded upon a tonic pedal, and above this we hear, not alone the cadence harmonies, but ornate and varied figurations, chromatic minor thirds and chromatic major sixths. The pedal note continues until one measure before the final benediction—an authentic cadence.
9Also the pedal note serves to screen certain progressions, which otherwise would sound irrelevant or bizarre. The theoretical explanation may be referred to the tonal diapason, i.e., all possible key elements heard above a fundamental generator. The justification must lie in the actual effect expressed.
11The music of Chopin is comparatively free from common harmonic formulas. Even the bolero, op. 19, is set in an independent harmonic framework. The waltz, op. 18 (one of his least interesting works), contains several chordal schemes which were known to every clever arranger of the last century. But this is an exceptional instance. The tarantella, op. 43; the barcarolle, op. 60; the preludes, impromptus, polonaises, concerti, and many of the waltzes reveal a high order of genius for independent harmonization, chromatic as well diatonic. Some of these peculiar progressions have now passed into the catalogue of chord formulae, but in Chopin's time they were so unconventional as to excite considerable adverse criticism. One favorite device of the composer consists in adding appoggiatura to each chord in a sequence of harmonies. A simple illustration from the A flat waltz will show the modus operandi:
13The object here is to give independence to the accompaniment, not, as is usually the case, to reinforce the melody. These appoggiature enrich the harmonization and usually add a dissonant element to the fundamental chords.
15Schumann was another unconventional harmonist, almost entirely free from what may be called harmonic mannerisms. This was a natural result of his penchant for expressing certain moods, situations, characters or programs. This poetic tendency (thanks be) led him away from the prevailing chord formulae. He was, however, quite partial to a melodic progression, or substance below, the real base notes being omitted above. This serves as a foil to the actual theme, and expresses some purpose, more or less definite.
17The scherzo from Schumann's piano quartet, op. 47, contains no chord accompaniment. The harmonic impression created by the rapid, figurated theme, al unisono, renders a chord accompaniment superfluous. Where the harmony is thus implied, but not expressed, the themes are necessarily of a diatonic character. And even though the implied harmonies are few in number and simple in character, as in this Schumann scherzo, the unaccompanied theme acquires an added charm because of its seeming mysteriousness.
19While a rich and varied accompaniment is the principal feature of interest in many modern works (as for instance, in the "Dark Eye," by Franz), it must be admitted that the greater number of lyrics naturally rest upon a very primitive harmonic basis. "La Melodia," by Rubinstein, op. 3, No. 1, may be cited. The complete cadence formula serves as harmonic accompaniment to the principal theme, and were it not for the fact that certain unrelated notes (appoggiatura) fall upon the accented parts of measures and thus relieve the monotony of common chord progressions, the effect would be poor. The melody, however, is original, and that is a virtue which might cover more sins than Rubinstein committed. In this melody there are two intermezzi which have a relieving effect. One descends an octave chromatically, the other ascends in similar manner. These are fairly representative of the modern harmonic tendency. But, unfortunately, too many chord formulas are used as such without regard for the fact that almost every one of the 6,000 harmonic progressions has its own aesthetic effect. To aid young composers in seeking the musical representation of such a program as "Manfred" or "The Dream of Jubal," the present writer has classified and characterized all the fundamental harmonics, altered chords, combination chords and dissonances. The latter include such unrelated tones as the trill, the suspension and appoggiatura, direct and inverted anschlag, &c. The variety of effects which result is almost incalculable. While each species of chord and discord has its own harmonic color or shade, this is often modified or augmented when heard in connection with the antecedent or consequent. Such a work as Tchaikowsky's "Romeo and Juliette" is an illustration of this significance of chords and progressions. No formula is used for the sake of mere euphony, but only for the present mood or situation.
21And this is true of the symphonic poems by Liszt and Saint-Saëns, of Brahms' "German Requiem," Dvorák's "Stabat Mater," Elgar's "Dream of Gerontius," Grieg's "Autumn" overture, Schumann's "Manfred," Tinel's "Saint Francis d'Assisi," MacDowell's "Indian Suite," Verdi's "Falstaff," Wagner's music dramas, Arensky's B minor symphony and "Till Eulenspiegel," by Richard Strauss. Many of the progressions are flat contradictions of the harmonic formulae and of the postcriptions of certain theorists. Genius derives its skill from an Infinite power, and everything serves a purpose.
23Fundamental and altered chords have now become so familiar that the individuality of a composer must manifest itself through independent combinations and successions. Eduard Grieg, the greatest of harmonists, has invented no new chords, but his progressions and applications are a revelation to the analyst and a delight to the liberal theorist. In THE MUSICAL COURIER, December 25, 1895, and January 8, 1896, there appeared two papers on the "Harmonic Basis of Wagner's Operas and Music Dramas." To these the student is referred for all that pertains to the master's application of harmonic coloration. The formulas described in the preceding issue of this paper have served as basis for many variants and extensions of these chord accompaniments. They have ceased to have any special significance and are usually employed as aids to purely euphonious expression. However cordially we may welcome the ghostlike harmonies in "The Dance of Death," or the bold, inciting progressions in Grieg's "Norwegian Dances," we must not forget that a pure lyric owes its charm to an indescribable melodic fascination, and that the chord accompaniment is merely a casing for the jewel.
25Schumann's "Träumerei," Chopin's rondo duo, op. 73, "La Cavatina," by Raff, or the andante from Tchaikowsky's quartet, op. 11, are cited as instances in which charming impressions are expressed with but little aid from harmony. On account of its mystery this seems to the theorist a more remarkable phenomenon than the most impressive chord progressions.
27In "analytical harmony" there are seventeen harmonic cadences described and illustrated. These are mostly formulae coming easily within the jurisdiction of musical theory. One, however, is in opposition to the modern leading note principle, and this is termed an ambiguous cadence, the minor subtonic being substituted for the leading note. Theoretically, it is merely the seventh tone of the Aeolian mode and expresses a melancholy or oppressed condition. Historically it is associated with the music of the African race, and Dvorák used it freely in his "New World" symphony. Grieg employs this subtonic effect somewhat differently in his op. 22. A brief quotation is here made from the serenade by Elgar:
29This occurs twice in the first movement. The quaintness of this effect is due to the omission of D sharp as leading note to E minor, and who shall say that it is not better so? In view of these citations, it would not be proper to designate this cadence as antelucan, though according to the old text books it is somewhat antinomious. The same remark applies to this as to other unusual harmonizations, i.e., that the sense of tonality is so firmly fixed in our musical consciousness that we accept foreign elements in the cadence without losing the key impression. This is shown in the "Feramors" ballet music by Rubinstein. At the close of the second Bayaderes' dance an augmented 6th chord and then a passing diminished 7th on the tonic alternate with the tonic chord of F. Neither the upper nor the lower leading tones are heard in the cadence, and yet the key impression is not seriously disturbed.
31Passing from these comparatively simple effects to the more intangible realm of chromatic harmonization, attention is directed to the first allegro of Arensky's B minor symphony. The second theme is introduced in a mysterious veil of altered tones as if to screen its beauty from the material world. An excerpt is given, though this represents only one phase of the subject. The second theme commences at "tranquillo."
33This is somewhat analogous to the "Pathetic" symphony as representing soul-longing, unrest and doubt. Other composers have explored still farther the mysteries of chromatic and enharmonic transition, but it is doubtful if they have added anything essentially new to the tonal scheme of Chopin's berceuse as herein described.
35Maud Powell's Reappearance.
37JUVENILE enthusiasts vied with their elders in showing their appreciation of Maud Powell's artistic violin playing at the opening concert for the eighth season of the Young People's Symphony Concerts in Carnegie Hall last Saturday afternoon. As soloist of the afternoon Maud Powell made her first appearance of the season in New York, and the audience undoubtedly included a goodly contingent of admirers of her playing in addition to the regular subscribers of the Young People's.
39Apparently each element was equally well pleased with her work, as after her superb playing of Beethoven's romanza in G major, she was obliged to come on five times to acknowledge the prolonged plaudits of her auditors. Miss Powell's program was happily chosen for such a mixed audience of young folks and music lovers, as Beethoven's tender melody showed her wonderful tonal qualities to such great advantage that all were charmed with its beauties. Her other numbers were Dvorák's "Slavic Dance, No. 7" and Sarasate's "Zapateado," which by contrast with her first number showed the artist's abilities in technic as well as breadth of tone.
41The elders may have been particularly pleased with her graceful bowing and agile double stopping in the Beethoven number, but the youngsters certainly had their share of enjoyment in listening to her pizzicato effects and the dance rhythms in the Sarasate and Dvorák selections. Taken as a whole, Miss Powell's work demonstrated that she is still America's representative violinist and is without doubt one of the most thorough and reliable violinists in the world. She has the rare combination of masculine strength and feminine tenderness in her playing that seem to be requisite qualities for the violin compositions popular nowadays.
43Beatrice Baker, who acted as Miss Powell's accompanist, is a rather young girl in short skirts and hair braided down her back. Her appearance satisfied her young auditors at once, and if they could not fully comprehend the real merits of her skillful and most sympathetic accompanying, their peers evidently did so. Her accompanying in the Sarasate number was a flawless bit of work that kept the piano part just enough in the background to act as a sort of sounding-board or foundation for the finer notes of the violin without intruding in the least.
45The orchestra's principal numbers were Beethoven's Symphony in A Major, "Under the Linden Tree," by Massenet, and Goldmark's overture to "Sakuntala."
47The Massenet selection was the most popular with the audience, and the lovers' conversation was so well played by the clarinetist and 'cellist that a repetition of the entire number was demanded. The orchestra has played this piece once or twice before this season, but never so well as on this occasion.
49Frank Damrosch, the musical director, made the usual explanatory remarks.
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