O'Connell - Pentatonism From Séc XVIII To Debussy

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Jeremy Day-OConnell is
Assistant Professor of Music
at Knox College and author of
^
The Rise of 6 in the 19th Century in Music Theory Spectrum (2002).
Pentatonicism
from the
Eighteenth Century
to
Like the pentatonic idiom itself, this book is readily accessible yet surprisingly rich in evocative associations. Music theorists and historians alike will find much of value in this sophisticated exploration of a largely neglected topic.
-William Caplin (McGill University),
author of Classical Form: A Theory of Formal Functions
for the Instrumental Music of Haydn, Mozart, and Beethoven
Jeremy Day-OConnell has produced a richly textured study of the influence of pentatonicism
in the central repertoires of European music. The topic bears on many crucial issues, from
sacred music to the exotic, and it is handled with proper concern both for musical technique
and for signification. This is a book that needed to be written.
Julian Rushton (University of Leeds),
author of Mozart and The Music of Berlioz
From the late Middle Ages onward, mainstream theorists have regarded resolution by semitone as the hallmark of directed motion in music. In this fascinating and deeply researched
book, Jeremy Day-OConnell welcomes us to the anhemitonic counterculture. The catalogue
of musical examples alone (an anthology in all but name) is worth the price of admission.
William Rothstein (City University of New York),
author of Phrase Rhythm in Tonal Music
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ISBN-10: 1-58046-267-7
ISBN-13: 978-1-58046-267-9
Debussy
jeremy day-oconnell
entatonicism from the Eighteenth Century to

Debussy offers the first comprehensive
account of a widely recognized aspect of music
history: the increasing use of pentatonic (blackkey scale) techniques in nineteenth-century
Western art-music.
A more extensive and complex trend than has
been acknowledged, pentatonicism in nineteenth-century music encompasses hundreds of
instances, many of which predate by decades
the more famous examples of Debussy and
Dvork. Pentatonicism from the Eighteenth Century to Debussy weaves together historical commentary with music theory and analysis in order
to explain the sources and significance of this
important, but hitherto only casually understood, phenomenon.
The book introduces several distinct categories of pentatonic practicepastoral, primitive, exotic, religious, and coloristicwhile also
demonstrating their frequent interaction. It
shows how each of these categories derives
from musical, aesthetic, and ideological developments of the eighteenth and nineteenth centuries. Finally, the book examines pentatonicism
in relationship to changes in the melodic and
harmonic sensibility of the time.
In revealing multiple derivations and fluid
meanings, the book ultimately distinguishes
pentatonicism from the octatonic and wholetone materials with which it has been conventionally associated.
Central to the books interest and arguments
are the copious discussions of excerpts from
repertoire both familiar and forgotten. The generously illustrated text concludes with an additional appendix of over 400 examples, an
unprecedented resource that demonstrates the
individual artistry with which virtually every
major nineteenth-century composer (from
Schubert, Chopin, and Berlioz to Liszt, Wagner,
and Mahler) handled the seemingly simple
materials of pentatonicism.
Pentatonicism from the

Eighteenth Century to Debussy
Eastman Studies in Music

Ralph P. Locke, Senior Editor
Eastman School of Music
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A complete list of titles in the Eastman Studies in Music Series,

in order of publication, may be found at the end of this book.
Pentatonicism from
the Eighteenth Century
to Debussy
JEREMY DAY-OCONNELL
UNIVERSITY OF ROCHESTER PRESS
Copyright 2007 Jeremy Day-OConnell

All rights reserved. Except as permitted under current legislation,
no part of this work may be photocopied, stored in a retrieval system,
published, performed in public, adapted, broadcast, transmitted,
recorded, or reproduced in any form or by any means,
without the prior permission of the copyright owner.
First published 2007
University of Rochester Press
668 Mt. Hope Avenue, Rochester, NY 14620, USA
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and Boydell & Brewer Limited
PO Box 9, Woodbridge, Suffolk IP12 3DF, UK
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ISBN-13: 9781580462488
ISBN-10: 1580462480
ISSN: 10925228
Library of Congress Cataloging-in-Publication Data
Day-OConnell, Jeremy.
Pentatonicism from the eighteenth century to Debussy / Jeremy
Day-OConnell.
p. cm. -- (Eastman studies in music, ISSN 10719989 ; v. 46)
Includes bibliographical references (p. ) and index.
ISBN-13: 978-1-58046-248-8 (hardcover : alk. paper)
ISBN-10: 1-58046-248-0
1. Pentatonic scales. 2. Music--18th century--History and criticism.
3. Music--19th century--History and criticism. I. Title.
ML3812.D33 2007
781.2'65dc22
2006036187
A catalogue record for this title is available from the British Library.
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For Sarah, Micah, and Gabriel
Contents
List of Illustrations
ix
Acknowledgments
xvii
Introduction
1
Part 1: Scale
The Rise of 6 in the Nineteenth Century

A. Theory: 6 in the Major Mode
B. Practice: Classical 6
C. Practice Against Theory: Non-Classical 6
D. Implications
E. Conclusion: Hearing the Subtonic 6
13
13
21
28
34
40
Part 2: Signification
2
The Pastoral-Exotic Pentatonic

A. The Imported Strain of Pentatonicism
B. The Domestic Strain of Pentatonicism (I):
Incipient/Intuitive Sources
C. The Domestic Strain of Pentatonicism (II): Overt Sources
D. Crosscurrents: The Pastoral-Exotic Pentatonic in Practice
The Religious Pentatonic
A. The Nineteenth-Century Restoration of Sacred Music
B. The Pentatonicism of Older Sacred Styles
C. The Theory and Rhetoric of the Chant Revival
D. Other Connections
E. The Religious Pentatonic
47
47
60
84
92
99
105
108
116
124
130
Part 3: Beyond Signification

4
The Pentatonic Glissando

A. The Harp in the Nineteenth Century
B. The Pentatonic Glissando
145
145
152
viii
contents
Debussy and the Pentatonic Tradition

A. The Tradition of Signification
B. The Tradition of Non-Classical 6
C. Beyond the Pentatonic Tradition:
Debussy and the Twilight of Tonality
Afterword: Beyond Debussy
158
158
160
167
183
Catalogue of Pentatonic Examples

Preface to the Catalogue
195
Chronological Index of Catalogue Examples
197
205
Notes
475
Bibliography
499
Index
515
Disclaimer:
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To view these images please refer to the printed version of this book.
Illustrations
Music Examples
I.1
The pentatonic scale
I.2
The pentatonic scale compared to the major scale
1.1
1.2
1.3
1.4
1.5
1.6
1.7
1.8
1.9
1.10
1.11
1.12
1.13
1.14
1.15
1.16
1.17
1.18
1.19
1.20
1.21
1.22
Raga Miyan-ki-Mallar
From Rameau, Gnration harmonique (1737), p. 65
From Heinichen, Der Generalbass in der Composition (1728), p. 745
The essence of the major mode
Bach, Well-Tempered Clavier I (1722), #21 (with reduction)
Classical 6: typical contexts
(a) Mozart, Mass, K. 167 (1773), Gloria, end (reduced score);
(b) Mendelssohn, Symphony #1 (1824), ii, mm. 13;
(c) Brahms, Symphony #2 (1877), iii, mm. 14;
(d) Mozart, Magic Flute (1791), Quintet, #5 mm. 200203;
(e) Beethoven, Piano Sonata, op. 79 (1809), iii, mm. 58
Chromatic chords in the major key with 6
Chopin, Prelude in D major (1839), mm. 14
Mozart, Piano Sonata, K. 281 (1775), i, mm. 58
Mozart, Piano Sonata, K. 330 (1783), iii, mm. 1516
Haydn, String Quartet, op. 50 #6 (1788), Minuet, mm. 69
Beethoven, Symphony #6 (1808), i, mm. 6774
Chopin, Prelude in F major (1839), mm. 12
Schubert, Piano Sonata, D. 664 (1819), ii, mm. 15
Chopin, Waltz, op. 18 (1832), mm. 2227
Johann Strauss, Jr., Donauweibchen (1888), #2, mm. 510
Faur, Barcarolle, op. 44 (1886), mm. 99101
Mahler, Das Lied von der Erde (1908), Der Abschied, end
(P292). Berlioz, Symphonie fantastique (183032), i, end
(with reduction)
Chopin, Etude, op. 25 #8 (1837), end
Chopin, Nocturne, op. 32 #2 (1837)
(a) Beginning of theme (m. 3); (b) Codetta of theme (m. 10)
Schubert, Winterreise (1828), Gute Nacht
(a) (P191) mm. 7175; (b) mm. 711
3
4
13
15
15
17
20
22
23
23
24
24
25
25
26
26
26
26
27
27
28
31
32
33
1.23
1.24
1.25
1.26
1.27
1.28
1.29
1.30
1.31
1.32
1.33
1.34
1.35
2.1
2.2
2.3
2.4
2.5
2.6
2.7
2.8
2.9
2.10
list of illustrations
(P283). Mahler, Symphony #1 (1888), iv, reh. 26

Joplin, Maple Leaf Rag (1899), beginning
(P302). Brahms, Schicksalslied (1871), mm. 6469
(P304). Mahler, Symphony #5 (1902), i, mm. 914
(P99). Wagner, Lohengrin (1848), I/3, mm. 4244
(excerpt of P325). Liszt, Requiem (1868), Dies irae, end
(P321). Puccini, Messa di Gloria (1880), Et incarnatus est, end
(P295). Tchaikovsky, Romeo and Juliet (1869), mm. 51724
Vaughan Williams, See the Chariot at Hand (1930), mm. 49
Dvor k, Symphony #9 (1893), ii
(a) Cadence of first period, mm. 910;
(b) Cadence of first paragraph, mm. 1719;
(c) (P210) Signature cadence to end A section,
mm. 3840; (d) Final cadences, mm. 11220
Binchois, Chanson, Adieu mamour (15th century)
Two possible reductions of the cadence in example 1.33
Speech thirds
(a) From Campbell, Songs in Their Heads: Music and Its
Meaning in Childrens Lives, 18;
(b) From Heaton, Air Ball: Spontaneous Large-Group
Precision Chanting, 81;
(c) The authors transcription; (d) From Massin,
Les Cris de la ville, #277; (e) The authors transcription
(P1). Lully, Le Bourgeois Gentilhomme (arr. Weckerlin, 1883),
Turkish scene
(excerpt of P2). Vogler, Pente chordium (1798), beginning
Croubelis, Symphony in D, Dans le got asiatique
(1780), beginning
(P3). Domenico Corri, The Travellers (1806),
I/3, beginning
(excerpt of P4). Weber, Incidental music to Turandot (1809),
mm. 1922
Rossini, LAmour Pekin (185768), Gamme chinoise
(P40). Handel, Il pastor fido (1712), II/1, Caro Amor,
mm. 2435
(P41). Schubert, Winterreise (1828), Frhlingstraum,
mm. 58
(P42). Liszt, Weihnachtsbaum (1876), #3, Die Hirten an
der Krippe, beginning
Beethoven, An die ferne Geliebte (1816), #5, Es kehret der
Maien, vocal entrance
33
34
35
35
35
36
36
37
38
39
41
41
42
47
55
56
57
58
59
61
62
62
62
2.11
2.12
2.13
2.14
2.15
2.16
2.17
2.18
2.19
2.20
2.21
2.22
2.23
2.24
2.25
2.26
2.27
2.28
2.29
2.30
2.31
2.32
2.33
2.34
2.35
2.36
2.37
xi
(P46). Johann Christoph Pez, Concerto pastorale (1700),

Adagio, beginning
63
(P49). Handel, Messiah (1741), Pastoral Symphony, beginning
63
The overtone series
64
Haydn, Die Jahreszeiten (1801), Herbst, #29, Hrt! hrt das
laute Getn
65
Schubert, Symphony #9, D. 944 (1828), iv, beginning
65
Handel, Water Music Suite in F major (1717), Jig, end
65
(P51). Gade, Comala (1846), #1, Chor der Krieger und
Barden, beginning
65
(P54). Liszt, Fantaisie romantique sur deux mlodies suisses
(1836), mm. 45455
66
Traditional hunting call, Zum Wecken. From Josef Pschl,
Jagdmusik: Kontinuitt und Entwicklung in der europischen
Geschichte, ex. 212
67
(P58). Giovanni Punto, Rondeau en chasse (1790s), beginning
67
The amateur hornists basic scale
68
Schubert, Piano Trio in B major, D. 898 (1828), i
(a) First theme, mm. 13
(b) Second theme, mm. 1213
(c) (P63) Transition to second group, mm. 5153
69
(P64). Gounod, Mireille (1864), IV/14, Chanson, beginning
70
Ranz des vaches, transcribed by Baumann in Switzerland, II. Folk
Music, in The New Grove Dictionary of Music and Muicians, 2nd ed.
70
(excerpt of P70). Rossini, Guillaume Tell (1829), Overture,
mm. 17680
71
(P80). Boieldieu, La Dame blanche (1825), I/1, Choeur
des montagnards, beginning
72
Two news carols
(a) Tidings true; (b) Nova, nova
73
(P93). Schoenberg, Ei, du Ltte (ca. 1898), beginning
73
(P104). Brahms, Wiegenlied (1868), beginning
74
(P112). Massenet, Bonne nuit! (1872), mm. 1519
74
Anonymous, Sumer is icumen in (13th century), end
75
(P127). Schumann, Album fr die Jugend (1848), Gukkuk im
Versteck, beginning
76
(P135). Vivaldi, Violin Concerto in A major, Il cucu,
RV 335 (1719), i, mm. 1823
76
Liszt, transcription of Berlioz, Scne aux champs (third movement)
from Symphonie fantastique (1833), mm. 13437
77
(P148). Loewe, Thomas der Reimer (1860), m. 33
78
Electric doorbell
78
(P158). Schumann, Der Nussbaum (1840), beginning
79
xii
2.38
2.39
2.40
2.41
2.42
2.43
2.44
2.45
2.46
2.47
2.48
2.49
2.50
2.51
2.52
2.53
2.54
2.55
2.56
2.57
2.58
2.59
2.60
2.61
2.62
3.1
3.2
3.3
3.4
3.5
(P169). Chopin, Ballade in A major (1841), beginning

Weber, Der Freischtz (1821), I/3, Bohemian Waltz, beginning
Beethoven, Lndlerische Tnze, WoO 15 #3 (1802), beginning
(P182). Beethoven, Deutsche, WoO 13 #5 (1797), mm. 1724
(P188). Brahms, Liebeslieder Waltzes, op. 52 #3 (1869),
O die Frauen, beginning
(P72). Berlioz, Symphonie fantastique (183032), iii, beginning
(P191). Schubert, Winterreise (1828), Gute Nacht, mm. 7175
(P195). Mahler, Lieder eines fahrenden Gesellen (188396), end
J. C. Bach, Keyboard Concerto, op. 13 #4 (1777),
iii, end of theme, mm. 2528
Haydn, setting of Does Haughty Gaul (1803), end
Haydn, setting of Willys Rare (1792), end
Beethoven, setting of The Pulse of an Irishman (1813), end
Mendelssohn, Scottish Symphony (1842), i, beginning
(P217). Mendelssohn, Scottish Symphony (1842),
iii, mm. 916
(excerpt of P241). DIndy, Symphony on a French
Mountain Air (1886), beginning (reduced score)
(excerpt of P242). Chopin, Krakowiak (1828), beginning
Polish folk melody, from Oskar Kolberg, Piesni ludu
polskiego (1857), #441
(P243). Borodin, Prince Igor (186987), I/1, choral
entrance, m. 29
(P262). Rimsky-Korsakov, Sinfonietta on Russian Themes
(1884), reh. D
(P265). Rimsky-Korsakov, Sadko (1896), Ballad of the
People of Vseslavitch, reh. 27
(P266). Mussorgsky, Pictures at an Exhibition (1874),
Promenade, beginning
(P24). Saint-Sans, Samson et Dalila (185977), I/6,
Philistine chorus to the spring, end
Saint-Sans, Samson et Dalila (185977), I/6, Dance
of the Priestesses of Dagon, beginning
Bizet, Djamileh (1871), #7, LAlme, beginning
(P23). Bizet, Djamileh (1871), #10, Duet, m. 255
(excerpt of P338). Faur, Requiem (1877),
In paradisum, mm. 115
Faur, Requiem, In paradisum, mm. 1720 (with reduction)
Faur, Requiem, In paradisum, mm. 3640 (with reduction)
Faur, Requiem, In paradisum, mm. 51end
Donizetti, La favorite (1840), opening chorus
79
80
81
81
82
82
83
83
85
86
86
87
89
89
90
91
91
93
94
95
95
96
96
97
97
100
101
102
103
104
xiii
Gospel tone (LU, 114)

Psalmodic prototype melody
Gloria Patri Introit, 1st mode (LU, 12)
Agnus Dei, In Dominicis Adventus et Quadragesimae (LU, 6667)
Agnus Dei, In Festis Duplicibus 4 (LU, 3839)
Gloria, In Festis Duplicibus 4 (LU, 3637)
Examples of pentatonic residue in Palestrina motets
Chorons Ionian specimens. From Choron and La Fage,
Nouveau Manuel complet de musique vocale et instrumentale,
2:177, figs. 11 and 12
Two versions of Ein feste Burg
(a) Das Babstsche Gesangbuch (1545); (b) Hauschoralbuch (1844)
Censured passing tones (from Janssen, Les Vrais Principes
du chant grgorien, 1845)
Two Sanctus openings
The intersection of the religious pentatonic and the
primitive pentatonic
(a) (P348) Liszt, Christus (186672), Hirtengesang
an der Krippe, beginning
(b) (P349) Liszt, Anglus! Prire aux anges gardiens
(1882), m. 120
Strauss, Death and Transfiguration (1889), final cadence
(P269). Bruckner, Os justi (1879), end
(P281). Michael Haydn, Missa Sancti Aloysii (1777),
Gloria, beginning
The Dresden Amen in three versions
(a) (P283) Mahler, Symphony #1 (1888), iv, breakthrough
theme, reh. 26
(b) (P284) Wagner, Parsifal (1881), Prelude,
Grail motif, m. 38
(c) Mendelssohn, Reformation Symphony (1830) i, m. 33
68 Amens in two nineteenth-century liturgical books
(P293). Brahms, Alto Rhapsody (1869), end
(P296). Puccini, Gianni Schicchi (1918),
O mio babbino caro, end
(P322). Beethoven, Missa Solemnis (1823), Dona, mm. 2631
Liszt, two versions of the same plagal cadence
(a) (P323) Adagio for organ (1867), end; (b) Consolation #4
(1850), end
(P326). Liszt, Christus (186672), Resurrexit, m. 357
Two cadences from Niedermeyer and DOrtigue, Gregorian
Accompaniment (1857), pp. 62, 77
109
109
110
111
111
112
114
3.6
3.7
3.8
3.9
3.10
3.11
3.12
3.13
3.14
3.15
3.16
3.17
3.18
3.19
3.20
3.21
3.22
3.23
3.24
3.25
3.26
3.27
3.28
115
120
122
124
127
128
131
131
132
134
134
135
136
136
137
137
xiv
3.29
( excerpt of P344). Wagner, Die Walkre (1856), III/3,

Brnnhildes sleep, 17 from end
(P356). Bruckner, Te Deum (1884), In te, Domine,
speravi, mm. 5564
(P363). Liszt, St. Elisabeth (1862), II/5, Elisabeths death
prayer, m. 42
(P367). Liszt, Invocation from Harmonies potiques et religieuses
(1848), mm. 5259
3.30
3.31
3.32
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9
4.10
5.1
5.2
5.3
5.4
5.5
5.6
5.7
5.8
5.9
5.10
5.11
5.12
Flix Godefroid (181897), Etudes mlodiques (posthumous),

#2, Les Arpges, m. 9
(P368). Parish-Alvars, Serenade, op. 83 (1846), mm. 3031
Parish-Alvars, Grand Study in Imitation of the Mandolin,
op. 84 (1846), mm. 1820
Bochsa, La Valse du feu (1847), mm. 1719
Parish-Alvars, Grand Study in Imitation of the Mandolin
(1846), mm. 2830
(P379). Parish-Alvars, Fantasia, op. 35 (1838),
51 after Allegro con fuoco
(P383). Parish-Alvars, La Danse des fes (1844),
26 after Allegro
Parish-Alvars, Grand Fantasia on I Capuleti e i Montecchi
by Bellini and Semiramide by Rossini (posthumous; 1850), end
(P388). Thalberg, Nocturne, op. 16 #1 (1836), mm. 3435
(P414). Debussy, Feux dartifice, from Prludes,
book 2 #12 (1913), mm. 1718
Debussy, Printemps (1887), i, mm. 15
Ravel, Daphnis et Chlo (1912), Lever du jour, 1 before reh. 157
Debussy, La Fille aux cheveux de lin, from Prludes,
book 1 #8 (1910), beginning
Debussy, La Fille aux cheveux de lin, cadences
Debussy, La Fille aux cheveux de lin, reduction
Debussy, La Fille aux cheveux de lin, climax and
retransition (mm. 1924)
Debussy, La Fille aux cheveux de lin, end
Debussy, La Mer (1905), i (De laube midi sur la mer), end
Debussy, La Mer, ii (Jeux de vagues), mm. 24954
Debussy, La Mer, ii (Jeux de vagues), end
Debussy, La Mer, iii (Dialogue du vent et de la mer),
mm. 26670
Debussy, La Mer, iii (Dialogue du vent et de la mer),
mm. 25456
139
140
142
142
146
147
149
151
153
153
154
155
156
157
158
159
160
161
162
162
163
164
165
165
166
166
5.13
5.14
5.15
5.16
5.17
5.18
5.19
5.20
5.21
5.22
5.23
5.24
5.25
5.26
5.27
5.28
A.1
A.2
A.3
A.4
A.5
A.6
A.7
A.8
A.9
A.10
A.11
A.12
Debussy, Khamma (1912), ii, Premire danse, mm. 36

Common tones between pentatonic and whole-tone scales
Debussy, Voiles (1909). (a) mm. 2224; (b) mm. 4043
Debussy, Images pour orchestre (1909), Rondes de
printemps, mm. 16163, with analysis of pitch content
Debussy, Images pour orchestre, Rondes de printemps,
mm. 6062, with analysis of pitch content
Debussy, Pagodes (1903), mm. 16
Debussy, Pagodes, mm. 718
Debussy, Pagodes, end
Stravinsky, Le Chant du rossignol (1917), #1, reh. 6
Britten, Prince of the Pagodas (1956), Prelude, beginning
Vaughan Williams, The Lark Ascending (1914), beginning
Barber, Knoxville: Summer of 1915 (1947)
Argento, To Be Sung upon the Water (1972), #2, reh. 1
Honegger, Pastorale dt (1920), mm. 3638
Jerome Kern, Ol Man River (1927), refrain
Gershwin, Nice Work If You Can Get It (1937), verse
Smokey Robinson, My Girl (1964)
Jimi Hendrix, Purple Haze (1967)
Jimmy Page, Stairway to Heaven (1971),
beginning of guitar solo
Paul Simon, Still Crazy After All These Years (1975)
Figures
I.1
The pentatonic and chromatic as balanced about the diatonic
I.2
Musical elements of pentatonicism from the eighteenth
century to Debussy, and their sources
I.3
Conceptual elements of pentatonicism from the eighteenth
century to Debussy, and their sources
1.1
1.2
Mode within the continuum of the melodic domain

John Curwen, Standard Course (1880)
xv
168
168
169
170
171
172
173
174
175
175
176
176
177
178
179
181
184
184
185
186
187
188
189
189
190
190
191
191
3
8
9
14
16
xvi
1.3
1.4
1.5
1.6
1.7
The major mode according to Zuckerkandl

The major mode as a tonal terrain
The tonal terrain, with octave equivalence
Tonal pitch spaces (after Lerdahl, Tonal Pitch Space, 161)
Pentatonic pitch space
3.1
The statistics of table 3.1 interpreted: A heptatonic

mode-6 chant reveals a pentatonic core
113
Summary analysis of Debussys Pagodes
180
5.1
Tables
1.1
Major-mode terminal plagal cadences to 1828
1.2
Plagal cadences with melodic 68 (terminal, except as indicated)
3.1
3.2
4.1
4.2
Some pentatonic statistics of example 3.11, Gloria

(LU: 3637). Parenthetical data include ornaments
(a) and internal phrase markings (b). The data on motion
between f and d (c) include all such leaps within a
single phrase
A structuralist interpretation of the religious pentatonic
Tonal and melodic capabilities of the single- and
double-action harps
Enharmonic glissando capabilities of the single- and
double-action harps
Plates
3.1
Jean-Franois Millet, LAnglus (185859)
3.2
Franois-Andr Vincent, La Leon de Labourage (1798)
18
18
19
21
31
29
30
113
129
148
154
125
126
Acknowledgments
This book began its life as my PhD dissertation, and so I would like to first
acknowledge my doctoral committee at Cornell University. Thanks go above all
to my advisor, James Webster, who provided constant support, patient tutelage
and a humbling example; whatever good that I absorbed in my graduate years
as a thinker, a writer, and a teacher, I owe in greatest measure to him. Kofi
Agawu, though my teacher at Cornell only briefly, inspires me even years after
our studies together; his ghostly presencesometimes welcome, sometimes
notsternly accompanies me whenever I sit down to write. Steven Stuckys keen
musical intuition and astounding knowledge of repertoire, as well as his refined
editorial sensibilities and eagles eye for detail, improved my work in very many
small but crucial ways. Finally, my thoughts turn to Ed Murray, whose involvement during the early stages of this project was cut short by his illness and then
death in 2000; I cherish the memory of an incorrigible music lover and an
unusually humane, classy guy. It was a great honor and a great benefit to study
with these four teachers.
This book was completed in the four years since my doctorate. My postdoctoral fellowship in the Lilly Fellows Program in Humanities and Arts at
Valparaiso University provided an ideal transition to the academic profession,
with its unique combination of the intellectual, the spiritual, and the collegial.
I want to offer a special word of thanks to Mel Piehl, Dean of Christ College at
Valparaiso, for encouraging me at that time to see my research through to completion as a book. That postdoc and especially my subsequent appointment as
Postdoctoral Fellow in Music Theory at the University of Chicago afforded me
the time and the resources to do so.
Many individuals over the course of many years have contributed ideas and
critique that have shaped the present work. Of these, the three anonymous
reviewers for Eastman Studies in Music, along with the series editor Ralph Locke,
should be singled out: their comments steered me toward important revisions
that have enhanced both the substance and the coherence of this book.
The considerable production costs entailed by a book of this nature have been
mercifully defrayed by subventions from several sources: the Music Department
of the University of Chicago, the Society for Music Theory, the Otto Kinkeldey
Publication Endowment Fund of the American Musicological Society, and above
xviii
acknowledgments
all the Deans Office of my home institution, Knox College. Whatever may otherwise be the merits of this book, its treasury of musical examples owes its existence and beautiful appearance to the generosity of these supporters, as well as
to the expert engraving of Jrgen Selk. Thanks are also due to designer Priscila
De Lima for her help with diagrams.
A version of chapter 1 was first presented at the annual meeting of the Society
for Music Theory (Atlanta, November 1999) and appeared in Music Theory
Spectrum (Jeremy Day-OConnell, The Rise of 6 in the Nineteenth Century, Music
Theory Spectrum 24, no. 1 [Spring 2002], 3567). A version of chapter 2 was presented at OXMAC 2000: British Music Analysis (Oxford, September 2000) as
Pentatonic Exoticism Reconsidered. A version of chapter 3 was presented at
both the annual meeting of the American Musicological Society (Kansas City,
November 1999) and the triennial joint meeting of the British Musicological
Societies (Surrey, July 1999) as The Idea of the Infinite: Pentatonicism as a
Religious Topos in Nineteenth-Century Music. A version of chapter 4 was presented at the annual meeting of the College Music Society (Quebec City,
November 2005) as Harps, Harpists, and the History of Harmony.
My final work on this book was accompanied by the maddening exhilaration
of new fatherhood. My wife and two sons, to whom I lovingly dedicate the book,
have given me more than any dedication could tell.
Introduction
1. Pentatonicism in European Art-Music
Throughout the world musicians routinely, inevitably, eschew the vast continuum of musical pitch in favor of scalesmodest collections of discrete, more or
less fixed, notes. And among the limitless variety of potential scales, one, the
pentatonic, has long impressed commentators for its truly extraordinary diffusion in world music.1 First described by Westerners variously as the Chinese
or the Scotch scale, the pentatonic scale figures prominently in such diverse
musical cultures as those of the British Isles, West Africa, Southeast Asia, and
aboriginal America, among many others.
The apparent ubiquity of pentatonic systems throughout the world contrasts
with the veritable monopoly enjoyed by heptatonic tonality in the commonpractice tradition. Yet, however stylistically insular seventeenth- and eighteenthcentury European concert music was in this respect, composers in the
nineteenth century undertook notable experiments using pentatonic materials.
In their quest for originality, nineteenth-century composers relaxed stylistic
boundaries and, in their engagement with certain aesthetic and ideological projects, grew increasingly attracted to pentatonicism, culminating especially in the
music of Dvork, Debussy, and Ravel.
While some of these compositional forays are familiar, the larger phenomenon has scarcely been recognized in anything more than a superficial and anecdotal way in the literature. Instead, the current musicological account of this
well-known facet of music history consists mainly in the perpetual recycling of
conventional wisdom, such as that contained in the first edition of The New
Grove Dictionary of Music and Musicians : Pentatonicism has been explored by
several European composers, notably Chopin, Debussy, Puccini, Ravel, and
Stravinsky, often in pursuit of an exotic flavour. . . . 2 This attribution of exoticism is prevalent in the literature and is reasonable as far as it goes, but it neglects a great many examples that have more complex, even altogether different,
motivations. Equally mistaken is the erroneous, but again typical, suggestion
that pentatonicism represents a strictly late nineteenth-century development,
with Chopin an anomalous forerunner.3 More successful accounts can be found
occasionally among French musicologists, but we ultimately encounter similar
limitations.4
introduction
Nineteenth-century pentatonicism in fact embodies a development in compositional style whose history and prehistory call for serious examination in ideological, analytical, and theoretical terms. Jacques Chailley understood the
breadth and depth of this topic, declaring, It would be the subject of a deep
study, which certainly deserves to be undertaken.5 This book answers Chailleys
call. In it, I offer a complete reassessment of European pentatonicism, taking as
my starting point an extensive catalogue of pentatonic excerpts from music both
familiar and unfamiliar. This catalogue (included at the end of the book, and
indexed with P numbers) provides a hitherto unavailable resource that helps us
to discern a European pentatonic tradition, one whose extent, sources, and significance are both wider and more complex than has been supposed. The catalogue reveals a pentatonic sensibility in virtually every major composer of the
nineteenth century; it includes fascinating, little-known early works such as
Voglers Pente chordium of 1798; and it indicates subtle stylistic continuities that
extend back to incipient melodic devices of the eighteenth century and earlier.
(Selections drawn from the catalogue have been copiously reproduced within the
text itself so as to aid the reader without undue interruption. They are intended
to be adequate in supporting the argument at hand. The more curious reader,
however, will also find cross-references to further items in the catalogue.)
2. Definitions and Disclaimers: Pentatonicism

Although pentatonicism appears to be a musical universal,6 claims of universality minimize the many historical, theoretical, and ethnographic problems
involved in generalizing about scales. Even within certain famously pentatonic
musical traditions, some apologists have questioned the accuracy and the aptness of so totalizing a label;7 hence, what Trn Van Khe called the king of
scales may be better thought of as a great royal family.8 At the very least, one
should speak not of the pentatonic scale in world music (by which is typically
meant the scale corresponding to the black keys of the piano keyboard), but
rather of pentatonic scales. Asia itself contains a host of pentatonic systems,
revealing widely varying melodic usage. Whereas the Chinese system features
a pentatonic core plus two pien-tonespassing-tones that fill in the minor
thirdsJapanese gagaku, ostensibly founded on this same system, favors a different use of the pien-tones, which sometimes assume the role of metabolei.e.,
substitution, rather than elaboration. The slendro tuning of metallophones in the
Javanese gamelan is pentatonic, though in this case the intervals are more nearly
equidistant, with large major seconds and small minor thirds incompatible
with any conventional Western temperament.9 (This very incompatibility may
explain Debussys fondness for both the whole-tone and the pentatonic scales,
each a rough approximation of slendro within twelve-tone equal temperament.)
Given the diversity of pentatonic styles throughout the world, then, any
attempt at defining pentatonicism is fraught with theoretical (to say nothing of
introduction
Example I.1. The pentatonic scale.

political) difficulties. But define it we must, and the reader is asked to bear in
mind that the definition adopted here applies primarily to the rather circumscribed musical tradition studied in this book: the concert music of eighteenthand nineteenth-century Western Europe. I define the pentatonic scale as the
following subset of the major scale: 12356(8) (ex. I.1). Note that this
nomenclature retains the seven diatonic scale degrees even when referencing
the pentatonic scale per se: since my project is an examination of pentatonic technique within the Western art-music tradition, I acknowledge a constant tension
between the pentatonic and the diatonic.10 (Consequently, I also measure intervals according to standard diatonic measures, for example, 35 as a minor third;
any exceptions to this practice will be signaled with scare quotes, as in pentatonic step.) This reflects my frank assessment of the pentatonic scale as marginal in the context of nineteenth-century musical life. Marginal though it was,
however, both statistically and conceptually, many of its practitioners were themselves far from marginal, and their compositional endorsement of pentatonicism, as it were, albeit limited, is warrant enough for serious consideration.
Although certain features are shared between the diatonic scale and its
pentatonic sub-scale (namely, the stepwise 123 and the neighbor-note relation 65), the pentatonic will appear gapped as compared to the diatonic
scalea common, if somewhat ethnocentric, description. Scruples over that
term are nevertheless unwarranted here, given this books purview: within the
context of common-practice music, the pentatonic scales musical and stylehistorical import does reside precisely in these gaps. Melodically, they stand as
omissions of the two most implicative degrees of the major scale, 4 and 7; intervallically, this results in a scale containing neither minor seconds (a so-called
anhemitonic scale) nor tritones. Hence the pentatonic not only differs from the
diatonic but can be further viewed in opposition to the chromatic, the three
scales situated conceptually as in figure I.1. Nineteenth-century pentatonicism
thus represents both a subtle shift in melodic sensibility away from common-
pentatonic 1
diatonic 1
chromatic 1
1/2
2/3
4/5
5/6
6/7
Figure I.1. The pentatonic and chromatic as balanced about the diatonic.
introduction
diatonic
infra-diatonic diatonic
!
non-diatonic
Example I.2. The pentatonic scale compared to the major scale.

practice diatonicism, and at the same time a reaction against what must have
seemed the cloying tendencies of chromaticism.
The scale steps in the pentatonic system, as in the diatonic, come in two
brands, in this case measuring a major second and a minor third. The adjacency
relations in the pentatonic scale are hence distinguished by its minor third
steps, most importantly in the case of the tonic note: the lower adjacency to
the tonic, much celebrated in the diatonic system as the leading tone, 7, is
served in the pentatonic subsystem instead by 6. Some implications of this
crucial property will be explored in chapter 1. The minor third 35, though a
structural feature of diatonic tonality (part of the arpeggiation of the tonic
triad), is notable for being in a scalar sense infra-diatonic.
The distinctiveness of certain aspects of the pentatonic scale vis--vis the diatonic recommends a less absolute definition of our subject of study. For while
the pentatonic scale is easily defined, it will be useful to refer more generally to
pentatonicism: a set of features peculiar to the strict pentatonic system. Example I.2
summarizes these features by classifying various portions of the pentatonic
scale vis--vis the diatonic. In addition to the precise scalar definition, then, I will
also recognize degrees of pentatonicism, gauged not only according to an
adherence to the five notes in question but also according to the prominence of
melodic motion highlighting the pentatonic gaps. Depending on the context,
then, collections involving fewer or more than five notes may nonetheless qualify as pentatonic. Furthermore, the pentatonicism I describe will more often
appear in the melody alone than suffuse an entire texture (the pentatonic scale,
after all, supports only two triads, I and vi); it will more often characterize a single passage than govern an entire piece; it may be thematic, ornamental, or
accompanimental. While its many localized appearances have long escaped the
notice of musicologists, in favor of paradigmatic examples such as Webers
Turandot or Debussys Voiles, it is sometimes these appearances that provide the
most fruitful ground for interpretation.
Considering such disclaimers, the reader may begin to wonder if pentatonicism, as defined here, constitutes a viable subject after all. In using a single term
to describe all the phenomena under investigation, I make an ostensibly convenient
simplification, but no less a simplification than that embodied by the terms
introduction
diatonic or chromatic: in each case the terms allow a broad interpretation

beyond their strictest definition, to the point that each ultimately represents
some segment of a theoretical continuum.11 If my reluctance to advance a more
dogmatic notion of pentatonicism strikes the reader as allowing undue subjectivism, my catalogue of pentatonic and, as it were, pre-pentatonic examples is
offered in the interest of greater explicitness and as a potential site of contention.
The various connections revealed therein stand as a mute (or rather, wordless)
justification of the topic as I have conceived it.
According to my definition, the pentatonic scale is, properly speaking, a
mode, that is, with tonic 1. Although no nomenclature for the five pentatonic
modes has gained widespread acceptance, it seems reasonable to speak of the
major (12356) and minor (61235) pentatonic modes, owing to the
quality of their respective tonic triads. The remaining three modes might be
termed Dorian (23561), Phrygian (35612), and Mixolydian
(56123) by extension, but these are less satisfying solutionsfor instance,
the Phrygian pentatonic omits the very 2 that otherwise distinguishes the
Phrygian diatonic mode. (Equivalently, these modes may also be construed in
relation to the major scale as follows: Minor, 13457; Dorian, 12457;
Phrygian, 13467; Mixolydian, 12456.) Although each of the five
modes has been observed in various cultures, only the major and minor modes
support a tonic triad (of the conventional sort). Furthermore, in my research I
have not found any but the major pentatonic to have interested Western composers, at least not before the late nineteenth century.12 For this reason, perhaps,
it has been widely granted special status as the usual pentatonic, the common
pentatonic, and the tonal pentatonic.13 To reiterate: throughout this book, it will
be referred to as the major pentatonic or, more often, simply the pentatonic
scale.
The pentatonic scale enjoys a host of acoustical and structural properties that
may be psychologically desirable.14 It is, first of all, a proper system, which is to
say that an interval may be reliably measured either in equal-tempered semitones or in scale steps without contradiction.15 (The harmonic minor scale fails
this test: the distance of three semitones may either outline a scalar step, 67 or,
paradoxically, a scalar third, 13.) Among five-note subsets of the twelve-tone
aggregate, the pentatonic scale is maximally even, containing the most uniform possible distribution of pitches within the octave.16 Considered as a pitchclass set (i.e., 535) the pentatonic scales interval content (<032140> in vector
notation) features optimum tonal consonance17 compared with other possible
pentads, and a graded distribution of intervals,18 otherwise known as unique
multiplicity. The pentatonic scale may be generated by a cycle of perfect fifths,
and it exhibits the f to f property: pentatonic keys with tonics a fifth apart differ in their scales by precisely one note displaced by a semitone.19 All of these
attributes secure certain advantages for composer, performer, and listener, and
therefore it is unsurprising that they are all shared by another scale popular the
world over, the diatonic.
introduction
3. Definitions and Disclaimers: Signification

As we have seen (and as will be discussed further in chapter 1), the scalar structure of pentatonicism subverts certain conventions of diatonic tonality.
Consequently, as a signifier, it may embody domains at the margins of traditional
Western experience. In the course of this book, I will introduce and document
several broad categories of pentatonic usage, beginning with the patently signifying modes discussed in part 2. Here, pentatonicism will be shown to engage
with such antirationalist, anticultivated realms as the pastoral, the exotic, and
the primitive (chapter 2), as well as the spiritual (chapter 3). In short, the pentatonicism of the nineteenth century largely referenced lost aspects of human
culture, the perceived utopias of a pastoral and spiritual past no longer possible
with the encroachment of urban, industrial lifestyles on the one hand and
Enlightenment humanism on the other. To recognize these various modes of
signification, however, is not to assume a divisive taxonomy. On the contrary, a
frequent implication of my heuristic is the fluid manner in which signification
can be shown to operate via a network of mutual interrelations among the categories, at times creating potentially complex webs of meaning.
Semiosis, the mechanics of meaning, is generally understood in terms of relations among a number of semiotic operators, whether two (Saussure), three
(Peirce), or five (Morris).20 In this book I focus primarily on referential meaning and hence rely on the simplest model, which locates semantic content in the
correspondence between signifier and signified. Since a great deal of the pentatonic practice that I document predates the emergence of pentatonicism as
either a term or even (except in the most specialized circles) a concept, we are
confronted with something of a historical vacuum, and thus neither the poeietic (intended by the composer) nor the aesthesic (understood by the listener) aspects of signification can be taken for granted. Rather, meaning must
be deduced from contextual cues (such as titles, performance indications, programs, and sung texts) as well as from the historical testimony of theorists and
critics. In any case, pentatonicisms signifying modes and their historical genesis
sometimes need to be carefully teased out from historical facts and documents,
as in chapter 3 especially.
The semiotic mechanism may be described in a slightly more refined way by
enlisting one of Peirces trichotomies: his categorization of the sign-function as
iconic (signification via resemblance), symbolic (via convention), or indexical (via direct physical or causal connection). Both the iconic and symbolic
modes (but not the indexical) will be relevant here. For instance, insofar as a
pentatonic passage shares the quality of pentatonicism with a certain other musical objectsay, Chinese musicthe similarity will render an iconic mode of
signification. For the listener, of course, this iconic semiosis would, strictly speaking,
depend upon a working knowledge of Chinese music. Nevertheless, composers
habitual use of such a sign could also foster a symbolic mode of signification. That
is, a listener might take note of the musics difference (its markedness) along
introduction
with its associative context (for instance, its coupling with a Chinese locale in an
opera); and having acquired this learned convention, that listener would possess
the capacity to infer the signs signification through the symbol alone, without
necessarily being aware of its status as icon.
Whether iconic or symbolic, the passage described here could be understood,
then, as Chinese. As Peirce points out, however, semiosis does not end there,
for Chinese is itself a sign and as such generates a further layer of significationand theoretically so on ad infinitum. In practice, this formalized model
may be tolerably simplified by invoking the concepts of denotation (primary
meaning) and connotation (implied or consequent meanings), concepts that
will underlie many of my semantic observations and interpretations. Finally, I
will also allow for the possibility of innovative or ironic applications of otherwise stable signs, a domain of inquiry linguists distinguish from semantics as
pragmatics.21
We may further qualify icons according to the specific type of similarity exhibited between signifier and signified. Pentatonicism generally functions as the simplest type of icon, the image, in which the resemblance is salient and literal. A
more abstract iconic relationship is that of the metaphor, in which the resemblance is conceptual or somehow mediated, an extended parallelism of qualities
and relations.22 For instance, insofar as the diatonic system is understood to
embody tonal forces, such forces operate via a self-evident metaphor of spatiality and physicality; and insofar as the pentatonic subsystem annuls these forces, it
too conveys a metaphoric meaning, as will be particularly important in chapter 3.
It should be pointed out that the semantic mechanism I have describeda
mapping between signifier and signifiedmanifests the same types of ambiguities and redundancies exhibited by spoken language. For one thing, since pentatonicism is capable of denoting multiple signifieds, context will often be
necessary to establish its precise meaning in a particular instance. Conversely,
any one signified discussed in this book could be roughly conjured through
either pentatonic or non-pentatonic means. Still, subtle distinctions of meaning
will also be explored; as in language, there are no true synonyms in music.
Furthermoreand now in distinction to speechcomposers, whatever their
semantic intentions, are always guided in greater or lesser measure by purely
musical concerns. It is clear that the inherent properties of pentatonicism,
above all its relative stasis, are incongruent with such venerable Western aesthetic priorities as harmonic progression and thematic development. For this
reason a composer, having broached a semantic realm with an initially pentatonic theme, might quickly devolve to diatonicism without necessarily compromising the original effect. By the same token, a composer aesthetically disposed
to the tonal ambiguities of pentatonicism (Debussy, for instance) might choose
to sustain a pentatonic passage for its own sake, with apparently little regard for
the referentiality of the device. Indeed, part 3 concerns ostensibly non-signifying
uses of pentatonicism, chiefly in coloristic roulades and glissandi (chapter 4) but
also in more properly syntactic-structural capacities (chapter 5).
introduction
4. Summary and Prospectus

In short, pentatonicism, even within the context of European concert music, is not
an absolute but rather a nexus of compositional tendencies and expressive modes.
There are degrees of pentatonicism as well as a constellation of historical instances
and ancestries. Indeed, an important contribution of this book will be its engagement with the manifold ways in which pentatonicism has been used and may be
understood. It will elucidate the commonalities of these various strands and hence
demonstrate the utility of my synthesizing term and concept. In particular, pentatonicism will be shown to exist as a musical, aesthetic, and ideological foil to the
conventional diatonic language inherited from the eighteenth century on the one
hand, and the increasingly chromaticized language of nineteenth-century music
on the other. It is not my claim that pentatonicism represented a central practice
in the nineteenth century, nor that the pentatonic techniques illustrated by the
catalogued examples participated in a single, identifiable lineage, whether historical or stylistic. My intention, rather, is to identify certain pentatonic procedures
ones that were used discursively and in myriad waysand to investigate both their
sources and their consequences for music and meaning. By way of anticipating
but at the risk of oversimplifyingthe results of this investigation, I present here
two figures distilling the chief musical elements (fig. I.2) and conceptual elements
(fig. I.3) of pentatonicism from the eighteenth century to Debussy.
Consonance, stasis
chs. 1, 2, 3, 4, 5
Overtone series
Calling dyads
Horn scale
^
1
ch. 2
^
2
^
3
^
5
^
6
^
8
chs. 1, 2, 3
Black keys
Harp pedals
chs. 2, 4
Diminutions
of tonic triad
chs. 1, 2
Hexachordal
melodies
chs. 1, 2
Figure I.2. Musical elements of pentatonicism from the eighteenth century to

Debussy, and their sources.
introduction
Other:
Transcendent
ch. 3
Religious chant
chant theory
acoustical image of spirituality
ancient tonality
noble savage
Nativity
Good Shepherd
Pastoral simplicity
consonance
rustic instruments
calls
Scotland
Primitive simplicity
consonance
music
Exotic Asian
Asian music theory
Greek theory
Cradle of civilization
Other:
Earthly
ch. 2
Figure I.3. Conceptual elements of pentatonicism from the eighteenth century

to Debussy, and their sources.
In this book, I will follow the various manifestations of this complex phenomenon, which went largely unnamed by its practitioners or their contemporaries.
(The English term pentatonic first appeared in 1864, and German analogues
only ten years later.) I will elucidate and clarify composers motivations for their
pentatonic practice, but frankly, I intend to complicate things a bit as well. While
commentators naturally gravitate toward the clearest examples of a phenomenon,
I believe it would be wrong to take such examples as most representative of the act
of musical composition. After all, when faced with a blank sheet of staff paper,
composers do not normally reach for the textbook (whether real or figurative) but
draw upon a lifetime of musical experience and a set of organically formed intuitions concerning what note goes next. While Debussys Pagodes or Dvorks
American Suite certainly epitomize pentatonicism, the largely un-self-conscious
excerpts discussed here are no mere predecessors. Pentatonicism, with its fluidity
of meaning and multiplicity of derivations, resembles traditional musical elements
more than it resembles the comparatively recondite whole-tone and octatonic
scales, with which it is so often unthinkingly lumped in present-day writing.
Part 1
Scale
Chapter One
The Rise of 6 in the

Nineteenth Century
A. Theory: 6 in the Major Mode
Ethnomusicologists and theorists of non-Western music maintain a useful distinction between scale, and mode: that is, between an abstract collection of
tones in a given musical tradition, and the actual conventions of melodic practice in that tradition. Example 1.1, for instance, illustrates the tonal hierarchy
and motivic dispositions that transform the undifferentiated pitch material of a
Hindustani that (scale) into a raga (mode), the governing syntax for a piece
or improvisation.1 In short, mode is more than merely a scale.2 While typical
inquiries into unfamiliar musical systems engage mode as a matter of course,
recent studies of the Western major scale have more often concerned scale as
scale, investigating group-theoretic and acoustic properties.3 These studies help
to explain the relative prevalence of a handful of scales throughout the world,
and to delimit those scales structural potentials, but they fail to address melodic
practice. Setting out along the musical continuum pictured in figure 1.1, we may
begin to explore the question of scales in/as music.
Western music, to be sure, has no proper equivalent of raga, and since the
Renaissance its theoretical and compositional discourse has been dominated by
harmony, rather than melody. Nevertheless, modal, or syntactic, aspects of
the major and minor scales reside firmly within the intuition of competent musi-
Example 1.1. Raga Miyan-ki-Mallar.
14
the rise of 6 in the nineteenth century
SCALE < MODE > TUNE

particularized generalized
scale
tune
Figure 1.1. Mode within the continuum of the melodic domain.
cians, and we may therefore strive to delimit these aspects, with the hope of illuminating analytical and style-historical issues. In this chapter I will discuss such
melodic principles, examining in particular the theory and practice of 6 in the
major scale (the most important degree of the pentatonic subsystem; recall ex.
I.2). By tracing the history and, as it were, the reception of this degree, I will
reinforce some well-worn formulations and at the same time offer new evidence
of what might be called a second practice of nineteenth-century melody.4 In
later chapters, I will extend my observations beyond the realm of syntax into that
of semantics (thus adding a further layer of correspondence with raga), providing the framework for hermeneutic insights.
1. Older Theories of the Scale

Technically, 6 was not 6 until the emergence of the major mode, and hence a
history of 6 might begin sometime during the seventeenth century. However, we
do well to recall the system of hexachordal solmization, which (alongside modal
theory) had dominated musical pedagogy for centuries before the seventeenth.5
During this time, the universe of diatonic material was conceptualized as superimposed transpositions of a stepwise unit encompassing not an octave but only
a major sixth: the hexachord. The hexachord embodied pedagogical considerations in containing a single, uniquely positioned semitone, while it also represented a theoretical boundary in that the hexachord was the largest collection
which, when transposed from C to either G or F, introduced no new tones into
the gamut but stayed within the realm of musica recta.6 The hexachord must have
befitted the restrained ambitus of the monophonic repertoire for which Guido
dArezzo invented solmization in the first place. (Guidos famous paradigmatic
melody, the Hymn to St. John, not only features successive hexachordal pitches
at the beginning of each phrasethe very property that satisfied Guidos
mnemonic purposesbut in fact remains within the range of the hexachord
throughout.) Furthermore, several compositions attest to the hexachords conceptual status as a self-sufficient musical entity: keyboard compositions by
Sweelinck, Byrd, and Bull, and a Mass movement by Avery Burton, whether
meant as self-conscious didacticism or not, use as cantus firmus the archetypal
sequence utremifasolla.7 The reality of heptatonicism, of course, entailed
the frequent application of hexachordal mutation. Finally, around 1600, a new
solmization degree, si, gained increasing acceptance, though not without heated
15
objection from conservatives: even as late as the eighteenth century, controversy

surrounded the relative merits of hexachordal versus major-minor thinking.8
Eventually, as the major-minor system coalesced, the leading tone became a
defining component of tonality, and the heptatonic octave finally emerged as
the unqualified foundation of musical pitch. But as important as 7 became in
common-practice harmony, it presented certain problems from the standpoint
of scale, at least when reckoned as the step above 6.9 In Jean-Philippe Rameaus
model of the major scale (ex. 1.2), the step from 6 to 7 confounds the fundamental bass: in the course of harmonizing an ascending melodic scale, his normative harmonic progression by fifths breaks off at this point.10 The succession
of three whole tones, 4567, strikes Rameau as not at all natural, and he
gives, therefore, a more roundabout octave ascent, which begins on 7, apparently
a compensation for an irregularity in the higher register, where 6 returns to 5
before a leap to the conclusive 78.11 A similar reluctance to bridge 6 and 7
characterizes Heinichens pedagogical schemata modorum for the figured bass
(ex. 1.3): although the bass line touches upon all the scale degrees, it does so within
a scale bounded by 7 on the lower end and by 6 on the upper.12 Over a century
later, Moritz Hauptmanns aversion to a rising 6 would echo Rameaus, but with
a characteristically Hegelian twist: since 6 is associated with subdominant
harmony and 7 with dominant, a succession from one to the other implies a harmonic progression between chords that do not share a common tone, contrary
to the very foundation of Hauptmanns theory. Hauptmann goes so far as to
describe a gap between the two degrees; and although he admits that the interval in question is no larger than that between 1 and 2 or 4 and 5, his dialectical
system requires that, in the case of 67 the interval be considered a leapeven
one comparable in difficulty to the tritone.13 (Both Rameau and Hauptmann
Example 1.2. From Rameau, Gnration harmonique (1737), p. 65.
Reg. 3.
56
Reg. 5. Reg. 4.
56
6
4
2
Reg. 6. Reg. 2.
Example 1.3. From Heinichen, Der Generalbass in der Composition (1728), p. 745.
16
ultimately relax their prohibitions through the introduction of secondary triads,

but in each case 67 enters with excuses.) The tradition continued into the twentieth century, with Rudolf Louis and Ludwig Thuille again postulating a gap
between the major scales 6 and 7.14
Descriptions of the major scale, then, have historically cast 6 as something of
an upper boundary, notwithstanding the assumption of a seven-note octave. The
modal analogue of this view, moreover, emerged in the conception of 6 as a
tendency-tone directed toward 5. The notion of tendency-tones initially concerned only the leading tone and, later, its tritone partner, 4, but starting in the
nineteenth century, theorists and pedagogues attributed melodic energy to 6 as
well. The English pedagogue John Curwen describes the non-tonic degrees as
tones of suspense and dependence, where not only 4 and 7, but 6 as well leaves
no doubt as to its resting tone [5]. Curwen depicts 6 as a skyrocket, which, having reached its height, shines beautifully for a moment, and then softly and elegantly descends.15 Meanwhile, Curwens chironomy visually underscores the
character of each degree in the scale (fig. 1.2): here a down-turned palm and
sagging wrist (note the visual similarity with 4) signal the sixth degree, LAH.
The sad or weeping tone. . . .16 Simon Sechters account of scalar tendencies
Figure 1.2. From John Curwen, Standard Course (1880).
17
revolved around the question of tuning: because of the dubious fifth between
2 and 6, treatment of the sixth degree, at least when supported by a ii chord,
requires preparation and downward resolution, as if a dissonance.17 Louis and
Thuille also characterize 6 as a downward-tending degree and for this reason
regard the minor subdominant as the consummation of subdominant function,
its flattened 6 magnifying the melodic tendency present in the natural 6.18 To
this day, our adoption of Rameaus term submediant (sous-mdiante) for 6
reflects primarily structural, as opposed to phenomenological, sensibilities,
whereas Ftis, true to his more melodic outlook, abandoned the term in favor of
the stepwise connotations of superdominant (sus-dominante).19
2. A Working Model of the Major Mode

Today a discussion of the major scales dynamic nature has become a near-obligatory component of harmony textbooks, if only a token one. A broad consensus
exists concerning these dynamics, in which the active/dynamic/dependent degrees progress stepwise to the stable/static/principal degrees of the
tonic triad.20 These features, summarized in example 1.4, embody two important aspects of what we may properly call the major mode: the primacy of the
tonic triad and the primacy of stepwise motion. While the former is a veritable
axiom of tonality, the latter is no less crucial a theoretical assumption. To
Heinrich Schenker, steps are the true bearers of the contrapuntal-melodic element, critical to the transformation of pure harmony into living music.21 On a
practical level, stepwise motion correlates with the realities of vocal production,
the ultimate basis of melody; hence Hugo Riemann insists that [melodic] progressions by step are always preferable to those by leap, an oft-repeated prescription related to Anton Bruckners and J. N. A. Drrnbergers more general
law of the shortest way.22 Indeed, the normative status of conjunct motion in
tonal melody partially explains our habitual, but ill-advised, equation of mode
with scale. Finally, an additional property indicated by example 1.4 is the primacyagain, vocally derivedof melodic descent, what Hindemith calls
undoubtedly the most natural [motion] in music,23 which is trumped only in
the case of 7, by the law of the half step.24
One could improve upon this simple model by first of all recognizing a hierarchy of stability among the three tonic-triad degrees: for instance, while 3 may
Example 1.4. The essence of the major mode.
18
Figure 1.3. The major mode according to Zuckerkandl. (1956 Bollingen, 1984
renewed. Reprinted by permission of Princeton University Press.)
Figure 1.4. The major mode as a tonal terrain.
serve as the resolution of 4, a weaker but persistent attraction toward the distant
tonic note will remain to be satisfied. The forces, then, approximate a sort of
tonal gravity,25 with melodic pitch wending its way about the ridges of a rolling
hill, as in Victor Zuckerkandls diagram (fig. 1.3).26 Zuckerkandl offers a useful
illustration of 6s double function as an upper neighbor to 5 as well as a passing
tone within motion from 5 to 8. The diagram, however, with its hump on 5, suggests an effortless motion (visually, a descent) from 5 to 8, and thus accepts as
unproblematic the interval from 6 to 7. I prefer to recognize the unique nature
of the terrain in this upper fourth by placing the hump between 6 and 7, as in
figure 1.4.
Figure 1.4 takes account of 7s attraction toward 8 as well as 6s attraction
toward 5, while accounting also for motion between 6 and 7. Motion from 5 to
8, then, requires a certain investment of energy in overcoming 6s downward
pull, but this investment is quickly paid off by the cadential impulse accrued by
7 toward 8. Conversely, motion down the scale from 8 must first escape the semitone attraction, after which the descent continues with comparatively less effort.
(The steepest inclines of the terrain, moreover, correspond to the half steps 34
and 78.) Finally, we might complete the topographical metaphor by recognizing
19
Figure 1.5. The tonal terrain, with octave equivalence.
the paradoxical nature of octave equivalence: the scales linear progression is

potentially circular (with 8 and 1 both tonics), and yet according to the precept
of obligatory register, not all tonics are created equal. The Escher-esque play
with perspective in figure 1.5 attempts to convey these competing ideas simultaneously: by some measures, 8 is higher than 1, while by other measures, the
two points are found to be at the same height after all, both enjoying the stable
state of tonic.27
This model of stepwise dynamics is, to be sure, just that: a model against which
to consider the reality of melody. Actual melodies trace circuitous routes
through the scale, enlivened with leaps and all manner of delayed resolutions.
Melodic behavior that diverges from the models prescriptions may represent
not a lack of cogency, so much as the exercise of artistic expression; the analyst
compares musical specimens to musical models precisely in the hope of gaining
insight into that artistic expression. Analysis, by addressing those context-specific details that contribute to a given pieces individuality, reveals the myriad
ways that cogent melodies adhere to the spirit of the law, as it were, if not the letter. The behavior of 6 in measure 2 of example 1.5, for instance, suggests three
compositional justifications for a non-stepwise resolution of this tendency-tone,
illustrated in the accompanying linear reduction:
1. the continuation of an established motivic pattern (68 echoes the earlier
unfoldings 35 and 13);
2. the ultimate recapture of 6 in the next beat, followed by its proper resolution to 5;
3. the presence, albeit at a deeper level of contrapuntal structure, of a polyphonic melody (68 as an arpeggiation within subdominant harmony).
(vi
IV)
Example 1.5. Bach, Well-Tempered Clavier I (1722), #21 (with reduction).
ii
V7
octave
triadic
diatonic
chromatic
21
8
3
2
1/2
2/3
5
4/5
6
5/6
7 8
6/7
Figure 1.6. Tonal pitch-spaces (after Lerdahl, Tonal Pitch Space, 161).
This last factor, while the least salient of the three, is perhaps the most relevant to the current discussion, as arpeggiation may be thought to represent
stepwise motion of a higher order, the ad hoc bestowal of honorary adjacencies among a harmonys otherwise disjunct tones. Moreover, such honorary
adjacencies may operate on a number of levels, chiefly those enumerated in
Lerdahls model of hierarchical pitch-space, figure 1.6.28 Tonal distances thus
become contingent upon context, for a given notes adjacencies may be an
octave away (as measured in octave space), a third or fourth away (in triadic
space), or a second away (in diatonic space). These levels express three basic
aspects of common-practice melodic orientation, namely octave equivalence,
arpeggiation, and stepwise motion. The model also formalizes the status of 6,
which, like its upper adjacency, 7, appears no higher than the diatonic level, but
whose lower adjacency, 5, appears one level higher. Both the orthodox
Schenkerian understanding of melodic motionas an idealized force within
the substrate of harmonyand the concept of hierarchical pitch space help
explain the relationship between stepwise and non-stepwise motion, and both
will return later in provocative ways when considering a particular brand of
unusual motion from 6. First, however, it will prove useful to document and discuss the classical behavior of 6, that is, its normative role as the upper adjacency to 5.
B. Practice: Classical 6
1. Typical Contexts
Example 1.6 reviews the conventional syntax of 6 in some typical harmonic contexts. Just as the dominant cadence exemplifies 7s normative role in the major
mode, the plagal cadence exemplifies that of 6 (ex. 1.6a). The chromatic sibling
of the embellishing plagal, the common-tone diminished-seventh chord (ex.
1.6b), also finds 6 falling to 5, while in another idiomatic harmonization, 6 dutifully
descends as the seventh of a leading-tone seventh chord (ex. 1.6c). In pre-dominant
5
3
men,
7 6
4
6
4
5
4
men, a men, a
men, a
men.
6
5
Example 1.6. Classical 6: typical contexts. (a) Mozart, Mass, K. 167 (1773), Gloria, end
(reduced score); (b) Mendelssohn, Symphony #1 (1824), ii, mm. 13; (c) Brahms,
Symphony #2 (1877), iii, mm. 14; (d) Mozart, Magic Flute (1791), Quintet, #5, mm.
200203; (e) Beethoven, Piano Sonata, op. 79 (1809), iii, mm. 58.
23
contexts, 6 may rise to the leading tone (Sechter notwithstanding), but a supertonic seventh chord does necessitate 65 motion (ex. 1.6d) to avoid doubling 7,
which will follow instead as the resolution of the chordal seventh. Finally, in
chords applied to V, 65 motion becomes 21 motion (ex. 1.6e), and indeed, the
pivot relation 62 offers a favorite means of modulation and tonicization.
The sixth degrees tendency to descend is commonly amplified through the
chromatic alteration 6. In fact, virtually all the favorite chromatic devices
within the major keythe Neapolitan, the diminished seventh, the minor
subdominants, and the family of augmented sixthsarise at least in part from
this chromaticization of 65 (ex. 1.7). The property of amplification explains
why a minor-tinged plagal cadence so frequently follows (and rarely precedes)
a standard plagal; the use of 6 as a rhetorical exclamation point after 6
can even assume motivic status in the course of a theme, as in example 1.8. By
contrast, 6 in major occurs infrequently, the much-discussed c in the first
theme of Beethovens Eroica Symphony providing the exception that proves
the rule.
II 6
V7
vii 7
ii 65
Ger
Example 1.7. Chromatic chords in the major key with 6.
Example 1.8. Chopin, Prelude in D major (1839), mm. 14.
V7
24
2. A Semantic Digression
Stemming from its position as a de facto scalar extremity, classical 6 often plays an
important role in cadential formations, particularly in music of the Classic era.
Encapsulating both the melodic function of descent and the harmonic function
of subdominant, 6 catalyzes the subdominant-dominant-tonic progression traditionally associated with tonal cadences, which helps to explain why Mozarts stock
cadential scales often feature a high note on 6 (ex. 1.9).29 While this cadential 6scale capitalizes on the 65 progression, certain other cadential gestures simply
highlight the contour reversal implied by 6s position at the outer reaches of the
major mode: in a particularly ubiquitous closural device, for instance (ex. 1.10),
6 is endowed with chromatic emphasis from below before descending within a
subdominant arpeggiation. Finally, example 1.11 illustrates a rather different
cadential clich, a potentially awkward, but in fact idiomatic leap from 6 down to
7; this enterprising device represents a compromise which at once facilitates a swift
return to obligatory register, accommodates 6s gravitational tendency, and enjoys
the stepwise connection between 6 and 7 (modulo the octave) while avoiding the
supposedly problematic ascending gap 67.30 These observations regarding 6s
cadential usage correspond to what has been termed introversive semiosis, a sort
of interface between syntax and semantics.31 In the coming chapters, we will turn
to external semiosis that is, to fully referential meaning, of the sort alluded to by
Deryck Cooke, who characterizes 6 as expressive of pleasurable longing and
565 as expressive of the innocence and purity of angels and children.32
Example 1.9. Mozart, Piano Sonata, K. 281 (1775), i, mm. 58.
Example 1.10. Mozart, Piano Sonata, K. 330 (1783), iii, mm. 1516.
25
Example 1.11. Haydn, String Quartet, op. 50 #6 (1788), Minuet, mm. 69.
cresc.
V65
Example 1.12. Beethoven, Symphony #6 (1808), i, mm. 6774.
3. Nineteenth-Century Extensions
Classical 6 appears to have grown in popularity in the nineteenth century,
for instance as a versatile appoggiatura, whether 65 over I or 98 over V7
(ex. 1.12). The figuration in example 1.13, however, a tonic arpeggio decorated
with 6, resembles something more like an undifferentiated tonal setthe added
sixth appears not as the highest note, but as part of a continuous descent. The
behavior of the note itself, resolving down to 5, adheres to the tradition, of
course, but its coloristic use displays an innovative and distinctly Romantic sensibility. Another indication of 6s expanded use is example 1.14, where
Schuberts elegant appoggiaturas open each phrase, in blithe disregard for the
conventions of musical beginnings. The sixth degree, indeed, became a veritable hallmark of the salon and ballroom styles: the waltzes of Chopin and Strauss
(exx. 1.15 and 1.16) are peppered with these characteristic appoggiaturas on 6
(again, over both I and V7), no doubt harking back to the spirit of folk dance
delicatissimo
Example 1.13. Chopin, Prelude in F major (1839), mm. 12.
Example 1.14. Schubert, Piano Sonata, D. 664 (1819), ii, mm. 15.
Example 1.15. Chopin, Waltz, op. 18 (1832), mm. 2227.
Example 1.16. Johann Strauss, Jr., Donauweibchen (1888), #2, mm. 510.
27
8va
I add6
Example 1.17. Faur, Barcarolle, op. 44 (1886), mm. 99101.
I add6
Example 1.18. Mahler, Das Lied von der Erde (1908), Der Abschied, end.
and the world of Schuberts Lndler (see chapter 2). The Strauss example
(ex. 1.16) demonstrates an increased freedom in usagemore harmonic than
melodicbut an eventual resolution to 5 does occur.
The flourishing of added sixth chords in the nineteenth century hardly
required deliberate cultivation: in reference to triadic harmony, the sixth is,
after all, the only chordal additive that forms a consonance with the root.
Although we cannot always distinguish between appoggiaturas and true added
sixths, the two concepts are useful ones; if the Chopin Prelude discussed earlier
(ex. 1.13) and the Strauss here represent stepping-stones from the one technique to the other, example 1.17 continues this trend, while the famous last
chord of Mahlers Der Abschied (ex. 1.18) represents its apotheosis: the added
sixth does not resolve, but remains forever, ewig. We will revisit the tonic added
sixth in chapter 4, in connection with harp music.
Nineteenth-century composers seeming infatuation with 6, and the evolution
from 65 appoggiaturas to the use of additive harmony, are but two remarkable
28
strands in the history of 6. An apparently unnoticed, but even more fascinating

strand6s non-classical behaviorwill concern the rest of this chapter.
C. Practice Against Theory: Non-Classical 6

1. Preliminary Examples
Ever since its premiere in 1830, Berliozs Symphonie fantastique has commanded
attention for its revolutionary approaches to orchestration, harmony, form, and
program. One small innovation may be added to this list, a detail that appears
at the end of the first movement (ex. 1.19): a plagal cadence with melodic 68.
Although one may discern a more classical 65 just below the contrapuntal surfaceand the final chord, I/5 encourages this (see the reduction in example
1.19)the foreground melody in these unassuming measures constitutes the
highly notable public debut of cadential 68.33 Indeed, table 1.1s sampling of
plagal cadences before Berlioz reveals an unwavering preference for stepwise or
oblique motion in the melody, whether 65, 43, or 11, the three melodic paradigms given by A. B. Marx.34 This preference reflects the modal norms established above and underscores the essentially ornamental nature of these
cadences as voice-leading prolongations of tonic harmony. Nineteenth-century
composers, on the other hand, embraced the leaping 68 cadence as a novel
and compelling gesture in its own right. Table 1.2 cites several instances, some
of which will be discussed below.35 (To obviate any potential confusion: what I
refer to in the remainder of this book as the cadential 68 [melody] should
religioso
Example 1.19 (P292). Berlioz, Symphonie fantastique (183032), i, end (with

reduction).
29
Table 1.1. Major-mode terminal plagal cadences to 1828.

Soprano
Arcadelt
Bach
Handel
Haydn
Monteverdi
Mozart
Palestrina
Purcell
Schubert
Ave Maria
B-minor Mass, Credo
Messiah, And the Glory
Messiah, Lift Up Your Heads
Messiah, Hallelujah
Anthem O Be Joyful in the Lord, HWV 246
#5 O Go Your Way
#8 As It Was in the Beginning
Anthem I Will Magnify Thee, HWV 250a
Anthem I Will Magnify Thee, HWV 250b
Anthem As Pants the Hart, HWV 251a
Anthem As Pants the Hart, HWV 251b
Anthem As Pants the Hart, HWV 251d
Anthem My Song Shall Be Always, HWV 252
Anthem Let God Arise, HWV 256a
Anthem Let God Arise, HWV 256b
Missa brevis in F, Benedictus
Missa brevis in G
Vespers, SV 206, i
Mass, K. 49, Agnus Dei
Mass, K. 167, Gloria
Missa Papae Marcelli
Te Deum and Jubilate in D, Z. 232
Mass #1 in F, Gloria
Mass #1 in F, Benedictus
German Mass, D. 872b
Antiphon for Palm Sunday, D. 696 #3
Antiphon for Palm Sunday, D. 696 #6
Salve regina, D. 386
11
43
43
65
11
43
65
43
43
43
43
43
43
11
43
43
11
65
65
65
65
65
65
43
11
65
65
11
65
43
11
not be mistaken for the cadential 68 [contrapuntal intervals] of medieval

music.)
As will be explained in chapter 3, the 68 cadence embodied a uniquely
Romantic spirituality for Berlioz and many others: the Protestant Amen conflated with the minor-third shapes of Catholic liturgical intonation. But the
30
Table 1.2. Plagal cadences with melodic 68 (terminal, except as indicated).

Berlioz
Hlne (P231)
Requiem, Introit (mm. 16465) (P306)
Rob Roy (4 after reh. 7) (P226)
Symphonie fantastique, i (P292)
Brahms
Alto Rhapsody (P293)

Schicksalslied (mm. 6869) (P302)
Etude in D major, op. 25 #8
Nocturne in C minor, op. 27 #1 (P305)
Requiem, Pie Jesu (P300)
Comala, #1 (mm. 23) (P51)
Messe solennelle #4 in G minor, Agnus Dei (P316)
Messe brve in C, Gloria (mm. 4142) (P317)
Les Naades (P98)
Requiem, Pie Jesu (P318)
Bell-Ringing, op. 54 #6 (P152)
Sposalizio (P301)
Hungarian Coronation Mass, Sanctus (P303)
Marche funbre (P308)
Organ Mass, Credo (P309)
St. Cecilia (reh. N) (P311)
Herr, wie lange (P313)
Missa solemnis, Sanctus (P314)
Lieder eines fahrenden Gesellen (P195)
Lve-toi
Gianni Schicchi, O mio babbino caro (P296)
Messa di gloria, Et incarnatus est (P321)
un Berceau (P216)
Le Matin
Piano Concerto #5, i
Romeo and Juliet (P295)
Lohengrin, Prelude to Act 1 (P315)
Chopin
Faur
Gade
Gounod
Grieg
Liszt
Mahler
Massenet
Puccini
Reyer
Saint-Saens
Tchaikovsky
Wagner
cadence is found in a wide variety of pieces, not always explicitly programmatic,

and in general the 65 foreground connection is altogether absentboth
indications of the extent to which this development earned its place among the
fundamentals of musical procedure. A contrapuntal reduction of example 1.20,
for instance, would necessarily describe a connection between the melodic 6 and
the ensuing inner-voice 5,36 but this connection requires of the listener slightly
31
8va
Example 1.20. Chopin, Etude, op. 25 #8 (1837), end.
(!)
triadic
pentatonic
diatonic
7 8
chromatic
1 1/2 2
2/3 3
4 4/5 5 5/6 6 6/7 7 8
Figure 1.7. Pentatonic pitch space.
more imagination than does the Berlioz (or more still, than the Bach above,
ex. 1.5). In fact, the melodic 68 here acts as a salient cadential answer to the
preceding, inversionally related 53 (itself a quasi-cadential Lndler gesture
more on this in chapter 2). By its very naturethat of an endinga 68 cadence
typically lacks any subsequent opportunity to evince the implicit neighbor relation 65. That is, short of an extension-cum-explanation (as in the Berlioz), one
must imagine the descent to 5 (or settle for its fulfillment in an inner part),
rather than merely await ita not uncommon circumstance in contrapuntal
music, but one that helps to gauge the congruity of theory with practice and, by
implication, to gauge the expressive content of such moments.
2. A Theoretical Accommodation
The 68 cadence appears to violate the law of the shortest way, and more to
the point, it undermines the plagal cadences conventional role as a neighborchord formation. In short, taking 65 as our analytical foil, we observe a qualitatively new brand of deviation from that foil. Moreover, the precise nature of
this deviation illustrates the potential interaction of scale and mode, both of
which are, after all, abstractions of melody. Bearing in mind Powerss formulation quoted earlier (mode as particularized scale), figure 1.7 represents its
logical extension in light of non-classical 6: scale as generalized mode. That
32

b
Example 1.21. Chopin, Nocturne, op. 32 #2 (1837). (a) Beginning of theme

(m. 3); (b) Codetta of theme (m. 10).
is, this novel modal feature impels us to infer a new stratum of pitch-space alongside our existing family of chromatic, diatonic, triadic, and octave spaces: pentatonic space.37 By retaining the fundamental (scalar) principle of adjacency,
this model accommodates the possibility that composers actually construed 68
as a veritable step, and this possibility is borne out further in examples below.
Through our theoretical response to a subtle but pervasive change in practice,
we thus shift focus away from implicit, unheard adjacencies and celebrate
instead a new kind of adjacency.
The cadential 68 offers the clearest demonstration of pentatonic space, but
the subtonic 6 may be implicated in non-cadential contexts as well, including
the neighbor chord par excellence, the common-tone diminished-seventh. The
progression in example 1.21, for instance, frames the pieces theme, opening
with a tense chromatic neighbor 323, but later confirming the cadence with
the relaxed pentatonic neighbor 868. Example 1.22a gives a similar commontone progression, and although its 68, like that of the previous example,
appears to result from motion between two independent contrapuntal voices, a
comparison with its minor-mode prototype (ex. 1.22b) reveals another factor
that must have guided the composers decisions. Schuberts two versions differ
precisely in their treatment of the submediant; hence, while middle-ground
counterpoint could have yielded a melodic leap in either case, it seems that
melodic proximity (bd compared to bd) provided the critical justification
for the leap in the major version.38
Furthermore, as should be expected, pentatonic space also posits the other
type of adjacency, the passing tone. For instance, the chorale theme of Mahlers
First Symphony (ex. 1.23) accomplishes a pentatonic voice exchange: the prolongation of tonic harmony through stepwise contrary motion spanning the
pentatonic third between 5 and 8 (568/865).39 Such pentatonic passing
tones are unremarkable and in fact idiomatic structures in many musical traditions, as is indicated by Scott Joplins execution of his own Maple Leaf Rag, transcribed in example 1.24.40 Just as Joplin can be seen to have integrated
vernacular African retentions into his music, European composers traversal of
33
Will dich im Traum nicht
st
ren, wr schad um dei
ne
Ruh,
Fremd bin ich ein ge
zo
gen, fremd zieh
ich wie
der
aus,
Example 1.22. Schubert, Winterreise (1828), Gute Nacht. (a) (P191) mm.
7175; (b) mm. 711.
(P)
sempre
Example 1.23. (P283). Mahler, Symphony #1 (1888), iv, reh. 26.
pentatonic space relates in part to a growing interest in music outside of the

sphere of modern Europe, from the plainchant revival to exoticisms both
Northern (Ossianism) and Eastern (chinoiserie) to primitivism, each of which will
be explored in part 2. The various interactions of these influences with the
Romantic imperative of artistic originality and the inherent possibilities of
34
(as published, 1899)
(L.H. as played
by Joplin, 1916)
Example 1.24. Joplin, Maple Leaf Rag (1899), beginning.

Western diatonicism produced a subtle but momentous broadening of melodic
sensibility during the nineteenth century.41
D. Implications
Within pentatonic space, the progressions in examples 1.191.24 remain neighbor or passing progressions, with 6 replacing 7 as the tonics lower adjacency, a
surrogate leading tone for the plagal generation of the nineteenth century. We
have thus arrived at a curious twist in the story of 6, where according to conventional theory 67 resembles a leap, while according to practice 68 resembles
a step. Of special importance in the emergence of non-classical 6 are its various
implications in the realms of harmony, rhetoric, and structure.
1. Plagal Empowerment
First of all, 68 cadences embody a decidedly stronger version of the classical plagal cadence, a means of compensation42 for the otherwise static quality of these
progressions. The voice leading in the classical plagal, with its parallel motion of
65 and 43, and the absence of any motion to the tonic, produce a somewhat
pale harmonic effect by comparison.43 The relative strength, then, of this plagal
leading tone, particularly its introduction of both contrary motion and motion
to the tonic, proves useful in accomplishing modulations, as in Brahmss
Schicksalslied, example 1.25. Furthermore, 68 implies a unique harmonic progression: whereas 65, 43, and 21 may each suggest either plagal or dominant
cadential harmony, 68 determines plagal closure unambiguously, precisely analogous in this regard to the authentic closure of 78.44 In this way 68 satisfies the
principle of redundancy, one of Leonard Meyers conditions for stylistic stability.45 The implications of this property manifest themselves at the beginning of
Mahlers Fifth Symphony (ex. 1.26), when an unharmonized 68 negotiates a
dramatic tonal shift to A major.46 Not unrelated, the migration of 68 to the bass
dolce
B : I
vi
= E : iii
ii
Example 1.25 (P302). Brahms, Schicksalslied (1871), mm. 6469.
A: (IV)
c ? f ? A?
Example 1.26 (P304). Mahler, Symphony #5 (1902), i, mm. 914.
Leb wohl!
vi
Leb wohl!
vi
mein
lie
ber Schwan!
vi
Example 1.27 (P99). Wagner, Lohengrin (1848), I/3, mm. 4244.
36
men.
vi
Example 1.28 (excerpt of P325). Liszt, Requiem (1868), Dies irae, end.
cresc.
et
ho
mo
fa
ctus
est.
mo
fa
ctus
est.
ho
mo
fa
ctus
est.
ho
mo
fa
ctus
est.
ho
mo
fa
ctus
est.
cresc.
et
ho
cresc.
et
cresc.
et
cresc.
et
cresc.
Example 1.29 (P321). Puccini, Messa di Gloria (1880), Et incarnatus est, end.
represents another significant development, in the quasi-progression viI:

notwithstanding the two common tones, a vague sense of progression, and even
of cadence, is possible. Wagners Lohengrin (ex. 1.27) employs such a progression,
and here we find 6 at the intersection of the pastoral and the religious. The Dies
irae from Liszts Requiem (ex. 1.28) ends with a series of bass 68 progressions,
the closest thing to a structural cadence anywhere in the movement.
37
2. Harmonic Innovation
Perhaps most important among its harmonic implications, melodic 68 allows
for a crucial new cadential harmonization. Namely, the danger of parallel fifths
now averted, 2 can serve as the bass of the cadential harmony, yielding the
increasingly common iiI and ii7I cadences, as in the Brahms above (ex. 1.25),
or the Puccini in example 1.29. Composers endorsement of the iiI progression
consummates the gradual divergence that I have been describing between prototype and practice. That is, through its own inherent possibilities, 68 came to
renounce its very origins by rendering the underlying classical 65 defunct.
These supertonic cadences thus illustrate the unfilial tendencies often latent
within style-history.
3. The Picardy Sixth

Beyond its consequences for the history of harmony, the emergence and acceptance of 68 also gave rise to rhetorical possibilities, in the explicit opposition of
pentatonic with chromatic. Especially when juxtaposed with 6 mixture, the
upward-leaping 6 generates an extraordinary effect, what might be called the
Picardy sixth. The coda of Tchaikovskys Romeo and Juliet (ex. 1.30), for example, expresses an overwhelming sense of catharsis due to the cadential reversal of
the 65 motion: 6 is redeemed, or lifted up, first through its reinterpretation
8va
(8va)
Example 1.30 (P295). Tchaikovsky, Romeo and Juliet (1869), mm. 517524.
38
as 5, and continuing as 6 rises to 8. (Incidentally, both the Symphonie fantastique

and the Liszt Requiem discussed earlier also feature the Picardy sixth, a more
widespread phenomenon than might be suspected.)
4. Structural Resonances
Example 1.31 shows a simple antecedent-consequent period with a straightforward interruption structure based on a pentatonic lower neighbor, demonstrating non-classical 6s relevance to phrase structure.47 If 6 can act as a subtonic
cadential agent in its own righttaking the place of 7, the very cornerstone of
common-practice tonalitythen what deeper structural consequences might
follow? The Largo of Dvorks New World Symphony provides an illustrative
case study, as the cadences in this movement exhibit an unorthodox approach
to closure (ex. 1.32). The three cadences of the A section (ex. 1.32a, b, c) trace
a progressive shift away from authentic closure toward plagal closure, even as
each successive cadence assumes greater structural weight. The 68 cadence in
See the cha riot at hand here of Love, Where in
Each
that draws is a swan or a
my la
dove, and well
dy
the car
ri
deth.
Love gui
deth.
Example 1.31. Vaughan Williams, See the Chariot at Hand (1930), mm. 49.
(Music adapted from the opera Sir John in Love. 1934 Oxford University Press.
Used by permission. All rights reserved.)
ii 65
V7
V 11
ii 65
ii 65
ii 65
Ob.
vii 43
Vln.
ii 65
(IV) I
Example 1.32. Dvork, Symphony #9 (1893), ii. (a) Cadence of first period, mm.
910; (b) Cadence of first paragraph, mm. 1719; (c) (P210) Signature
cadence to end A section, mm. 3840; (d) Final cadences, mm. 112120.
40
example 1.32c, what proves to be the signature cadence of the movement,

receives a ii65I progression to close the A-section of an ABA form. Depending on
ones perspective, then, the cadence near the end of the piece (ex. 1.32d)a
leading-tone analogue of this signature cadencemay be heard either as a longoverdue, greatly anticipated return to classical norms of scalar behavior, or else
as a disruption of an idyllic pentatonic sound-world. According to the first interpretation, the 68 gap had represented a curious anomaly mercifully filled in by
the all-important leading tone, and the structurally required dominant discharge prevails, notwithstanding its unusual form as a viio43. I strongly favor the
second interpretation, which understands this inverted diminished-seventh
chord as a dissonant substitute chord that necessitates the gesture of continuation embodied in the elided oboe and violin lines. True closure then arrives only
with the unharmonized 68 cadence at the end of the excerpt; a structural plagal cadence thus emerges, a token of Dvorks Arcadian pentatonicism.48
E. Conclusion: Hearing the Subtonic 6

In the absence of the leading tone, will a competent listener, conditioned to
expect that leading tone, welcome a 68 cadence as merely the next best thing?
Will the specter of 65 haunt such a cadence, creating that quintessentially
Romantic sense of openness that reverberate[s] in the silence of subsequent
time?49 Or can intra-opus considerations actually lead one to revise ones tonal
understanding to such a degree as to accept 68 unconditionally? In short, to
what extent and under what circumstances can a listener negotiate between the
pentatonic and the diatonic strata of pitch space given in figure 1.7 above?
These rhetorical questions beg the delicate matter of musical ambiguity:
I believe that the incongruity between 68 as a pentatonic step and a diatonic
third confronts the listener as a musical-interpretive problem, for which I hesitate to offer a single solution.50 This very ambiguity plays itself out in accounts
of the fifteenth-century so-called under-third or Landini cadence (ex. 1.33).
Salzer and Schachter, writers strongly informed by traditional views of tonal
voice leading, interpret this characteristic formula as a decorated leading-tone
cadence (as indicated in ex. 1.34a), while Sachs instead discerns the remnants
of a venerable melodic style, a deeply inrooted principle of chained thirds,
thus minimizing the leading tone (an interpretation that would correspond to
my hypothetical reduction in ex. 1.34b).51 Such equivocation is no doubt more
appropriate to fifteenth-century polyphony (a repertoire, after all, commonly
recognized by historians of tonality as transitional) than to a nineteenth-century
symphony. To be sure, notwithstanding its increasing currency in the nineteenth
century, 68 challenges common-practice norms only from the margins.
Nevertheless, the legitimacy of the subtonic 6 certainly benefits from its analogy
to 7, and it benefits as well from the ambivalent status of the minor third as a
leapthirds, for instance, are the only leaps in Fuxian counterpoint that do not
dieu ma
mour et
ma
mai
strais
41
se,
Example 1.33. Binchois, Chanson, Adieu mamour (15th century).
ant.
becomes
becomes
ant.
becomes
becomes
Example 1.34. Two possible reductions of the cadence in example 1.33.
require melodic reversal. And while 68 forms the larger of the two types of pentatonic steps (i.e., three semitones versus the two spanning 65), and hence
violates the law of the shortest way even in pentatonic space, the size ratio
between the two steps is relatively moderate in the pentatonic system (3:2)
compared to the diatonic (2:1), implying a commensurate reduction in this
laws forcefulness.
On a more fundamental level, the acceptance enjoyed by 6 as a subtonic alternative to 7 in nineteenth-century Western art-music raises the provocative question of naturalness in music. Although in our present intellectual climate we
regard naturalness, universals, and absolutes as constructions, we do so too
hastilytoo absolute-lyfor there is often reason to judge some phenomena
less constructed than others. Scale degrees offer an interesting case. The semitone, after all, boasts less of a claim to acoustical pertinence than does the third.
Moreover, ethnomusicologists, in discerning a musical common denominator
of our species, cite music that uses only three or four pitches, usually combining
42

a
You
are
tat
tle
tale!
Air
ball!
Ex
tra!
Ex
tra!
Os,
fer
rail,
cuiv.
Read all
bout
Right
Left!
it!
Left!
Left!
Left
Example 1.35. Speech thirds. (a) From Campbell, Songs in Their Heads: Music
and Its Meaning in Childrens Lives, 18; (b) From Heaton, Air Ball: Spontaneous
Large-Group Precision Chanting, 81; (c) The authors transcription; (d) From
Massin, Les Cris de la ville, #277; (e) The authors transcription.
major seconds and minor thirds.52 Indeed, the apparent suitability with which
the bare minor third executes quasi-speech interjectionsits logogenic status
as the basic singsong interval,53 whether among children, sports fans, street vendors, or marching soldiers54 (see ex. 1.35)raises the possibility of a connection
between the 68 cadence and Leonard Meyers principle of musical acontextualism in the nineteenth century.55 That is, beyond the obvious ideological
attractiveness of primitive musical structures to the Romantic sensibility, it is
conceivable that these structures satisfy deeper psychological or anthropological
principles that themselves explain composers affinity to non-classical 6.
In any case, the story of 6 in the nineteenth century may ultimately amount to
little more than a footnote in a larger story, namely the story of plagal harmony.
But while 68 may be first and foremost a symptom of a shift in harmonic sensibility, an inevitable experiment by plagal-loving composers in search of new possibilities, the melodic dimension still offers a unique perspective on the history of
tonal music. For while the nineteenth-century tonal palette became crowded with
all fashion of chromatic colorrampant applied leading tones, modal scales,
symmetrical divisions, and enharmonic trapdoorsthe bald omission of a note
from the common major scale represented a quiet counterrevolution, waged only
43
intermittently, no doubt in part subconsciously, by many of the same composers

who ultimately brought common-practice tonality to its moment of greatest crisis.
***
The examples cited and discussed in the remainder of this book will display varying approaches to the treatment of 6, showing pentatonicism to be by turns
conservative and radical as a melodic style. Nevertheless, as I have tried to
demonstrate in this chapter, these poles may be thought of as loosely connected
by a continuum of musical practice. Such a conception resonates with my historical understanding of pentatonicism as both a strange and a strangely familiar musical resource.
In part 3 of this book, I will return to the more purely style-historical questions
raised in the current chapter. In the meantime, I will concentrate on historical
and ideological questions in part 2, in order to establish and explain the signifying functions of pentatonicism. I begin with a consideration of what has been
the pentatonics chief association in the Western mindas an exotic scale
before expanding our hermeneutic horizons to embrace the full scope of the
nineteenth-century repertoire.
Part 2
Signification
Chapter Two
The Pastoral-Exotic Pentatonic

A. The Imported Strain of Pentatonicism
The famous Turkish ceremony from Lullys Le Bourgeois Gentilhomme (1670) is a
seminal instance of musical exoticism, boasting a modest assortment of conventional exotic signifiers: a solemn march, a minor-mode aria accompanied in parallel octaves, a handful of harmonic and melodic indelicacies, and perhaps most
notably, the unrefined monotony of the choral interjection shown in example 2.1.
This excerpt further contains a time-honored clich of otherness, but one for
which Lully was not himself responsible: the orchestras pentatonic countermelody
(reduced here for piano), is in fact the work of J. B. Weckerlin, who prepared the
1883 vocal score. This countermelody has little to do with Turkish music, and
more to the point, it has little to do with the seventeenth-century lexicon of exotic
signifiers: not only does it contradict the widespread notion of exotic music as
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
Example 2.1 (P1). Lully, Le Bourgeois Gentilhomme (arr. Weckerlin, 1883), Turkish
scene.
48
the pastoral-exotic pentatonic
unaccompanied, but its unusual scalar material would have been scarcely known to
Lully and his contemporaries. Weckerlins creative but obtuse alteration belongs
squarely in the late nineteenth century, when pentatonicism had fully taken hold
in the imaginations of European composers. What happened in the two hundred
years between Lully and Weckerlin will constitute the subject of this first section.
1. Musical Exoticism in the Eighteenth and Nineteenth Centuries

The postmodern critique of Western culture has focused on patterns of belief
characterized by the principle of alteritystructures that construct or amplify
differences among groups and hence maintain systems of dominance and marginalization.1 These structures may operate both within a society and between
societies, and they often contain a cultural dimension, acquired modes of thinking and behaving that serve to define, endorse, and perpetuate political disparity. While in principle literary, visual, or musical depictions of foreign peoples
and places need not carry political implications, cultural scholars have tended
to assume that depicting difference necessarily fetishizes that difference and
entails either a valuing or a denigrating of what is different.2 According to this
interpretation, such depictions participate in ideology and therefore constitute
an ism, namely exoticism.
In contrast to its cousins in the other arts, musical exoticism saw only a limited
practice before 1800. The exoticism normally associated with music differs fundamentally from that of the plainly depictive arts such as literature or painting
or rather, the latter arts allow for at least two distinct modes of exoticism,
corresponding to subject on the one hand and execution on the other. Hence,
Orientalist painting of the nineteenth century portrays its sultans, harems, and
minarets using the classically Western techniques of realism.3 This distinction
between form and content, though admittedly oversimplified, is less relevant
still for music, whose meaning flows directly from its materials. At a given time,
then, musics capacity for novel signifieds relates to the flexibility of its materials. As Jonathan Bellman points out: Eighteenth-century musical convention
required outside influences such as dances, or evocations of specific national
styles, to be better assimilated into the prevailing style. In the nineteenth century, the idea of a prevailing style was becoming outmoded.4
Miriam Whaples has offered two further factors to explain the apparent historical lag in musical exoticism: the near-unanimous contempt displayed by
exegetes toward the unfamiliar musics they discussed, and the often sympathetic
stance of librettists toward exotic heroes and heroines, which precluded composers musical distancing in opera.5 Hence, while the early eighteenth century saw the birth of the French oriental tale, its would-be musical analogues
relied chiefly on nonmusical means for the exotic content. One detects not a
hint of exoticism from the Chinese Man of Purcells The Fairy Queen, for instance,
and one assumes that none was intended, the episodes exotic atmosphere being
49
achieved instead by staging, including a fantastical garden scene with a parade

of monkeys. This example is not atypical, furthermore, in the ultimate insignificance of the exotic episode to the plot.
Nevertheless, musical exoticism, like program music in general, does trace its
history from well before its famous nineteenth-century exemplars, albeit in limited and varying degrees. The first foreign musical culture to have left a tangible
impact on western Europe was that of the Turks, the one-time besiegers of Vienna
about whom suspicions lingered well after the establishment of peaceful relations
in the middle of the eighteenth century. The Turkish military bands that would
have been heard initially as sinister and later as fashionable came to be associated
with Turks more generally and, by extension, with the Muslim world at large.
Turkish music, sufficiently strange while at the same time sufficiently familiar,
achieved a curious vogue, and a vocabulary of musical devices (only sometimes
derived from the ever-patronizing accounts of travelers and historians) ultimately
crystallized into one of the most characteristic topoi of the Classic Era. Thus
emerged the first recognizable exoticism in music, the Turkish style.6
In the late eighteenth century, the Turkish style coexisted alongside a closely
related incarnation, the style hongrois. As the Turkish style waned along with virtually the entire arsenal of Classical topoi in the early nineteenth century, the style hongrois flourished, proving versatile and germane throughout the century. Bellman
describes the style as more sophisticated and mature than its predecessor, no
longer a topic, but rather a full-fledged musical language: the first wholesale
and conscious embrace of a popular music associated with a lower societal caste
by the composers and listeners of more formal, schooled music.7 In the hands of
Weber, Schubert, Liszt, and Brahms, this languagethe musical styles of
Hungarians and/or Gypsies, together with the popular associations surrounding
these exotics within8served as poignant musical commentaries and ultimately
as badges of pride for the Romantic artist, who felt a strong kinship with a misunderstood, oppressed, and (supposedly) musically gifted nomadic people.
The nineteenth century witnessed experiments with all manner of exotic
effects, most notably in connection with the Orientalism (i.e., exoticization of
the Middle East) that took hold following Napoleons Egyptian campaign, but
also including exoticist treatments of Spain and the Far East. In contrast to many
of musical exoticisms common devicesirregular, jerking modulations, the
thrill of illicit pitches, sliding or sinuous chromaticism, in short, the wrongnote principle9pentatonic exoticism contains no wrong notes and therefore holds a special place among markers of cultural difference. Let us now turn
to an exploration of its history and meanings.
2. West Meets East: Scholarly Pentatonicism from

Du Halde to Riemann
Europeans first awareness of pentatonicism apparently originated with the missionaries increasingly detailed accounts of China in the eighteenth century.
50
Matteo Ricci, the pioneering missionary of the late sixteenth century, reported
very little concerning Chinese music, and what he did report was uninstructive
and unfavorable. Riccis contempt for monophony, for percussion, and for what
he identifies only as a lack of concord, a discord of discords,10 strongly resembles contemporary accounts of Turkish music.
The whole art of Chinese music seems to consist in producing a monotonous rhythmic
beat as they know nothing of the variations and harmony that can be produced by combining different musical notes. However, they themselves are highly flattered by their
own music which to the ear of a stranger represents nothing but a discordant jangle.11
Over one hundred years later, Jean-Baptiste Du Haldes four-volume

Description . . . de lempire de la Chine et de la Tartarie chinoise (1735) improved on
Ricci with three pages on the subject of Chinese music, albeit a music still
deplored as so imperfect that it hardly deserves the name.12 Despite this authorial condescension, Du Halde represents a significant milestone with his inclusion of five transcribed Airs chinois, three of which are strictly pentatonic in
the major mode (with the remaining two strongly minor-pentatonic). Du Halde
does not comment on these examples, however, and the only description he
gives regarding musical detail concerns certain Chinese monks who never raise
and lower their voice a semitone, but only a third, a fifth, or an octave.13 This
formulation falls just short of coherence, for while he explicitly excludes the
semitone, he also implicitly excludes the whole tone, thus apparently describing
a triadic (or at least tertial) music. If it was pentatonicism that Du Halde
attempted to convey, this was a near miss.
Inadequate as Du Halde may have been as an analyst (to say nothing of an ethnomusicologist), his short essay became required reading for later writers, for whom
the transcriptions no doubt provided an incalculable entre. The first of Du
Haldes airs would become famous through its adoption by Rousseau in his dictionary article Music, offered so as to put the reader in a position to judge the
different musical accents of peoples. . . .14 Rousseau himself added nothing by way
of comment on the tune and in fact introduced some confusion with the erroneous
and inopportune inclusion of an f within what had been a strictly G-pentatonic
melody. Rameau, whose interest in Chinese music was entirely theoretical, made
passing reference to Du Halde in his last major work, the 1760 Code de musique pratique, which contained an appendix, Nouvelles Rflexions sur le principe sonore.
Here the theorist explicated both Pythagorean and Chinese music theory and
their common foundation in the progression triple, which is to say, scale generation
by perfect-fifth chains. (The triple proportion 3:1 corresponds to the interval of a
perfect twelfth, while the ratio 3:2 gives the perfect fifth.) Rameau appears to have
been the first to claim that the Chinese want there to be only five tones in their
Lu,15 but pentatonicism per se interested him less than did the question of tuning,
for the triple progression yields intervals at odds with those of Rameaus cherished corps sonore (essentially, the overtone series). The systems of the ancients thus
51
prove the universality of the triple progression while also demonstrating the additional need for the quintuple progression, which yields the pure thirds of just intonation, in accordance with the corps sonore.16
In the course of these observations, Rameau did pause to describe the
Chinese system. Apparently working from an inadequately translated Chinese
treatisethis the product of the young missionary Joseph Marie Amiots premature efforts17Rameau produced two competing schemes, a whole-tone scale
and a pentatonic scale:
One of [the Chinese sources] gives it in this arrangement
sol
3
la
27
si
243
ut dise
2187
re dise
19683
mi dise
177147
one of the most ludicrous arrangements imaginable. But another author gives it as follows, in which only two missing notes are needed to agree with our scale, except for the
thirds, which are found to be out of tune compared to two major seconds.
sol dise
6561
la dise
59049
ut dise
2187
re dise
13683[sic]
mi dise
17714718
Fortunately Rameaus abstract speculations were complemented by a rare

organological specimen whose tuning matched the second of these scales,
an Orgue de Barbarie, brought from the Cape of Good Hope by M. Dupleix, who was kind
enough to give it to me, and upon which can be executed all the Chinese airs copied
in music in the 3rd volume of R. P. du Halde . . . which sufficiently proves that this last
Lu has reigned for a long time in China.19
Although these claims are in fact mutually contradictorycertain non-pentatonic

passages in Du Haldes airs would be unplayable on the instrument described
Rameau provides the first explicit account of pentatonicism, one that touches
upon both theory and practice.
Abb Roussier took up Rameaus investigation of ancient music, placing the
pentatonic scale within a succession of scales, from the primordial three-note
Lyre of Mercury to the diatonic Lyre of Pythagoras.20 Roussier differed with
Rameau, however, on a most fundamental level: whereas Rameau interpreted
the Chinese triple-progression as referring to frequency, Roussier insisted that it
refers to string length, thus prescribing a descending scale in the minor pentatonic mode, miresilasol(mi).21 That so profound a disagreement could
exist between these two thinkers gives some indication of the dearth of practical
knowledge on the subject at the same time that it underscores the modal ambiguity inherent in the few pentatonic examples in circulation at the time.
The disagreement ran deeper still, as the question of ancient scales impinged
on a lightning-rod issue of the Enlightenment: the extent to which different
52
cultures share an ancient cultural past.22 Rameau had supposed that the Chinese
and the Pythagoreans developed their systems independently of one another,
but Roussier, with his unflappable skepticism toward Chinese music, proposed
instead the following sweeping historical inference: The defect of this [wholetone] system and the imperfection of their [pentatonic] scale, whose gaps always
seem to call for other tones, make it quite easy to see that these two remarkable
systems are each but as debris of a complete system, which I attribute to the
Egyptians.23 This complete system is none other than the twelve-tone scale,
which supposedly spawned both Chinese pentatonicism and its tonal complement, Western diatonicism.
In fact, as Joseph Marie Amiot revealed in his 1780 Mmoires concernant lhistoire . . . des Chinois, the twelve-tone scale had always been a chief preoccupation
of Chinese theorists.24 Intending to redress misconceptions arising from his earlier work, Amiot offered a considerably more careful and nuanced treatment
than any previous expositions, the fruits of his two subsequent decades living
among the Chinese and studying their music. Amiot described the Chinese system in detail as an essentially heptatonic scale within a twelve-tone universe,
from which two notesthe auxilliary pien toneshad been banished by the
coarse scholars.25 Continuing the ethnomusicological debate, Amiot concluded in direct opposition to Roussier that it was the Chinese system that traveled to the ancient West, not vice versa. In any case, for a musician who devoted
his life to China, Amiot displayed no more sympathy for the music of his
adopted home than did his less informed predecessors.
I can say that [Chinese airs] greatly bored me, I hope that they will not have the same
effect on those who take the trouble to decipher them. Here are several others that I
give notated only in our [i.e., the Chinese] manner.
From all Ive said until now, I conclude, and the reader will no doubt agree with me,
that the Chinese are enormously little advanced in an art that today has been taken to
its highest point of perfection in our France in particular.26
As for practical information concerning Chinese music, Amiot transcribed only

a single example into Western notation, a pentatonic Hymne en lhonneur des
anctres.27 Nevertheless, Amiot represents the beginnings of an earnest treatment of Chinese music theory.
Charles Burney, also seeking to correct and clarify previous writers, declared
Rameaus major-mode interpretation of the five-note scale to accord with the
Chinese music he had studied, including the most famous of Du Haldes airs.28
Burney introduced further elements to the anthropological questions surrounding pentatonicism. For one thing, he appears to have been the first to
equate the Chinese scale with what he called the Scots scale.29 Furthermore,
according to Burneys reading of Plutarchs reading of Aristoxenus, the original
Greek Enharmonic genus probably corresponded to a gapped diatonic scale,
which in certain modes could have displayed this same anhemitonic five-note
53
construction. Apparently wary of anthropological speculation, Burney exercised

caution in drawing conclusions, but he is the first writer for whom pentatonicism bridges, rather than divides, East and West. He considers the pentatonic
scale both natural and ancient,30 as well as immune from the intonational
difficulties presented by 4 and 7.31 It must be said, then, that Burney stands as
the first commentator to demonstrate any sympathy to either Chinese music or
to the pentatonic scale, a fact that can perhaps be explained by the associations
he perceives with the more legitimate musical cultures closer to home.
Nevertheless, his attitude is ultimately derogatory, dismissing ancient scales as
mutilated and likening their practitioners to the Lipogrammatists of antiquity, who wrote long poems without the admission of a particular letter.32
Whatever cultural interconnections Burney detected apparently escaped
Benjamin de Laborde, whose 1780 Essai sur la musique ancienne et moderne contained among its musical spoils twelve mostly pentatonic Chinese tunes as well
as a strictly pentatonic Irish tune (the latter begging for comment). Laborde
rehearsed the involved theoretical derivations of Roussier and Amiot, as well as
the by now conventional interpretation of Chinese practice as (what we would
today call) pentatonic. It is understandable that future interpreters of Chinese
music would emphasize the latter more than the former, when the simplicity of
pentatonicism is so easily described: in correcting Rousseaus errant f, Laborde
firmly claims that most Chinese music is composed of only five notes, and has
as elements only that which the Chinese call the five tones, and which are here sol
la si re mi, in which there is neither fa nor ut.33
Notwithstanding such unambiguous simplifications, the understanding of
Chinese scales seems to have been far from unanimous even in the nineteenth
century, judging from two prominent writers. Berlioz, reporting on a concert in
London, admitted both his ignorance and his curiosity regarding Chinese
scales: My interest in hearing [the famous Chinese singer, the Small-footed
Lady] centered in the manner of the Chinese tonality and division of the scale.
I meant to find out whether, as so many people have said and written, they differ from ours. After my experience I concluded that there is no truth in the
report.34 (Unexplored by Berlioz is the question of what, precisely, would constitute scalar difference. If the music he heard contained pentatonic scalesa
fair, if unknowable possibilityone cannot say to what extent the open-minded
composer would have deemed them exceptional.35) Meanwhile, in 1840 Ftis
issued an expanded edition of his La musique mise la porte de tout le monde, in
which a new chapter on exotic scales describes the Chinese and Indian scale
as F-Lydian.36 Later in his career, however, Ftis developed a deeper interest in
non-Western scales and described Asian music in greater detail, referring to its
lack of semitones as its most distinctive feature.37 Unlike his predecessors,
Ftiss disdain for this feature derived unabashedly from his own theoretical outlook, in particular his insistence upon what he felt were absolute laws of tonality. Thus the Chinese underestimated the necessity of this interval of the
semitone, without which no musical art is possible, no sentimental emotion
54
aroused by melody, no modulation, no means to avoid the incessant return of

the same forms, and thus, monotony.38
Ftiss doctrinal convictions were matched at the time by more empirical writers such as Carl Engel and Hermann von Helmholtz, who celebrated what they
understood to be the pentatonic scales curious ubiquity. The substantial discussion of the pentatonic scale in Engels 1864 The Music of the Most Ancient Nations
(apparently the originator of the term itself 39) is notable for being organized
around the scale per se, rather than around a particular musical tradition. Engel
calls the resemblance of Chinese and Scottish music quite inexplicable, while
acknowledging the common traces of the pentatonic scale in each tradition.
He further identifies the scale in Burmese and Javanese music, childrens songs,
and an Ethiopian harp.40 This apparent universality even caused Engel to
remark upon the lack of pentatonicism in printed music from Calcutta, attributing this to Western corrections.41 We thus observe a recognition of the validity
and value of other musical cultures (even if ultimately a totalizing one),
indeed, a concern with authenticity.42 Although both the universalist and primitivist tropes gained widespread favor in the twentieth century,43 commentators
at the end of the nineteenth century had learned to be less decisive in their theorizing, humbled by a sharp increase in data. Hence Alexander Ellis, as if in
response to Ftis and Helmholtz, concludes that the worlds scales are very
diverse, very artificial, and very capricious,44 while Hugo Riemann, alluding to
the problems confidently tackled by Rameau and Roussier, self-consciously
evades the question of scalar priority among the ancients.45
No doubt contributing to this trend was an increase in opportunities like the
one Berlioz described: performances of non-Western musics more or less
unmediated by scholasticism. These same performances inspired the most
famous upsurge of Western pentatonicism, that of the Impressionists. And while
the more canonical examples of nineteenth-century pentatonicism occurred
around the same time and later, the history of pentatonic usage among Western
composers in fact extends back to the final years of the eighteenth century. That
history forms the subject of the next section.
3. Armchair Anthropology:
Pentatonic Exoticism from Vogler to Debussy
To my knowledge the first Western composer to use the pentatonic scale in a
thoroughgoing fashion was not Carl Maria von Weber, as is sometimes supposed,
but rather that eccentric musical alchemist, Abb Georg-Joseph Vogler. His 1798
Pices de clavecin, a veritable compendium of character pieces in various national
styles, contains a thoroughly black-key piece entitled simply, and enigmatically,
Pente chordium (ex. 2.2). The title ostensibly refers to an ancient, exotic instrument, though one not listed in contemporary dictionaries. (Only Johann
Gottfried Walthers 1732 Musikalisches Lexicon comes close, defining
55
Example 2.2 (excerpt of P2). Vogler, Pente chordium (1798), beginning. (From
Georg Joseph Vogler: Pices de clavecin (1798); and Zwei und dreisig Prludien (1806),
Madison, WI: A-R Editions, Inc., 1986. Used with permission. All rights reserved.)
Pentachordum as an arrangement or series of five strings. . . . 46) Perhaps

Vogler encountered in his studies or on his travels a pentatonically tuned fivestringed instrument (presumably one of Greek origin), or else he merely imagined such a thing, inspired by writers like Roussier. In any case, as noteworthy as
Voglers experiment was for its time, the musical style is in fact tellingly conservative, even retrogressive: throughout the piece, the harmony alternates
between tonic and dominant, and 6 behaves classically, as a complete upper
neighbor to 5. Voglers undeniably deliberate and self-conscious restriction to
the keyboards five black keys, therefore, results not in a saliently pentatonic
piece, but rather in an essentially triadic one.
Conservative though he was as a pentatonicist, Voglers active engagement
with the pentatonic scale contrasted starkly with the timidity of his contemporaries. None of the writers discussed above imagined the pentatonic scale to hold
any value as compositional material, but rather only as a theoretical curiosity or
as evidence for anthropological speculation. The relatively slow adoption of pentatonic exoticism by composers suggests a similar skepticism on their part.
Simoni dall Croubelis, for instance, apparently intended to satisfy Asian taste
through the simple, even puerile cast of the theme in example 2.3. Like some
rudimentary etude, the glaringly predictable stepwise melody advances in a
Allegro con spirito

Ob.
Hn.
in D
Vn. I
Vn. II
Va.
Cb.
I
Ob.
I
Hn.
in D
Vn. I
Vn. II
Va.
Cb.
Example 2.3. Croubelis, Symphony in D, Dans le got asiatique (1780),

beginning.
57
Example 2.4 (P3). Domenico Corri, The Travellers (1806), I/3, beginning.
square and steady eighth-note rhythm. While the hexachordal theme thus neglects the recent discoveries of actual Asian music, its childish style nevertheless
alludes more generally to a people of simple manners during the infancy of civilization.47 For others, including Purcell (noted earlier) and Rameau, Asian
musical exoticism was apparently eschewed altogether.48
With the exception of Vogler, the first instances of pentatonic exoticism consisted
of borrowed, not composed, melodies, these garnered from the eighteenthcentury sources discussed earlier. Joseph Marie Amiots Hymne en lhonneur
des anctres served Domenico Corri in his 1806 opera The Travellers (ex. 2.4),
while two different tunes originating with Du Halde provided the requisite material for character pieces by Weber and Friedrich Kalkbrenner. And despite the
best efforts of eighteenth-century writers, these practitioners demonstrated only
the most limited understanding. Webers knowledge of Chinese music apparently
ended at Rousseaus Dictionnaire and its errant rendering of Du Haldes Air chinois (see above). No doubt oblivious to Rousseaus mistakeand to its subsequent correction by both Laborde and BurneyWeber harmonized the theme
as it stood, wayward f and all, as the theme to his Turandot (ex. 2.5).49 Webers
unwitting compliance with this corruption gives some indication of the helpless
ignorance that was apparently typical of the early nineteenth century. Still, the
inadvertent blue note aside, the theme displays a thoroughgoing pentatonicism, notable for having seized a Western composers quill, if not his affections.
Webers program note constitutes a forceful vote of no confidence in an overture that in fact achieved some degree of popularity in Germany:50
Pipes and drum introduce the strange, bizarre melody which is taken up by the whole
orchestra and presented in a number of different shapes, figurations and keys. The
impression on the listener is not exactly pleasing, for this would mean going against the
nature of the melody, but it must be acknowledged to be a respectably conceived character piece.51
58
Vn. I
Vn. II
Va.
Vc.
Cb.
Example 2.5 (excerpt of P4). Weber, Incidental music to Turandot (1809), mm.
1922.
Beyond ignorance and ill will, another tendency in evidence among early pentatonicists is the assimilationism practiced by Kalkbrenner, who raised the leading tones in one of Du Haldes minor-pentatonic tunes (P5). The scarcity of
Chinese subjects in either dramatic or program music in the first half of the
nineteenth century places these pieces as exceptions within an exoticism that
normally connoted the Arab world, not the Far East. Nonetheless, motives from
Webers Turandot theme would later return in Cherubinis Ali-Baba (P6), a testament to musical exoticisms inattention to geographical fidelity.52 Further
echoes of the theme may be heard in Andr Messagers Madame Chrysanthme
(P7); the theme of Saint-Sanss La Princesse jaune (P8) (also G pentatonic) is
perhaps a distant relative.
One of the earliest examples of a newly composed Chinese evocation owed no
less a debt to written treatises than did the musical borrowings just mentioned.
Rossinis LAmour Pekin, from his late collection Morceaux rservs, suggests
a fetishization of scales, a kind of special compositional challenge (akin to the
one found elsewhere in the collection, the single-note melody of Adieux la
vie). The curious form of LAmour, actually a suite of seven short pieces, is
explained in the composers dedication:
SCALES
Some Ascents and some Descents
Two Chinese Scales, followed
by an analogous melody
The whole thing dedicated to my friend
M. Jobart Millionaire
(Ever the Humbug)
Rossini, 1867 53
59
Andantino mosso
cresc.
cresc.
Example 2.6. Rossini, LAmour Pekin (185768), Gamme chinoise.
The ascents and descents in question systematically traverse a chromatic

octave, while the ensuing Chinese scale to which the vocal melody strictly
adheres comprises a whole-tone scale, recalling Rameaus description from a
century earlier (ex. 2.6).54
A stronger impetus to composerly pentatonicism than published accounts
were the increasingly available performances of music from distant lands
proof, as it were, of the scales musical feasibility. The Paris Expositions of 1867,
1878, and 1889 represented a momentous shrinking of the world, one enthusiastically welcomed by many contemporaries.55 Julien Tiersot proudly heralded
this unique situation in the very first line of his report on the 1889 Exposition:
Rome is no longer in Rome, Cairo no longer in Egypt, nor the Isle of Java in
the Oriental Indies. All of these have come to the Champ de Mars, the
Esplanade des Invalides, and the Trocadro.56 But if the exotic presence at the
Expositions was ultimately meant to flatter the hosts through an unavoidable if
implicit comparison to the high culture of modern France,57 it also produced
the opposite effect. Composer and professor L. A. Bourgault-Ducoudray foresaw
in the 1878 Exposition the promise of a rejuvenation of Western music, whose
two modes, the major and the minor, have been so thoroughly exploited: No
element of expression existing in a tune of any kind, however ancient, however
remote in origin, must be banished from our musical idiom.58
Polemicists like Debussy found in the musical diversity a seemingly limitless
source for their contentious barbs. Remember the music of Java which contained every nuance, even the ones we no longer have names for. There tonic
and dominant had become empty shadows of use only to stupid children.59
Further comparisons to the Javanese cast Palestrinian counterpoint as childs
60
play and European music in general as not much more than a barbarous kind
of noise more fit for a traveling circus.60 These remarks appear directed as
much toward Debussys contemporaries as toward what must have seemed the
closed-minded historians of previous generations, by invoking the primitivist
trope while turning it on its head. Debussys opinion of exotic music contrasts as
much with Webers as his pentatonic usage contrasts with Voglers. And
Debussys pentatonicism became so integral as to legitimize the precarious distinction offered earlier, exoticism as content versus exoticism as technique: like
his contemporary Vincent Van Gogh, Debussy incorporated exotic devices more
for their own aesthetic sake than as signifiers per se.61 (According to Mervyn
Cooke, Pagodes is the only Oriental piece in which Debussy employed pentatonicism.62) Debussys exoticism, of course, embraced any number of approximations of non-Western musical devices, from pentatonic and whole-tone scales
(both related to the more or less equal-tempered Javanese slendro) to toneclusters and shimmering, quasi-metallic timbres, each of which satisfied certain
aesthetic priorities of Impressionism. The extent of Debussys pentatonicism has
been noted by many writers; its place in nineteenth-century music history will be
considered in chapter 5.63
Later we will refine our understanding of the exotic pentatonic, of which further
examples are found as P9P39. Meanwhile, another vital strain of nineteenthcentury pentatonicism, seemingly distinct but in many ways related, is introduced in the next section.
B. The Domestic Strain of Pentatonicism (I):

Incipient/Intuitive Sources
1. Havent We Met?: Pentatonic dj vu
Earlier I presented Voglers Pente chordium (ex. 2.2), an unusually systematic use
of the pentatonic scale apparently arising from speculations on the music of
antiquity. Whatever Voglers motivations may have been, however, the black-key
nature of that piece reminds us of the simple fact that pentatonicism, foreign
though it was vis--vis European art-music, had been right under the noses of
keyboard musicians for centuries, all the while patiently awaiting their fingers.
Furthermore, we are reminded of pentatonicisms status as a veritable corollary
of Western tonality: the stark appearance of those five notes upon the most popular Western instrument is, after all, an ironic result of the privilege bestowed
upon the diatonic scale within a twelve-tone universe. While black-key pieces are
rare, a broader lesson should nevertheless be taken to heart: both as the negative space of the diatonic scale and as a basic elaboration of the tonic triad, the
pentatonic scale is for Europeans an unassuming musical native.
In fact, long before Voglers Pente chordium (to say nothing of Debussys
supposed epiphany at the 1889 Paris Exposition), Western composers had
61
possessed a generic, one might say an intuitive pentatonicism derived from the
tonal minimalism of pastoral and faux-pastoral music. Indeed, Western pentatonicism has generally favored pastoral subjects over exotic ones. The two characterize ostensibly separate historical strands, an imported strand measuring
the distance between Orient and Occident and a domestic strand measuring
the distance between countryside and city, the distance between antiquity and
modernity serving as a common metric for both. As revealed in this section, the
domestic sources of pentatonicism are subtle and manifold.
2. Music of Meager Means: Drones, Triads, and Hexachords

Example 2.7, from Handels opera Il pastor fido, presents a simple pentatonic invocation by Mirtillo, the faithful shepherd of Guarinis pastorale.64 Handels pentatonicism, striking in its own way and notable for its time (1712), nevertheless
hardly appears self-conscious or deliberate: rather, a modest triadic melody has
been outfitted with sparing diminutions, producing what might be called incidental or circumstantial pentatonicism. Still, the programmatic intent seems
clear, the compositional execution perfectly straightforward; over a century later,
a similarly decorated triad would characterize another pastoral lover during a
rare moment of merriment (ex. 2.8).65 The simplicity of triadic diminution, however, is complicated by a peculiar asymmetry: in a diatonic context, the span
between chordal fifth and root (i.e., the interval of a fourth) normally involves
Ca ro A mor,
la
scia in pa
ca ro A mor,
ce
lal
ma
mi
sol
per
mo
men
ti
a,
Example 2.7 (P40). Handel, Il pastor fido (1712), II/1, Caro Amor, mm. 2435.
62
Ich trum te von bun
ten
Blu
men,
so wie sie wohl bl hen im Mai,
Example 2.8 (P41). Schubert, Winterreise (1828), Frhlingstraum, mm. 58.
Allegretto pastorale
marcato
un poco marcato
Example 2.9 (P42). Liszt, Weihnachtsbaum (1876), #3, Die Hirten an der
Krippe, beginning.
Es
keh ret der Mai en, es bl het die Au, die
Lf te, sie we hen so
Example 2.10. Beethoven, An die ferne Geliebte (1816), #5, Es kehret der Maien,
vocal entrance.
two passing tones, whereas a single passing tone suffices for each of the triads
other spans (the major and minor thirds). The ostinato in example 2.9, then,
shows how a desire for straightforward symmetry within the inherently unsymmetrical triad yields a pentatonic passing tone between 8 and 5, a result that typifies a whole class of such melodies (ex. 2.10; see also P43P45).
63
These examples all illustrate the relationship between pentatonicism and the
major triad. An equally significant feature of the Handel aria (ex. 2.7 above) is
the tonic drone, perhaps the quintessential marker of rustic scenes. Drones signify through their allusion to the bagpipe and through their sonic representation
of folklife as carefree, simple, and slow. But one should also acknowledge the
non-pastoral contexts in which drones appear. The ponderous, dissonant, and
chromatic pedal point sections of a Bachian coda, for instance, make it clear that
pastoral pedal points owe their effect as much to the melodys pretensions (or
lack thereof) as to the drone itself. It is the conjunction of melodic consonance
with the drone that generates the occasion for incidental pentatonicism. In this
regard it should be recalled that, of the secondary (i.e., non-tonic-triad) scale
degrees, 6 alone forms a consonance with the tonic, making it an ideal melodic
accessory to pastoral dronesand, as it happens, one suitably accompanied in
the parallel thirds typical of the pastoral topic (ex. 2.11; see also P47, P48).
The hexatonicism of the preceding examples acquires a further degree of
simplicity when restricted to the stepwise confines of the hexachord itself (ex.
2.12; see also P50). As well as satisfying the principles mentioned thus far, hexachordal melodies represent the modesty of range that might be associated with
primitive instruments.66 Moreover, the hexachord would have contained an ideological dimension relevant to its depiction of nature scenes. As was mentioned
in chapter 1, the eighteenth century saw the completion of a long historical
Pastorale
Adagio
Example 2.11 (P46). Johann Christoph Pez, Concerto pastorale (1700), Adagio,
beginning.
Example 2.12 (P49). Handel, Messiah (1741), Pastoral Symphony, beginning.
64
process that transformed the interlocking, mutating hexachords of medieval

music theory into the complete heptatonic octave. The transformation, though
virtually irreversible by the eighteenth century, was by no means settled, as vestiges of the hexachord (the first elements of music, according to John
Hawkins67) endured quietly in both theory and practice; some conservatives
even continued to favor a hexachordal understanding of pitch-space.68 Thus the
hexachord, like folklife itself, was a revered but obsolescent facet of European
culture.
By adopting music of meager means to depict the simplicity of both rural life
and its primitive instruments, composers easily approximated (and in many
cases, actually produced) pentatonicism. The transparent, unpretentious tone
of these examples represents a calculated exaggeration of diatonicism, and it
was this tonal and melodic simplicity that formed the least conspicuous source
for nineteenth-century pentatonicism.
3. Natures Call
Horn calls
The preceding examples, in contrast to those related to the imported strand of
pentatonicism, depend not on mimicry but on exploiting certain natural principles inherent in the diatonic system. Example 2.13 illustrates another, more
truly natural, principle available to musicians the world over: the scale that
is the overtone series, to which natural wind instruments are more or less bound.
From the hunting ground to the pasture to the postal route, this series has
served as the essential substance of horn signals.
In practice, of course, only a subset of the harmonic series is relevant to the
hornist. The technical difficulty of producing the higher harmonics restricts natural horn calls to the disjunct intervals prescribed by the lower harmonics. The
most humble instruments (for instance, those fashioned from an actual animals
horn) might produce but a single note and perhaps its octave, bearing information by virtue of a distinctive rhythmic profile. More memorable are those
calls partaking further of the overtone series to produce a complete major triad
(ex. 2.14). While the triadic core of the horn style might seem unremarkable
within a common-practice tonal system in which, after all, the triad reigns, distinctive traits nonetheless emerge, including the open-ended calling dyad 13
Example 2.13. The overtone series.
10
11
12
13
14
15
16
65
Example 2.14. Haydn, Die Jahreszeiten (1801), Herbst, #29, Hrt! hrt das laute
Getn.
Example 2.15. Schubert, Symphony #9, D. 944 (1828), iv, beginning.
Example 2.16. Handel, Water Music Suite in F major (1717), Jig, end.
Andante
Hn.
Example 2.17 (P51). Gade, Comala (1846), #1, Chor der Krieger und
Barden, beginning.
used as a summons to attention (ex. 2.15), and its inversion, the characteristic
gesture that came to be thought of as the Lndler cadence, 31 (ex. 2.16). It
is not surprising to also find rather loose interpretations of these horn thirds,
such as the pentatonic corruption shown in example 2.17, its 68 magically
66

8va
3
rit.
Example 2.18 (P54). Liszt, Fantaisie romantique sur deux mlodies suisses (1836),
mm. 454455.
synthesizing the rising contour of the summons call with the closure of the
Lndler cadence. The notion that 68 represents a logicalif not acoustical
extension of the horn style is shown in two examples from Haydn, where
instruments other than the horn fill in what the natural horn might do, were it
better able (P52, P53).
Putting aside the tonally awkward seventh partial (approximately, 7), the next
new pitch-class to appear in the overtone series is the ninth partial, the inclusion
of which represents a qualitative leap forward in musical interest. This 2 introduces a more compelling dichotomy of tonic and dominant than was possible
with the triadic notes alone. The resulting tetratonic scale 1235 exists conceptually between the triadic and pentatonic spaces and contains that quintessential progression associated with the horn, the cadential duet in so-called
horn fifths (ex. 2.18). Further extending the horns range produces a harmonic which, though often used for 4, is in fact closer to 4, one reason, surely,
that it is sometimes leapt over to the twelfth partial (the upper 5) yielding a
higher range in the 1235 scale (P55, P56) and another prominent Lndler
cadence, 53 (P57).
As for the thirteenth partial (also mis-tuned), the amateur hornist would
encounter this rarely, but significantly, as Josef Pschl explains with respect to
hunting signals:
The highest note, written a2, which in hunting calls in fact appears only twice, has the
highest information content as well. It is technically more difficult to reach, for which
reason it is reserved for expressive calls. Zum Wecken [Pschls ex. 212, my ex. 2.19]
is one of the examples in which this a2 is reached straightaway by ascending motion.
The call lies this high so as to be heard distinctly and clearly by all.69
Such an effect is captured by the dramatic, quickly executed 65s in example

2.20 (see also P59P61). The register above this high a appears to have been the
domain of professionals (Mozart demanded notes as much as a seventh higher).
Wa chet auf,
Hun de laut
hab ich nicht
Ihr Ge
bel
len, vor
Zeit,
sel
len, schon grt uns
bei ist die
Hift horn mit
Nacht!
der
Mor gen son ne Pracht.
Lieb chen, zu
min nig li cher Lust
sil ber hel lem Klang ruft zum Ge
jaid!
Example 2.19. Traditional hunting call, Zum Wecken. From Josef Pschl,
Jagdmusik: Kontinuitt und Entwicklung in der europischen Geschichte, ex. 212.
Allegretto
I
Hn. II
I
Hn. II
Example 2.20 (P58). Giovanni Punto, Rondeau en chasse (1790s), beginning.
68

tetratonic nucleus
calling dyads
practical
pentatonicism
Example 2.21. The amateur hornists basic scale.
And although hornists from the mid-eighteenth century onward explored

techniques to circumvent the harmonic scale through the use of hand-stopping,
the horns enduring identity depended on those tonal idiosyncrasies derived
from the overtone series.
In short, the notes that are both natural and most practical on the horn comprise the gapped set illustrated in example 2.21: a five-note collection distinguished by a tetratonic nucleus 1235, with an occasional 65 decoration at
the uppermost extent. These features, along with conventions of key (especially
E and D) and rhythm (the triple meters suggestive of the instruments
equestrian roots) coalesced into a well-defined topic, virtually unique among
eighteenth-century topics for its continued vitality throughout the nineteenth.
But as the associations with nobility (the hunting class) receded in the nineteenth century, horn calls came to imply the mystery and freedom of the forest,
as the favorite musical topic of a restricted and decadent social group
turned into an artful interpretation of nature which belongs to all of
mankind.70 This explains the appearance of a stylized horn call in a Chopin
Nocturne (P62)71 or the transplanted horn figure that gradually reveals itself as
the basis for the thematic material of the first group of Schuberts Piano Trio in
B (ex. 2.22).
Although the distinction is not always obvious, a more exotic type of pastoral
call is that associated with cattle-herding, most famously the Alpine ranz des
vaches. In this case the English horn (less often, the French horn) generally
assumes the place of the rustic alphorn, to which the same acoustical principles
apply as above. In the ranz des vaches, though, the eleventh partial is more often
construed as f than as f, a peculiarity that yields a decidedly Lydian flavor in
many cases, while in other cases the note leaves behind a pentatonic wake
through its omission; the echo duet (another common device) of example 2.23
explores both possibilities in alternation. The upper octaves 65 generally
assumes more prominence in the alphorn than in the hunting horn, offering a
characteristic registral extension, as in a ranz transcribed by Max Baumann
(ex. 2.2472); this hexachordal peak appears also in P65 and, in a more abstract,
stylized form, in P66. Also typical is the horizontalizing of horn fifths to produce leaps between 2 and 5, as in the Appenzeller ranz borrowed by Grtry, Rossini,
Allegro moderato
c
3
3
3
Example 2.22. Schubert, Piano Trio in B major, D. 898 (1828), i. (a) First theme,
mm. 13. (b) Second theme, mm. 1213. (c) (P63) Transition to second group,
mm. 5153.
Andante
Trs modr
dim.
Example 2.23 (P64). Gounod, Mireille (1864), IV/14, Chanson, beginning.
Example 2.24. Ranz des vaches, transcribed by Baumann in Switzerland, II. Folk
Music, in The New Grove Dictionary of Music and Muicians, 2nd ed.
71
Andante
EHn.
dolce
Example 2.25 (excerpt of P70). Rossini, Guillaume Tell (1829), Overture, mm.
176180.
and Liszt, likely via Rousseaus Dictionnaire (P67P69).73 Rossinis more extended
ranz from Guillaume Tell, this one newly composed, epitomizes both features (ex.
2.25).74 (More examples of the ranz appear as P71P77.) Although violins rather
than double-reeds play the themes in P78 and P79, the proto-pentatonicism and
cyclic treatment of their motives suggests a connection with the other examples
of the ranz discussed here.
Vocal calls
In example 2.26, a rudimentary dyadic call 65 inspires a spirited hornlike
response by the choir, featuring the tetratonic nucleus and a Lndler cadence.
Such vocalizing of horn calls is a convenient option in dramatic music and has
been used since the Renaissance.75 Vocalized horn calls may embody simple
commands (P81), generic yelps (P82), or narrations that cleverly conflate the
story with its telling (P83). The vocal pentatonicism of Schuberts Rckblick
(P84) shows itself to be horn-related only in the final line, with its characteristic
galloping triplets. (See also P85P88.)
In addition to these evocations of the horn is a whole class of intoned calls
more native to the voice, what we may refer to as cries. Although the human
voice is exempt from the scalar limitations of natural horns, cries often display
features that are fortuitously congruent with the horns, notwithstanding their
apparently linguistic derivation. As discussed in chapter 1, the cries of street vendors, the intoned speech used to call someone by name at a distance, and the
sarcastic chorus heard too often at high-school basketball games (Air ball!), all
suggest that dyads of roughly a minor third seem to occupy a realm somewhere
between music and language. Such thirds figured conspicuously in the potpourris of street cries fashionable in the Renaissance, no doubt owing in part to
their congruence with the fifteenth-century chansons imitative textures and
emerging triadic tonality.76 A strictly ethological/linguistic explanation of such
thirds must account for their suitability as heightened speech. I suppose that
they represent a compromise between the constraints of amateur vocal production on the one handthe larger the interval, the more difficult to project a
consistent tone on both notesand the constraints of melodic scene analysis
72

dolce
S.
Son nez!
Son nez!
Son nez cors et
mus et
te.
mus et
te.
mus et
te.
dolce
T.
Son nez!
Son nez!
Son nez cors et

dolce
B.
Son nez!
Son nez!
Son nez cors et
dolce
S.
Les mon tagn ards, les mon tagn ards, les mon tagn ards, sont r
u nis.
dolce
T.
u nis.
dolce
B.
u nis.
Example 2.26 (P80). Boieldieu, La Dame blanche (1825), I/1, Choeur des
montagnards, beginning.
in noisy real-world situations on the other handthe smaller the interval, the
more difficult to extract it from other environmental sounds, such as the bustle
of the marketplace. Such is presumably the impulse behind the opening calls of
two traditional news carols (ex. 2.27).
73
a
Burden
Ti
dings
true
there
buth
Ti
dings true
there
buth
come
come
b
Burden
No
va,
no
va:
VE fit
ex
VA.
Example 2.27. Two news carols. (a) Tidings true; (b) Nova, nova.
Ei,
du
L te S te, Wit te, ei, du
Lt te, weerst du
min!
Example 2.28 (P93). Schoenberg, Ei, du Ltte (ca. 1898), beginning.
While street cries do not appear to have interested composers much since the
Renaissance,77 speech-melody has nevertheless endured in subtle ways. The animal beacons of P89 and P90 and the reveilles of P91 and P92 could all be said
to derive from voice and horn in equal parts, but the childlike flirtations of
example 2.28 (see also P94, P95) conjure first and foremost the world of premusical vocalization. Cries may serve a wide variety of purposes, from robust rallies (P96P98) to farewells (P99P101) to ecstatic expressions beyond words
(P102, P103). As will be explored in chapter 3, liturgical chant represents
another genre of purposefully heightened speech, likewise distinguished by a
pentatonic residue.
Lullabies
In a more intimate context, the heightening of speech may produce the calming
coos and entreaties that comprise the vocabulary of lullabies. Although lullabies
74
often favor chordal melodies (including arpeggiations of the dominant seventh), strategically placed motives, like those by now familiar to the reader,
imbue the tunes with a tender directness: calling thirds (ex. 2.29; see also
P105P107), gentle 65 appoggiaturas (P108P110), and the hornlike tetrachord (P111). A string of calling motives quickly approaches pentatonicism
(ex. 2.30; see also P113P117). Schuberts Des Baches Wiegenlied (P118)
provides a telling synthesis of two genres: entitled a lullaby, it contains what
must surely be meant as a yodel (that is, a call) with the sudden leap into the
falsetto register and the quintessential calling dyads 65, 31, and 53. Finally,
soothing pentatonic codas aptly represent the attainment of sleep
(P119P122), poignantly in the case of Mahlers Kindertotenlieder (P122); the
harmonic placidity of pentatonicism hence becomes a sort of tonal analogue to
whispering.
Zart bewegt
Gut en
bend, gut
Nacht,
Example 2.29 (P104). Brahms, Wiegenlied (1868), beginning.
poco rit.
Bon ne
nuit,
bon ne
nuit,
a tempo
bon ne nuit!
poco rit.
a tempo
Example 2.30 (P112). Massenet, Bonne nuit! (1872), mm. 1519.
75
Birdsong
One of the most codified markers of the pastoral is stylized birdsong, whose
dyads are often indistinguishable from the vocal and instrumental calls discussed thus far. The cuckoo, no doubt thanks to its harmonically unobtrusive
descending thirds, has held pride of place in the musical aviary, with a history
extending back to well before the transcription in Kirchers 1650 Musurgia universalis.78 In fact, cuckoos were invoked in performance as early as the thirteenth
century: the famous round Sumer is icumen in (ex. 2.31; third voice from the
top) even features the untamed 868 variety, which was rendered all but extinct
by the regularization of 6 in the Baroque era. The most typical latter-day cuckoo
calls are hence those navigating the notes of the tonic triad, as is the case with
the childrens instrument used by Leopold Mozart in his Toy Symphony: the
Kuckuck in G plays nothing but the dyad 53.79 The 65 dyad has been used to
mimic the nightingale and other unspecified birds (P123P126). A juxtaposition of various dyads produces a more tuneful elaboration of the basic style
(ex. 2.32; see also P128P130), or else it may convey a virtual ornithological
dialogue (P131, P132).
Vivaldi developed a veritable formula for bird cadenzas, with rapid fluctuations between 5 and either 1 (8) or 6 (P133P135.) Such a cadenza in example
2.33 includes an improbable quasi-pentatonic escape-note figure, 561. These
lively cadenzas evoke both the birds spontaneous spinning of melody as well as
the brisk fluttering motion of its wings, which, when sustained, constitute
Wel
sing
Cu
es
thu
cu,
Cu
cu,
Cu
Mu
rie
sing
Cu
cu.
Bul
loc
ster
teth,
buc
sing
Cu
cu,
sing
Cu
cu
Ne
cu,
swick thu
na
ver
nu.
Wel
es
thu
Cu.
sing
Cu
ke
ver
nu,
teth,
Mu
cu,
rie
sing
Cu.
Cu
cu.
sing
Cu
cu.
sing
Cu
cu.
Example 2.31. Anonymous, Sumer is icumen in (13th century), end.
76

Immer sehr leise
1.
Example 2.32 (P127). Schumann, Album fr die Jugend (1848), Gukkuk im

Versteck, beginning.
Example 2.33 (P135). Vivaldi, Violin Concerto in A major, Il cucu, RV 335

(1719), i, mm. 1823.
instances of Klangflche, the device of simulated motion within harmonic stasis

that Dahlhaus has identified as the essence of nineteenth-century musical
nature-imagery.80 (See also P136P138.) Klangflche likely inspired the artistic
license of Liszt, whose transcription of Berliozs Scne aux champs from
Symphonie fantastique augmented the original with an extended measured trill on
5 (ex. 2.34). Perhaps the most distinctive and famous birdsong of the nineteenth
century, from Wagners Siegfried (P139), epitomizes all the traits discussed here,
but in its languorous duration and suspension of time it breaks from the stylized
dyads of the eighteenth century, embodying a more Romantic conception of
birdsong as a form of infinity (see also P140, P141).81 (More bird calls are
given as P142P147.)
Bells
The tonal requirements involved in depictions of bells have less to do with the
details of the overtone series than with bells sustain and consequent need to
77
dolce calando
quasi niente
Example 2.34. Liszt, transcription of Berlioz, Scne aux champs (third movement) from Symphonie fantastique (1833), mm. 134137.
mutually harmonize. They are therefore often portrayed with familiar thirds
(ex. 2.35; see also P149), but also with 565 neighbors (P150, P151). (See also
P152.) Large church bells will peal at wider intervals still (P153, P154), or else
toll monotonously, providing a hospitable accompaniment to a pentatonic
melody (P155, P156). In Ravels La Valle des cloches, the rich overtones of
bells inspired the use of quartal harmonies that in turn generate a pentatonic
melody (P157).
78
Gl
cke
lein,
8va
Example 2.35 (P148). Loewe, Thomas der Reimer (1860), m. 33.
Example 2.36. Electric doorbell.
Other calls
The foregoing sections beg for synthesis. In short, I understand prominent
dyads of the major second and major and minor thirds as signs of a vocative
(calling) mode of communication, as well as of simplicity, innocence, and naturalness in general. A modern suburban descendent of these vocatives is given
in example 2.36.82 Understood generically as a call, its precise derivation
whether as a cuckoo, a horn call, or a chimesis unclear and unimportant.83 By
the same token, generic calls, absent of semantic cues of text, performance
instruction, or instrumentation, echo throughout European music in subtle
ways. Musically these calls are distinguished by their delicate balance between
openness and closure, and hence resonate with Romantic conceptions of musical time.
Such calls may establish or enhance a pastoral mood (ex. 2.37; see also
P159P161), reflect a childlike simplicity (P162, P163), or freeze time through
ostinato-like repetition, creating an evocative sonic tableau (P164, P165). They
may enact an actual call generated within a piece, as from a chorus of peasants
welcoming the spring (P166), or they may function more abstractly, indicating,
for instance, a distant swell of music on the wind (P167) or an unnamed sound
of nature (P168). Furthermore, calls may operate on an entirely different level of
musical meaning when understood as a rhetorical device: they may communicate
to without, placing the listener as the called, and pricking the ears to an intangible, intriguing message. This almost subliminal device suffuses the opening of
Chopins Ballade in A (ex. 2.38; see also P170).
Allegretto
Es
gr
net ein
Nuss
baum
vor
dem
Haus,
Example 2.37 (P158). Schumann, Der Nussbaum (1840), beginning.
Allegretto
mezza voce
Example 2.38 (P169). Chopin, Ballade in A major (1841), beginning.
80
4. Dance
One of the most common sites of intersection between art-music and its folk
inspirations is that of dance music. Dance forms are normally distinguished by
purely rhythmic characteristics,84 but tonal idiosyncrasies may figure as well.
One instance of this is the prominent use of 6 in the waltz and related forms, a
feature whose rustic derivation is suggested by certain of Schuberts Lndler
(P171, P172; see also P173P175). In addition, a strictly practical function for
the waltz 6 may be inferred from Marxs comments on Webers Freischtz waltz
(ex. 2.39): We see in the above piece auxiliary tones placed before the pure
chord tones in the melody in order to set the first step in relief; every other
melodic, harmonic, and rhythmic sharpening . . . serves the same purpose.85
Strategically placed neighbors and appoggiaturas, that is, impel physical motion
in dancers (P176P181), just as they depict the physical motion of birds. This,
along with the tendency in dance music toward symmetrical structures and a
pronounced tonic-dominant polarity, makes 6 the ideal melodic adjunct: 5, the
tone common to I and V, is often a melodic anchor (ex. 2.40), to which 6 serves
as the most natural accessory (ex. 2.41; see also P183).86 It is therefore difficult
to know whether it is the Viennese influence or the Scottish (see below)
that accounts for the prominence of 6 in several cossaises by Beethoven and
Chopin (P184P187). In any case, it was in the Austrian dance genres that the
conventionalization of 6 led to its gradual emancipation during the nineteenth
century, its melodic tendency rendered increasingly abstract (ex. 2.42; see also
P189, P190).
Example 2.39. Weber, Der Freischtz (1821), I/3, Bohemian Waltz, beginning.
81
Example 2.40. Beethoven, Lndlerische Tnze, WoO 15 #3 (1802), beginning.
Trio
dolce
Example 2.41 (P182). Beethoven, Deutsche, WoO 13 #5 (1797), mm. 1724.
5. Irony and Tragedy

The essence of pastoral pentatonicisms signification lies not chiefly in specifics
but rather in the semantic commonalities of those specifics. That is, beyond conveying an actual bagpipe, ranz des vaches, lullaby, or rustic dance, the pastoral
pentatonic conveys more generally the innocence, purity, and simplicity of the
outdoors and its (supposedly) childlike inhabitants. But the depiction of pastoral subjects also contains the possibility of a more nuanced, personal mode of
expression, that of a nostalgic longing for innocence. Moreover, the expansiveness and mystery of the natural world, which so enthralled the Romantics, may
82
T.
O
die
Frau
en,
die
Frau
en,
die
Frau
en,
die
Frau
en,
B.
II
Example 2.42 (P188). Brahms, Liebeslieder Waltzes, op. 52 #3 (1869), O die

Frauen, beginning.
Adagio
EHn.
marcato
Ob.
Example 2.43 (P72). Berlioz, Symphonie fantastique (183032), iii, beginning.
provoke feelings of loneliness as much as feelings of peace and merriment, just

as horn calls may act as symbols of memoryor, more exactly, of distance,
absence, and regret.87 Such loneliness is palpable in the case of Berliozs Scne
aux champs from Symphonie fantastique, a long-distance shepherd duet that
ultimately (and tragically) devolves to a solo (ex. 2.43; see also P76 cited earlier).
And after all, cries do include farewells (P99P101, cited earlier).88
The pentatonicism that surfaces periodically throughout Schuberts
Winterreise offers an even more complex invocation of pastoral primitivism,
from the jaded singers love-struck innocence (P84, cited earlier) to his bitter
sarcasm, describing, as if through clenched teeth, the peaceful dreams of his
83
beloved (ex. 2.44).89 (Other instances in Winterreise include P41 and P59, cited
earlier, and P192P194.) Both the music and the poetry invoke pastoral love
only to expose it as a sad illusion: the journeyman emerges as a pitiable bumpkin, his spells of optimism as pathetic delusions, and his innocence as tragic
naivet. Mahlers Lieder eines fahrenden Gesellen (ex. 2.45) and P196P198 partake
of this same brutal irony.
(See P199P216 for more pastoral-primitive examples.)
st
ne
Ruh,
Example 2.44 (P191). Schubert, Winterreise (1828), Gute Nacht, mm. 7175.
Al
les!
Lieb
und
Leid,
und
Welt,
und
morendo
Traum!
Example 2.45 (P195). Mahler, Lieder eines fahrenden Gesellen (188396), end.
84
C. The Domestic Strain of Pentatonicism (II): Overt Sources

1. South Meets North: Scottish Pentatonicism
Although some have cautioned against overestimating the pentatonicism of traditional Scottish music,90 this trait is surely its most famous. As noted earlier,
Burney was the first to observe (with some amazement) the pentatonic commonalities of Scottish, Chinese, and ancient Greek music.91 Understandably,
British writers demonstrated slightly more familiarity than did their Continental
counterparts with this beauty . . . that has so long pleased, though men scarce
know why.92 Burney, Hawkins, and Busby all name the lack of semitones as a distinctive feature, and the term Scotch-Scale comprised an entry in Busbys dictionary: A Scale differing from that of the other nations of Europe by its
omission of the fourth and seventh. . . .93 Robert Burns even recounted a sort
of pentatonic party trick:
Mr. James Miller . . . was in company with our friend [Stephen] Clarke; and talking of
Scotch music, Mr. Miller expressed an ardent ambition to be able to compose a Scots
air. Mr. Clarke, partly by way of joke, told him to keep to the black keys of the harpsichord, and preserve some kind of rhythm, and he would infallibly compose a Scots air.94
The theoretical reception of Scottish music on the Continent was somewhat less
settled. Perhaps because of its presumptive familiarity, Scottish music garnered
little of the theoretical inquiry brought to bear on more patently exotic traditions. Laborde, who spent over twenty pages on the history and theory of
Chinese music, neglected any specifics in his discussion of Scottish music.95
Although Burneys connections were disseminated in Germany by G. W. Fink,96
Ftis had a different understanding, offering two scales supposedly common to
Scotland and Ireland: a Dorian hexachord (abcdef) and a LydianMixolydian hybrid (cdefgabc).97 In short, Scottish music engendered
little more interpretive consistency than did Asian music.
Nevertheless, Scottish music (unlike Asian music) could legitimately boast of
an audible presence in the musical life of Europe. Scotlands nationalistic bardic
revival emerged as a flexing of cultural muscle against England around the time
of its losing its parliament in 1707.98 But it was England itself that first demonstrated an insatiable interest in all things Scottish, a craze that would eventually
migrate to the Continent on a tide of Romanticism. To Londoners in the seventeenth century, Scottish music was essentially a popular music, well loved and
ubiquitous at the theater, concert hall, and dance hall. At home, too, they would
have encountered Scottish music in John Playfords The English Dancing Master,
an enormously popular collection of traditional tunes for violin or recorder;
since its publication in 1651, fifteen subsequent editions contained an increasing proportion of Scottish tunes among the rustic fare. Around the turn of the
eighteenth century began a long string of published collections devoted exclusively
85
to Scottish tunes, favorite examples of which routinely made their way into ballad operas such as John Gays 1728 The Beggars Opera or Allan Ramsays 1729 The
Gentle Shepherd, which represented a reaction to the dominant Italian style of
urban classical music. . . .99 Continental composers working in London did
their part to satisfy this Scottish fever: from Francesco Geminiani, whose 1749
ornamentation manual, A Treatise of Good Taste in the Art of Musick, took its musical material entirely from Scottish folk song; to Domenico Corri, whose eclectic
1795 anthology, A Select Collection of the Most Admired Songs . . . , contained anonymous folksongs of the British Isles standing side by side with famous opera arias;
to J. C. Bach, whose opus 13 keyboard concertos featured variation movements
on such popular songs as The Yellow Haird Laddie (ex. 2.46).
Later in the century the popular demand for Scottish music led even to the
outsourcing of commissioned accompaniments from abroad, such as the collections published by George Thomson, who negotiated contributions from
Haydn, Beethoven, Pleyel, Hummel, and Kozeluch.100 Thomson provided the
tunes, for which his composers furnished accompaniments, often including
preludes and postludes. Although Thomson invited Beethoven to improve any
melody as he saw fit,101 it is impossible to judge whether or to what extent any of
these composers may have altered the given material, as Thomsons written prototypes do not survive. (Meanwhile, other printed sources are, predictably, as
6
4
6
4
5
3
Example 2.46. J. C. Bach, Keyboard Concerto, op. 13 #4 (1777), iii, end of

theme, mm. 2528.
86
variable as the oral tradition they sought to reify.) We can say, however, that any
newly composed music in the settings remains firmly within the realm of common-practice voice leading, and occasional tendencies toward assimilation are
in evidence as well. Haydns piano postlude to Does Haughty Gaul (ex. 2.47),
while alluding to the tunes vocal cadence in its rhythm and its use of thirds, converts the themes 68 into a more conventional 721; the violin part of Haydns
Willys Rare (ex. 2.48) accompanies the vocal 68 cadence with a passing tone,
678; and Beethovens setting of the Irish song The Pulse of an Irishman
(ex. 2.49) ends not with the 68 of the themes cadence, but with an additional
Ere we per
mit a
fo reign
foe
on
Bri
tish ground to
ral
Allegro
rall.
ten.
Example 2.47. Haydn, setting of Does Haughty Gaul (1803), end.
O!
gin
eer
he
mar
ryd
ny.
6
4
5
3
Example 2.48. Haydn, setting of Willys Rare (1792), end.
ly
87
cresc.
cresc.
8va
cresc.
Example 2.49. Beethoven, setting of The Pulse of an Irishman (1813), end.
diatonic turn on the tonic, to produce the requisite 7. Nevertheless, I have

found that these composers were generally more or less hospitable to Scottish
idiosyncrasies, including pentatonicism, even if the actual imitation of such idiosyncrasies would be left to others.
By the turn of the nineteenth century, Scottishness in the European imagination had begun to epitomize many of the values of the emerging Romantic
movementheroic endurance of oppression, wildness, and freedomassociations due in large part to the figure who enthralled artists for much of the
nineteenth century, the legendary Celtic bard Ossian. Ossian and his poetry had
been revived through the supposed collecting and translating work of the
learned Scottish patriot James MacPherson. It is a testament to both the literary
quality and the aesthetic timeliness of MacPhersons 1760 Fragments of Ancient
Poetry and subsequent works that they took immediate hold on the Continent
through German, French, and Italian translations (Herder and Goethe themselves each had a hand in translation). Even greater testament, perhaps, is the
degree to which the poems and their stories endured a prolonged controversy
surrounding their authorship: the true authorship, in MacPherson himself, was
all but established by 1805.102 The question of authenticity, so dear to the
Romantic sensibility, was ultimately more a matter of spirit than of fact, a situation that left some Romantics on the wrong side of truth. Herder, for one, pronounced that Poetry of this kind could not possibly be composed in this
century, judging from its clarity and directness.103
In the end, this historical hoax partly inspired Herders own influential historicism, according to which each age displays a new and remarkable aspect of
humanity, as well as his general conclusions on the songs [i.e., poetry] of
ancient peoples:
Know then, that the more barbarous a people is, that is, the more alive, the more free,
the closer to the senses, the more lyrically dynamic its songs will be, if songs it has. The
88
more remote a people is from an artificial, scientific manner of thinking, speaking, and
writing, the less its songs are made for paper and print, the less its verses are written for
the dead letter.104
Herders professed embrace of culture in all its historical diversity, however,

stopped short of the present, and his implicit partiality for the latter of the two
extremes described in this quote is made clear in his sarcastic ultimatum, Let
the remnants of the old, true folk poetry vanish entirely with the daily advance
of our so-called culture. . . .105
Ossianism also represented a decided shift in European self-understanding,
for now European luminaries looked not southward to Greece as an object of filial reverence and a source for inspiration, but northward. As Sulzer wrote,
Fingal was the better Achillesa comparison similar to those made between
Ossian and Homer.106 And not only the Germans, who proudly claimed common blood with the Celts,107 but the French as well partook of a surrogate
nationalism based upon reverence of the North.108 One of most successful
Ossianic operas, Jean-Franois Le Sueurs Ossian, ou Les bardes (1804), was dedicated to Napoleon, who was fascinated with Celtic mythology: it provided for
the French state an alternate pseudohistorical tradition that had nothing to do
with the legitimate historical tradition that Napoleon and the Revolution had
overthrown.109 This pseudohistory was disseminated as well through the
poetry of Robert Burns and the novels of Sir Walter Scott, which found great
favor among the Romantics on the Continent. One symptom of the increased
ideological significance of Scottish music is seen in composers treatment of
Scottish themes. The popular styles of domestic music and the lighter movements from instrumental cycles (noted above) gave way in the nineteenth century to large-scale instrumental and dramatic works like Berliozs concert
overtures Waverley and Rob Roy, or Boeldieus La Dame blanche.
It is worth bearing in mind John Daverios distinction between the dark gothicism of Ossianso-called Nordic characterand the more popular and
cheerful Scottish style.110 The dominance of Ossianism in European conceptions of Scotland and Scottishness explains the prevalence of melancholy minormode themes such as the opening of Mendelssohns Scottish Symphony
(ex. 2.50). But beyond the misty shadows of ancient lore lay a merry pastoralism
as well, and Mendelssohn, who once called national song notorious, out of tune
trash,111 composed a very plausible pentatonic jig for the sprightly scherzo of
this same symphony (ex. 2.51). Thus the Scottish strain of nineteenth-century
pentatonicism represented a vestige of pre-Ossianic Scottishness, a rude sweetness112 that contrasts with the Romantic overtones of its brooding cousin. We
find, therefore, depictions of innocent merriment and thanksgiving
(P218P222), of pastoral subjects (P223P229),113 of idyllic love (P230P237),
and of dance (P238P240).
English folksong, though less Romantically alluring than the Scottish variety,
is similarly pentatonic and was embraced by an emerging school of nineteenth-
89
Andante con moto
Example 2.50. Mendelssohn, Scottish Symphony (1842), i, beginning.
sempre
Example 2.51 (P217). Mendelssohn, Scottish Symphony (1842), iii, mm. 916.
century English composers, notably opera composer George Macfarren. In

Nicholas Temperleys view, Macfarrens stylistic progression from Italianate to
self-confidently English was typical of musical nationalism, particularly in a
country lacking a native art-music tradition (as was also the case in Russia).114
The (re)discovery of native folk music, and the national pride encompassed
therein, accounts for one further source of nineteenth-century pentatonicism. It
is the subject of the next, final section.
90
2. West Meets West (High Meets Low):

European Pentatonicism
While Ossianism quickly inspired the collectingand sometimes, the concoctingof folk poetry on the Continent, such as Johann Gottfried Herders
177879 Stimmen der Vlker and Clemens Brentano and Achim von Arnims
18058 Des Knaben Wunderhorn, the collecting of native folk-song lagged somewhat behind that of the British Isles.115 As late as 1825, A. F. Thibaut expressed
his admiration for the British in their efforts at preservation and called for their
emulation.116 Nevertheless, Western art-music has long felt the influence of
folk music, and the distinction is, after all, largely anachronistic, having been
articulated strongly only since the late eighteenth century. Folk influence has
been discerned in such canonic composers as Mozart, Haydn, Beethoven, and
Brahms.117 Purely pentatonic folksong is not especially typical in Continental
Europe,118 but pentatonic and quasi-pentatonic features do occur, making their
way into art-music in the subtle manner discussed earlier, as well as through the
wholesale borrowing of folk melodies, which was prevalent in the context of late
nineteenth-century French nationalism (ex. 2.52).
The folk music of eastern Europe displays somewhat more pentatonicism
than that of France and Germany, but still in varying degrees. The connection
Solo
EHn.
espr.
avec sourdines
Vn. I
poco
avec sourdines
Vn. II
poco
avec sourdines
Va.
poco
avec sourdines
Vc.
poco
Cb.
Example 2.52 (excerpt of P241). DIndy, Symphony on a French Mountain Air

(1886), beginning (reduced score).
91
8va
legato e semplice
Example 2.53 (excerpt of P242). Chopin, Krakowiak (1828), beginning.
1.
2.
Example 2.54. Polish folk melody, from Oskar Kolberg, Piesni ludu polskiego
(1857), #441.
between Czech folk music and the extensive pentatonicism of Dvork seems
clear enough, though there can be little doubt that his interest in pentatonic
inflections was at its strongest in America.119 Although the long-celebrated
influence of Polish music upon Chopin has been disputed,120 his Lydian fourths,
drone fifths, dance rhythms, and occasional pentatonicism can be said to delimit
the beginnings of exoticism cum nationalism. Best known in this regard are
Chopins mazurkas, but his early Krakowiak, op. 13 (ex. 2.53) equally celebrates
a Polish dance form that enjoyed widespread popularity in the nineteenth century. The composer performed the work several times to great acclaim, and
while his letters of 1828 and 1829 make frequent reference to the piece, his only
description of the music concerns not the Krakowiak proper, but its slow introduction: The introduction is original; more so than I myself even in a beige
suit.121 He refers, no doubt to the introductions impressive confluence of five
exotic markers: a pentatonic melody set above a drone accompaniment, in a
high register and in parallel octaves, and proceeding in a steady, almost
puerile eighth-note rhythm. We cannot know what might have served as
Chopins inspirationthe explicitly Polish content of the piece is reserved for
the ensuing duple-meter dancebut rhythmic similarities at least may be shown
between this introduction and folk waltzes transcribed by Chopins contemporary Oskar Kolberg (ex. 2.54). While pentatonicism is said to be unknown in
the Carpathian region of Poland (which includes Krakw), it is found in the
Kurpie region of Chopins birthplace.122 The pentatonicism in Chopins
92
mazurkas could potentially arise from folk influence, but, as has been discussed
earlier in this chapter (B2, Music of Meager Means) it may also be attributed
to a fundamental attitude of composerly simplicity.
Pentatonic inflections are not uncommon in nineteenth-century Russian
music and derive more clearly from folkloristic motivations.123 Ironically, it was
the imported Western ideology of nationalism, with its Herderian overtones,
that stimulated the emergence of a distinctively Russian school of composition,
for which traditional music provided an esteemed source of material (ex. 2.55;
see also P244P266).124 During the nineteenth century, the relationship
between Russian and Western music went from one of dependence (Russia
upon the West) to one of symbiosis. Berlioz admired Glinkas Russian songs, citing the charming turn of their melodies, which were completely different from
anything I had ever heard before.125 Liszt, who like Berlioz was accorded great
pomp in Russia (more so than were his Russian contemporaries) in turn demonstrated a knowledge of and reverence for the works of Glinka, Borodin,
Balakirev, Moussorgsky, and Rimsky-Korsakov.
As has been described by Jim Samson, it was these Russians chromatic practice that was their chief contribution to the West.126 The rise of pentatonicism
appears to have been more or less simultaneous in the two worlds. Nevertheless,
certain idiosyncratic uses of pentatonicism found in Russian composition may
have had some impact on the Impressionists. For instance, example 2.56 shows
the possibilities of pentatonic mutation (see also P263, P264); example 2.57
shows the juxtaposition of two favorite devices of the Impressionists, pentatonicism and the dominant ninth chord; example 2.58 shows how mutating pentatonicism can serve the Russian proclivity for, as Abraham puts it, musical
brooding or mulling over.127 Rimsky-Korsakov was the first composer I know
to have incorporated the pentatonic harp glissando (see chapter 4) into orchestral music.
D. Crosscurrents: The Pastoral-Exotic Pentatonic in Practice

Domestic and imported pentatonicism, though arising from distinct historical
sources, would have inevitably interacted in the minds of composers and listeners. This interaction is easily described and in fact resonates with existing theories of exoticism. Two moments from Saint-Sanss Samson et Dalilathe brief
pentatonic postlude to the Philistines chorus to the spring (ex. 2.59), contrasted with the chromatically ribald dance later in the same scene (ex. 2.60)
will demonstrate how the musical duality of pentatonicism versus chromaticism
correlates with the exoticist duality identified by Ralph P. Locke as sentimentalpastoral versus diabolical and threatening.128 The chorus is uncivilized in a
good way, which is to say that Europeans approve of, and in fact partake in,
paeans to the spring; but in the case of the seductive dance, the exoticism of the
Philistines is base and menacing, uncivilized in a bad way. Pentatonicism
Allegro moderato e maestoso

S.
To the
sun
bove, glo
ry,
glo
ry,
Glo
ry,
vic to
ry
To the
sun
bove, glo
ry,
glo
ry,
Glo
ry,
vic to
ry
To the
sun
bove, glo
ry,
glo
ry,
Glo
ry,
vic to
ry
To the
sun
bove, glo
ry,
glo
ry,
Glo
ry,
vic to
ry
A.
T.
B.
S.
to no ble
Prince I
gor, glo
ry,
glo
ry.
To Rus sia,
glo ry and fame!
to no ble
Prince I
gor, glo
ry,
glo
ry.
To Rus sia,
glo ry and fame!
to no ble
Prince I
gor, glo
ry,
glo
ry.
To Rus sia,
glo ry and fame!
to no ble
Prince I
gor, glo
ry,
glo
ry.
To Rus sia,
glo ry and fame!
A.
T.
B.
Example 2.55 (P243). Borodin, Prince Igor (186987), I/1, choral entrance, m.
29.
I Solo
Hn.
in F
Vn.
Va.
Vc.
Cb.
I
Hn.
in F
Vn.
Va.
div.
Vc.
Cb.
Example 2.56 (P262). Rimsky-Korsakov, Sinfonietta on Russian Themes (1884), reh. D.
95
Moderato assai
Choir
T.
Take
your
Gus
li and strum so
sweet
ly
Take
your
Gus
li and strum so
sweet
ly
B.
Example 2.57 (P265). Rimsky-Korsakov, Sadko (1896), Ballad of the People of

Vseslavitch, reh. 27.
Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenuto
Example 2.58 (P266). Mussorgsky, Pictures at an Exhibition (1874), Promenade,

beginning.
thus emerges as the innocent, pastoral half of the exotic duality. The same
dichotomy may be observed in Bizets Djamileh, with a hedonistic Alme dance
(ex. 2.61) representing the decadent, Oriental tendencies of Haroun on the
one hand, and a final duet representing his nobility and ultimate redemption
through the higher ideal of true love on the other (ex. 2.62). The precise meaning
of pentatonicism in these examples encompasses, as it were, a higher iteration
96
of exoticism: a distancing both from our world and from their world, a sort
of exotic common-groundloin du bruit, loin du monde, in the words of
Lalla-Roukh (P21, cited earlier). Pastoral exoticism may explain as well the
almost Scottish sound of certain cheerful moments in Brahmss otherwise exoticist Zigeunerlieder (P267, P268).
tou
jours!
tou
jours!
Example 2.59 (P24). Saint-Sans, Samson et Dalila (185977), I/6, Philistine

chorus to the spring, end.
Allegretto
sempre pianissimo
Example 2.60. Saint-Sans, Samson et Dalila (185977), I/6, Dance of the

Priestesses of Dagon, beginning.
Andante quasi andante
Example 2.61. Bizet, Djamileh (1871), #7, LAlme, beginning.
Moderato
espressivo
Ta
mien!
vre par
fu
e,
Example 2.62 (P23). Bizet, Djamileh (1871), #10, Duet, m. 255.
Ta
98
By the same token, the japonaiserie and chinoiserie in the decades surrounding
the turn of the twentieth century, with their childlike heroines named
Butterfly and Iris, often employed an aesthetic congruent with the pastoral.
We are not surprised, for instance, to find the pentatonic theme in Saint-Sanss
La Princesse jaune marked Allegro giocoso (P8, cited earlier); nor to find the most
sustained pentatonicism of Puccinis Turandot in the childrens hymn to the
moon (P39, cited earlier); nor to observe, in Ravels LEnfant et les sortilges, how
easily the childs pentatonicism blends into that of the Chinese teacup (P37 and
P38, cited earlier). In short, nineteenth-century exoticism offers more than the
dramatic seriousness that Dahlhaus has described as the dignity of tragedy.129
Conversely, pastoral pentatonicisms domestic origins should not obscure the
fact of its own potential exoticism, which is to say, its opposition to the mundane
realities of urban European life. Unlike the proto-pentatonic birds of Vivaldi or
Beethoven, with their predictable and stylized coos, the exotically pentatonic
birdsong of Wagners Siegfried (P139, cited earlier) conveys more than the picturesque: Du holdes Vglein, Siegfried declares upon hearing the magical creature, dich hrt ich noch nie. Such transcendence can also result when the
childish fantasy-world of lullaby is equated with the patently unreal experience of
dreaming: in fact, the ironic pentatonicism of Schuberts Winterreise mentioned
above coincides almost entirely with references to dreams. In each case, pentatonicism serves as a mechanism not for literal transport, but for something more
fundamental, the blissful suspension of reality. The conceptual extreme of this
principle constitutes the subject of the next chapter, the religious pentatonic, in
which the implicit archaism of the pastoral-exotic pentatonic comes to the fore.
In summary, the musical, historical, and semantic aspects of pentatonicism are
diverse, and one may identify a larger aesthetic category that encompasses
notions of musical simplicity, within which pentatonicism may be thought to
dwell along with other musical styles and features. In the end, the dual recognition of pentatonicisms specific connotationsboth its domesticated foreignness (the primitive innocence that acts as a foil to exotic threat) and also its
more general connotations of an exoticized European bourgeois experience
represents a more useful notion of both exoticism and of pentatonicism than is
normally acknowledged in nineteenth-century musical semantics.
Chapter Three
The Religious Pentatonic

The final movement of Faurs Requiem, the In paradisum, is an extraordinary piece, befitting its subject. It is both a prayer for redemption and at the
same time a mystical glimpse of that redemption, a gracious answer to the
prayers of the other six movements. Whereas the preceding Libera me ended
in utter bleaknesswith its stern D minor, its painful diminished-seventh
cadence, and its oppressive march-rhythmthe present movement leaves no
doubt as to where the soul now rests. (The movement is reproduced in its
entirety as P338.)
The movement opens with a curious bass-line ostinato, the pentatonic incipit
65865 presented in the organ against delicate string chords; and when the
sopranos enter, their sweet hymn turns out to be pentatonic as well (ex. 3.1).
The unison vocal texture recalls that of liturgical chant, while the gender and
register further suggest the chorus angelorum mentioned later in the text.
Throughout the exposition of the sopranos theme, even as the harmony
changes, the ostinato remains fixed, its trancelike repetition only amplifying the
otherworldly flavor of its pentatonic contour. Although more fully diatonic (and
even chromatic) passages follow, these represent departures from the tranquillity of a prevailing pentatonicism.
The subtlety of Faurs pentatonic sensibility can be seen at the first appearance of melodic chromaticism in measure 17: the d acts as a chromatic upper
neighbor to the tonic d while the bass counters with a pentatonic lower neighbor
(ex. 3.2). This disruption is then immediately dispelled with a reversion to pentatonic melody as the full choir enters to begin a prolonged cadential approach.
The ensuing dominant-seventh cadence in measure 29 leaves the sopranos hovering on 5, behavior that accords well with the prevailing aesthetic: 5 is both
unstable and yet eminently consonant, smugly exempt from melodic protocol.
The second half of the movement begins with a return of the pentatonic ostinato and an abridged version of the angelic theme. Once again a chromatic disruption (m. 36) is elegantly mitigated by a pentatonic inflection: this time a
pentatonic figure in the soprano (653) accompanies a half-step lower neighbor in the bass (78) (ex. 3.3). At the cadence in measure 49, the sopranos again
linger on 5, softening the impact of the close.
The music of the coda becomes even more relaxed, more ethereal, with the
repetition of the final line aeternam habeas requiem (may they have eternal
Andante moderato
dolce
S.
pa
In
ra
C.
T.
B.
sim.
dolce
4
S.
di
sum
7
S.
de
du
cant
An
ge
li:
Example 3.1 (excerpt of P338). Faur, Requiem (1877), In paradisum, mm.

115. ( 1977 by C. F. Peters Corporation. Used by permission.)
10
sempre
S.
in
tu
ad
ven
ty
res,
tu
su
13
S.
sci
pi ant
te
Mar
Example 3.1. (continued)
sempre dolce
17
S.
et
per du
cant
te
in
ci
vi
ta tem
20
S.
san
ctam
=
Example 3.2. Faur, Requiem, In paradisum, mm. 1720. (with reduction)
( 1977 by C. F. Peters Corporation. Used by permission.)
102
the religious pentatonic
36
S.
et
cum
La
za ro
quon
dam
39
S.
pau
pe
re,
=
Example 3.3. Faur, Requiem, In paradisum, mm. 3640. (with reduction)
( 1977 by C. F. Peters Corporation. Used by permission.)
rest) over a hypnotic alternation between the two triads of the pentatonic scale,
I and vi (ex. 3.4). The harmonies proceed gently, all the while supporting the
pentatonic ostinato. Notice also the behavior of 6, which in measures 5253
progresses simultaneously to each of 5, 8, and 3in the soprano, a pentatonic
chappe, 563. The prayer ends, ppp, with 3 in the soprano, underscoring the
central rhetorical point of the piece: that rest is not final, but is eternal.
In this analysis I have focused on Faurs peculiar interpretation of tonal pitch
space; it is this aspect, I believe, that gives the piece much of its serene, arresting
character. The movement offers an unusually sustained example of a semantic
category that I call the religious pentatonic. Just as pentatonicism may signify
the distant realms of the pastoral and the exotic, so too may it signify that furthermost realm: the spiritual. The religious pentatonic afforded nineteenthcentury composers the means for evoking a mystical ambiance, but one distinct
from the somber hues (and the wrong notes) of the medieval modes. Rather,
it wasimportantly and uniquelya major-mode depiction of spirituality, and
one that may be further distinguished from the innocent or noble simplicity
that dominated the middle style of church music for the entire nineteenth
century, as, for instance in example 3.5.1
51
S.
ae
ter
nam
C.
ae
ter
nam
ae
ter
nam
ae
ter
nam
T.
B.
54
S.
ha
be
as
ha
be
as
ha
be
as
ha
be
as
C.
T.
B.
Example 3.4. Faur, Requiem, In paradisum, mm. 51end. ( 1977 by

C. F. Peters Corporation. Used by permission.)
57
S.
re
qui
em.
re
qui
em.
re
qui
em.
re
qui
em.
C.
T.
B.
Bel lal
vel
lo,
la
no
stra pre
ba
ghie
fo
ra
rie
ra
co min
dun so
cia
le
per te.
no
Del
calando
pa
dre,
del
du
ce
fia il vi
spar
so
di
lu
ce
chi lie
ver
pi
ti
bel
ne
Example 3.5. Donizetti, La favorite (1840), opening chorus.
lo,
fe
fia
105
The simplest explanation of the religious pentatonic is suggested by the In

paradisum theme itself: though not an actual quotation from plainchant, this
modest melody is clearly evocative of the style. A careful assessment of the
nature of plainchant and its musical and conceptual resonances is therefore in
order, and this will require a substantial digression. In the following sections I
will discuss various historical and ideological factors through which to understand the phenomenon of the religious pentatonic, in order to explain its emergence and to analyze the mechanics of its distinctive signification. We will return
to further examples at the end of the chapter.
A. The Nineteenth-Century Restoration of Sacred Music

1. The Nineteenth-Century Religious Revival
The place of religion in nineteenth-century life demonstrates many of the paradoxes and contradictions typical of that century, reminding us that Romanticism
was at once an extension of, and also a reaction against, the Enlightenment.
Enlightenment thinkers stressed personal freedom and responsibility, supplanting the external authority of institutions with the light of inner reason. As Kant
proclaimed, Sapere aude! [Dare to know]that is the motto of enlightenment.2 This attitude, however, left religion in a precarious state, and insofar as
intellectuals dared to know Christian truths, doctrinal compromises often
resultedwhether Newtons rejection of the irrational Trinity, or Lessings
impeachment of biblical authority. Religion, both in thought and practice, consequently gravitated toward humanism.3 Meanwhile, knowledge, in the form of
scientific and industrial progress devoid of cosmic grounding, occasioned
humanitys alienation from the natural world: the sterility of science and the
mundane practicality of technology preempted any deeper advancement in the
realm of existential knowledge.
For the Romantics, on the other hand, the thirst for individualism and understanding, while inherited from the Enlightenment, found fulfillment in emotional subjectivity and the recognition of the supernatural within the natural.
Christian mysteries, so problematic for Men of Reason, hold no enigmas for
men who experience the radiance of God both in nature and in a womans
smile.4 This Romantic antirationalist sensibility went hand in hand with a general religious revival associated with such pietistic values as subjectivity, esotericism, rebirth, and femininity.5
Instilled with gothicism, moreover, Romantic Christianity assumed perhaps its
most classic expression in a Roman Catholic revival, one that boasted Friedrich
Schlegel among its many famous converts. Ever since Johann Gottfried Herder had
critiqued the received notion of a Dark Ages, the Romantic historical imagination thrived, and medieval Europe became just as precious an ideal as Classical
Greece had been to the Humanists. Novalis, in his 1799 Christenheit oder Europa,
106
prophesied a renewed, glorious Europe, united and Catholic once again in the
spirit of the Middle Ages, a hope shared by others, especially in post-Napoleonic
France.6 But more than its alleged universality, the Catholic Churchs antimodern
associations generated great interest from both within and without. These archaizing and irrationalist tendencies were manifest in neo-Gothic church architecture
and in the liturgy, through a renewed focus on mystery and sacrament.7 Romantic
aestheticians valued religious liturgies in part because they seemed playful, ingenuous, childlike, natural, primitive, or eastern. 8 Sacred music, no less than other
aspects of religious culture, was influenced by this same philosophical trend.
2. Sacred Music in the Eighteenth Century: The Need for Reform

These developments intersected with concerns about the proper character of
music in church. At the end of the eighteenth century, the musical categories
formulated by Marco Scacchi a century and a half earlierchurch, chamber,
and theaterthough still theoretically operative, had in practice become weakened by the frequent interpenetration of the three domains, most notoriously
through the infiltration of opera styles into church. In the course of the eighteenth century, grievances frequently arose concerning the unsuitability of secular styles in sacred compositions.
With respect to composition, Catholic Church music up until several years ago still had
much of its own special character. But nowadays operatic music also forces its way into
churches everywhere, and, what is worse, [it is] the insipid Italian opera music of the
new style. In Vienna, too, I found it all too conspicuous. During many a Credo or
Benedictus I knew not whether I was hearing music from an Italian opera buffa.9
Haydn and Mozart shouldered similar objections, which however seemed to

make little impression on either them or the majority of their audiences. Despite
protestations by popes and emperors, many liberties were taken: witness the XII
Ariae seu Offertoria, a 1795 collection of Dittersdorf operetta tunes furnished with
liturgical Latin texts by an anonymous Lover of Church Music;10 or Alessandro
Capuanas Mass based on opera music of Rossini, Bellini, Donizetti, and Mozart
(its Credo opens with the tune of La ci darem la mano). Moreover, reported
a Viennese critic after a thoroughly operatic Mass one Sunday, an undertone of
Bravo, Schn, and che viva was heard from most of the listeners.11
Even in the Churchs own music, problems arosequite naturally, as chant,
being a liturgical and hence explicitly functional music, had always been a somewhat unstable repertory. In the two centuries following the consolidating efforts
at the Council of Trent (154563), whatever musical unanimity Catholic liturgy
may have enjoyed weakened considerably. Musical variants of orthodox chant,
newly composed chant (the French plainchant musical and Italian canto fratto), and
the practice of improvisation (chant sur le livre), all irritated civic and ecclesiastical
authorities. In Vienna modern taste could be blamed for the regular disregard
107
of both liturgy and tradition: Chants were omitted, and other music substituted
for the days Proper or played during liturgically required silences.12
The situation in France in the seventeenth through the nineteenth centuries
was particularly striking. Neo-Gallicanism, a nationalistic anti-Papal movement
born in the sixteenth century, brought efforts at liturgical reform, essentially
advocating a specifically French liturgy. Louis XIVs tensions with Rome continued the trend, which were reversed only after the Revolution. The 1801 concordat between Napoleon and Pope Pius VIII was a first step toward
reconciliation and reunification. But in those prior two centuries, a certain freewheeling spirit characterized the practice of liturgical chant, and when Louis
XVIII sanctioned the return of Paris to the Roman liturgy in 1814, he instituted
a restoration that would be accomplished only gradually. Joseph dOrtigue in
1853 reflected on that prior decadent age and its tenacious legacy:
Let us speak now of the corrections of the Graduals and Antiphoners, which have so
often been revised from the seventeenth century to our time, and thanks to which
nearly everywhere in France, our plainchant was so completely disfigured and mutilated that it happens quite often that someone used to the chants of such-and-such diocese will no longer recognize them if he happens to go to a neighboring diocese.13
It was not until the late eighteenth and the nineteenth centuries that conservative outrage such as this began to influence the views of composers and musicians. The reform, or (in the contemporary mind) the restoration, of sacred
music then became a priority, one driven by the larger gothic revival.
3. The Nineteenth Century: A Medieval Renaissance

Early indications of the shift to a more Romantic sacred music were the calls by
influential thinkers around the turn of the nineteenth century advocating the
older a cappella styles. Palestrina had no shortage of Romantic devoteesErnst,
from Ludwig Tiecks 1812 Phantasus, was among the first to eulogize this music
that evokes in our soul the image of eternity.14 Ernsts aesthetic epiphany upon
hearing the Papal choir typified Romantic attitudes toward the transcendent
music of the past. E. T. A. Hoffmann concurred:
With Palestrina began what is indisputably the most glorious period in church music
(and hence in music in general); in ever-increasing plentitude it maintained its pious
dignity and strength for almost two hundred years, although it cannot be denied that
even in the first century after Palestrina that lofty simplicity and dignity sank into a sort
of elegance for which composers strove.15
Hoffmann lamented such lost innocence even in the sacred works of his own
heroes, Mozart and Haydn, whom he accused of falling victim to the contagion
of mundane, ostentatious levity.16 In the realm of religious music, even these
giants were no match for Palestrina.
108
As infatuated as many became with the Italian polyphonic masters, however,

an equally fervent interest in medieval music also emerged, which gained
increased prominence in the course of the nineteenth century. In most circles
the project of chant restoration commanded the greatest attention. Paris was an
important center of activity, home to one of the earliest chant restorers,
Alexandre-tienne Choron (17711834). [The French] have no writings on
the subject, complained Choron, which is not surprising, as the French chapelmasters understand so little of the plain-chant, that I have seen the most experienced of them mistake the tone of the chant.17 To correct this problem,
Choron published widely on the subject and founded in 181617 both the
Institution de Musique Classique et Religieuse, and the cole Royale de Chant
et de Dclamation, the ancestor of the famous and influential cole
Niedermeyer. Chorons protg Louis Niedermeyer deepened the emphasis on
chant, and the latters collaborator Joseph dOrtigue completed the reversal of
Enlightenment values, actually favoring the Middle Ages over what he called the
pagan Renaissance.18
In Germany, the medieval revival found its most influential voice in Franz
Xavier Witts Allgemeiner Ccilienverein. Founded in 1868, the organization
actually represented a late flowering of the aesthetics contained in A. F.
Thibauts 1825 Ueber die Reinheit in der Tonkunst. Thibaut, a Lutheran,
demonstrates the ecumenical nature of neo-Gothicism, calling for the adoption,
among Protestants, of Ambrosian and Gregorian tunes, those . . . truly sublime
and heavenly songs and intonations which, originated by genius and improved
by art in the youngest and grandest days of the Church, impress the soul more
deeply than many of our modern compositions which are specially designed for
effect.19 Perhaps the most enduring product of the nineteenth-century chant
revival was the Solesmes project, which issued the Liber Usualis in 1894, crowning the centurys passion for authenticity and the archaic.
B. The Pentatonicism of Older Sacred Styles

The nineteenth-century chant revival compels us to examine the melodic style
of liturgical chant. To begin with, the calling third (familiar from chapter 2) is
a veritable staple of liturgical intonation, as in the Mass tone for the Gospel
(ex. 3.6).20 Elsewhere the minor third is sometimes filled in, though more often
in descent than in ascent. The rising pentatonic cell M2m3 is so pervasive as to
have invited a designation, the Gregorian incipit.21 It forms the intonation for
the second and third psalm tones and also begins the prototype melody that
Michel Huglo has identified as one of the commonest . . . of the antiphoner
(ex. 3.7).22
More or less pentatonic chants may be readily found, as in example 3.8: this
modest Introit features a stepwise ascent from f to the tenor a, followed by a pentatonic turn acaga for the intermediate closes, and a single cadential leap
V. D mi nus vo bs cum. R. Et cum sp
ri
tu
o.
Se qun ti
109
a snc ti
Punctum
E van g
li
se cn dum Mat tha
um. R. Gl ri
bi D mi ne.
In l lo tm po re:
Quod si
sal
D xit J sus dis c pu lis s is:
va n
rit,
in quo sa
li
Vos s tis sal tr
tur?
Ad n
rae.
hi lum
v let ul tra, ni si ut mit t tur fo ras,
In fine: Qui
au
tem
ce
et con cul c tur ab ho m ni bus. . .
rit
et
do
hic
gnus vo
bi
tur
in
rit,
gno
cae
rum.
Example 3.6. Gospel tone (LU, 114).
Example 3.7. Psalmodic prototype melody.
from f to the final d. Although one rarely encounters such pure pentatonicism
in chant, a certain pentatonic residue, in the words of Chailley, is common
enough.23 The Agnus in example 3.9 features a typical mode-5 framework,
with leaps from d to f filled in only upon descent; these passing es are the sole
110
Gl
ri
Sn
cto.
sem
per,
vel E
tri,
*Sic
et
et
ut
in
e.
li
o,
et
rat in prin c
pi
sa cu la sae cu
vel E
Spi
tu
o,
et
l rum. A
nunc,
et
men.
e.
Example 3.8. Gloria Patri Introit, 1st mode (LU, 12).
interpolations into an otherwise pentatonic chant. Moreover, the skips df and

ac can occur in modes other than D and F: the mode-8 Agnus in example 3.10
restricts itself to the Dorian pentatonic scale until near the end, when b supplies
a modal confirmation of the final, g. Even in the longest chants, which tend to
make greater use of all seven notes of the mode, an underlying pentatonic core
is often evident: in example 3.11, the relatively weak role played by e and b, and
the prominence of the third df suggest a structure that Egeland Hansen has
dubbed pien-pentatonic.24 (See table 3.1 and figure 3.1.)
Before we conclude this section, a brief mention of older sacred polyphony is
warranted, given the nineteenth centurys high regard for the Renaissance
masters. Palestrinas music, notwithstanding its basically triadic, diatonic, and
tonal orientation, still exhibits something of an archaic melodic sensibility in the
individual lines. (As Choron himself noted, he points in a more distinct manner to the principles of the modern tones, without discarding those of the
ancients.25) Example 3.12 illustrates that under the influence of medieval
modality, some trace of a pentatonic residue endured well into the high
Renaissance.26
***
We tend to think of the older sacred styles (and their subsequent imitations) as
modal, by which is usually meant a reliance on ostensibly obsolete diatonic
modesthe use of Dorian sixths, Phrygian seconds, Lydian fourths, etc.
The present discussion, however, has demonstrated that medieval melody is distinguished from common-practice melody not only through its use of unusual
gnus D
mi se r re
i,
pec
ta
i,
* qui
tl
* qui
tl
bis.
mn di:
lis
lis
gnus D
mi se r re
pec
pec
ta
i,
bis.
mn di:
ta
* qui
mn di:
tl
lis
gnus D
d na n bis
cem.
Example 3.9. Agnus Dei, In Dominicis Adventus et Quadragesimae (LU, 6667).
ta
mn
lis pec c
gnus
di:
mi se
i,
i,
* qui
re
ta
mn
tl
re
tl
* qui
lis
bis.
di:
pec
d na
bis.
gnus
lis
ta
mn
pec
gnus
di:
mi se
i, * qui tl
bis
Example 3.10. Agnus Dei, In Festis Duplicibus 4 (LU, 3839).
cem.
Gl ri
ra
pax ho
mus
m ni
te.
Glo ri
cae
stis,
A gnus
g ni
c ta mn
di,
te
di,
s sci
Al
ri
s lus sn
ts si mus,
tu,
in gl
Chr
ste.
Tu
J su Chr
se
Qui
re
Cum
te.
bis.
Sn
tris.
Example 3.11. Gloria, In Festis Duplicibus 4 (LU, 3637).
Rex
mi ne F
ne D
tl lis
stram.
bi
ne D us,
us,
Qui tl
s lus D mi nus.
ste.
ens.
D mi
nem n
gi mus t
tris.
n bis.
mi
pot
Lau
r mus
D mi
us P
ctus.
ri
am.
pe de pre ca ti
tris,
as
tr
tis.
A do
om
li
Et in
te.
ter
r re
des ad dx te ram P
am tu
vo lun
J su
mi se
o.
Gr ti
am
i,
b nae
te.
us
sis
ci mus
m gnam gl ri
u ni
mn
bus
c mus
li
cl
Be ne d
fi
pro pter
in ex
lis pec
pec c ta
Qui
Qu ni
Tu
s lus
cto Sp
men.
113
Table 3.1. Some pentatonic statistics of example 3.11, Gloria (LU, 3637).
Parenthetical data include ornaments (a) and internal phrase markings
(b). The data on motion between f and d (c) include all such leaps within a
single phrase.
(a) incidence
(b) phrase endings
(c) fd motion
f
g
a
d
e
c
b
f
d
a
fd or df
dcf, fgd, dgf
fed or def
80 (82)
80 (83)
65 (67)
26
11
10
2
17 (8)
7 (6)
4 (3)
g, e, b
Figure 3.1. The statistics of table 3.1 interpreted: A heptatonic mode-6 chant
reveals a pentatonic core. (In these analyses, the structural weight of a given note
is indicated through quasi-Schenkerian notation, by analogy with note-length.)
scales, but in its distinctly unusual treatment of those scalesnamely, an observance of pentatonic gaps within the diatonic modes. In a very general way, we
may describe a large portion of chant as pentatonic.27
This observation revives a motivating concept from chapter 1, the distinction
between scale and mode; this sense of modality emerged in European music theory only during the twentieth century.28 Nevertheless, Choron himself was well
aware of the distinction, as is demonstrated by his discussion of the Ionian mode.
Here the scale of sounds is indeed our modern scale of C major, but the tournure
of the melody is quite different, one can be assured by studying fig. 11 and 12 (ex.
3.13).29 Choron unfortunately discussed the matter no further, but it is worth
pointing out the use of the Gregorian incipit in his fig. 12, a decidedly medieval
Si
gno
ras
te, o pul
chra in ter mu
li
e res,
Si ignoras te (Cantus, opening)
flo
res
ap
pa
ru
runt in
ter
ra
no
stra,
nis
Surge propera (Quintus, 2933)
in
ter
ra
no
stra, tem
pus
pu
ta
ti
Surge propera (Tenor, 369)
de
de
runt
od
rem
su
um.
Surge propera (Cantus, end)
per
vi
cos
et
pla
te
as,
Surgam et circuibo (Tenor, 214)
mi
ca
me
a,
su
vis
et
de
co
ra,
Pulchra es, amica mea (Altus, 1216)
et
ger
mi
nas
sent
ma
la
pu
ni
ca,
Descendi in hortum (Bassus, 569)
et
ap
pre
hen
dam
fru
ctus
ius;
Quam pulcra es (Cantus, 4750)
Example 3.12. Examples of pentatonic residue in Palestrina motets.
To
ta
pul chra es,
mi
ca
To
me
ta
pul chra
es,
Tota pulchra es (opening)
sic
ut
ae
sic
ut
tur
tu
ris,
ae
sic
ut
tur
tu
ris,
ut
tur
tu
ris,
ut
tur
tu
ris,
sic
sic
tur
tu
sic
ut
sic
sic
ris,
tur
tu
ris, col
lum
ut
tur
tu
ris,
col
ut
tur
tu
ris, col
lum
col
lum
Pulchrae sunt genae tuae (1216)
fig. 11.
fig. 12.
Example 3.13. Chorons Ionian specimens. From Choron and La Fage, Nouveau
Manuel complet de musique vocale et instrumentale, 2:177, figs. 11 and 12.
116
turn indeed. As will be shown in the next section, nineteenth-century theories

of pre-tonality progressed beyond even Chorons capable intuition, elucidating in
their own terms the unique nature of plainchant modality.
C. The Theory and Rhetoric of the Chant Revival

Evidence of Gregorian pentatonicism is clearly central to our topic, but the issue
deepens considerably when we take account of the discourse surrounding chant
in the nineteenth century. For while historians, journalists, and conductors were
making the case for a revival of the old sacred styles, some theorists for their part
introduced a technical language to the polemic. If the liturgical abuses of the
eighteenth century did not immediately wane in the nineteenth, at least the
later critics, armed with tonal theory, source-criticism, and historiography, could
wage more boldly the war against musical sacrilege. In the nineteenth century,
a new philosophy as well as a new aesthetic informed thought about
liturgical chant. Let us then explore the theory and rhetoric of the chant revival,
in the hope of uncovering contemporary attitudes toward the musical style of
plainchant.
1. Modern versus Ancient Tonality

It is nearly impossible to explain in a satisfying manner the modality of plainchant.30 This rhetorical overstatement, from Alexandre Choron and Adrien de
La Fages 1836 Nouveau manuel complet de musique vocale et instrumentale, reveals a
characteristic frustration (even as it otherwise contradicts the writings of each
author). To be sure, modal theory had continued to be transmitted by theorists
such as Johann Joseph Fux and Daniel Gottlieb Trk, and by historians such as
Johann Gottfried Walther and Jean-Jacques Rousseau.31 But according to some
Romantic chant scholars, the modal system, which represented music in its
purest state and which was uniquely suited to its intended purposethe sincere
and humble praise of Godhad become thoroughly alien, a relic from a
utopian past. Religious music consists first of all of plainchant . . . deriving
from a musical system of ancient peoples, differing essentially from modern
music, today disfigured by detestable performance, and scorned because its
beauties are no longer understood.32
The dichotomy of these two systemsancient and modernand the condemnation of the latter, became a rallying cry in the Gothic revival. E. T. A.
Hoffmann and A. F. Thibaut had sounded the call, with their antitheses of old
and new church music, and the old church modes versus the modern
scales. These polarities would become even more sharply drawn, as well as more
value-laden. Joseph dOrtigue observed a host of termsincluding secular or
modern tonalityfor what he considered the antithesis of ancient tonality.
117
E. de Coussemaker, in his history of medieval music, equated the tonal style of

modern music with that of medieval secular music (musique vulgaire), both of
which he placed in opposition to plainchant.33 Finally, for F. Danjou the issue
was quite simply, plain-chant versus musique, a stark opposition echoed by many
of his contemporaries.34
Furthermore, in Danjous view, only the ancient tonality offered a suitable
environment for sacred music, while modern tonality was best confined to dramatic works. Must we sing the praises of God in the same tone we use for
human passions? . . . Respectable clergymen and prelates have sided with
worldly music against Catholic music.35 P. Couturier branded modern music
pagan, because it immorally violates the natural law of harmony by admitting
dissonance equally with consonance.36 Finally, La Fage chided, It is inexcusable to alter a plainchant to the point of destroying entirely its modal character
and to cause it to change, with no further ceremony, into the condition of modern melody.37
2. Chromaticism, the Leading Tone, and the Tritone

What more can be said concerning the details of these two supposedly opposed
tonal systems? Notwithstanding Choron and La Fages cautious statement
above, they and many others did in fact devote a good deal of effort to articulating precisely those features that distinguised ancient tonality from modern
tonality. In his 1853 Introduction a ltude compare des tonalits du chant grgorien et
de la musique moderne, DOrtigue, perhaps the most outspoken and
virulent opponent of modernism in church music, summed up much of what
was on the mind of the nineteenth-century reformers. DOrtigues explicit distinction between the tonalities of ancient and modern music amounted to the
following:
The first is founded on the principle that the intervals of the scale, numbering eight,
diatonic and natural, have no necessary relation to one another, nor any affinity or
attraction between them. Hence it happens that each degree may be the final of the
succession, potentially carrying the idea of rest and of a sense of completion. Such is
the construction of the systems of religious music and particularly of Gregorian
chant. . . .
The second is constructed such that the degrees, the same as those of plainchant
tonality, can each give rise to two new intervals, the one by the property of the sharp,
the other by the property of the flat ; which brings to twelve the number of sounds
included in the scale, [and] which likewise brings to twelve the number of scales or
tones belonging to our tonality. The manner of succession between the intervals is
determined by different affinities and attractions that pertain to them, and that, if we
may speak thus, incite them, one to descend to the lower degree, another to rise to the
higher degree, a third one to remain, as on a point of rest. . . . Hence it follows that
each isolated degree, not holding in itself a feeling of completion, far from being able
118
to be arbitrarily the final of the succession, it would be regarded as only an element in

that succession.38
DOrtigues oppositions are twofold and related: diatonicism and modality on

the one hand versus chromaticism and tonality on the other. The distinguishing
features of the modern system include the twelve-tone scale, the notion of scaledegree function, the related notion of tonic, and the possibility of modulation.
Also important for DOrtigue and others was the use of the leading tone.
Concerning the famous Credo of Henri Dumont,
We will say that by the frequent use of the leading tone, by the modulation which
returns on the principal periods, by the cadence that ends this modulation, this Credo
belongs to modern tonality. . . . We will add that this Credo is not in the first mode of
plainchant, but in the key of D minor.39
Related to the question of the leading tone, the application of musica ficta
elicited sober injunctions from contemporary theorists, who declared the practice over-used. Concerning the raising of g to g as a neighbor-note to a, La Fage
wrote, It is a very wrong habit, which must not be tolerated.40
In some regions they descend only by a semitone below the tenor and sing
Di
xit
Do mi nus.
Cre di
di.
Di li gam te.
it is a misplaced imitation of modern music which should not be endured at all, as it

introduces an absolutely foreign degree to the scale of the old mode and soon leads, as
we will see, to other alterations.41
Similarly, DOrtigue and Niedermeyer contemptuously proposed: If some musicians make use of the half-tone so naturally and without reflection, does it not
imply that in their methods they are susceptible to the influence of secular
tonality?42 Hoffmanns view was compatible: The melody must flow directly
from the pious mind. . . . But chromatic, intricate figures . . . are alien to all
church music.43
DOrtigue the historian went further, blaming the death of ancient tonality on
the very pillar of modern tonality, the tritone.
It happened that this diabolus in musica, this thing that, to repeat, did horror to nature,
did violence to organization, and that art banished from its realm; it happened that this
subversive element, destructive of the ancient tonality, became the basis, the foundation, the keystone of modern tonality. . . . Hence, the absence of the tritone being the
necessary and essential condition of ancient tonality, and the presence of this same tritone being the necessary and essential condition of modern tonality, it follows that
there is a radical incompatibility between the two tonalities.44
119
DOrtigues discourse on tonality owes much to F.-J. Ftis who, after all, popularized the term.45 Ftis, like DOrtigue, spoke of forces among tones: the
tension-filled harmonic tritone and the melodic charge of the leading tone. In
his view, the resulting possibility of modulation transformed music from unitonique to transitonique, replacing religious musics solemn and majestic character, its soft and calm affections with the dramatic style of modern secular
music. The expressive, passionate, dramatic accent is inseparable from the
attraction among tones and could not exist without it.46
Musical ultra-conservatism extended beyond the limits of Catholic circles.
Thibaut, again, had this to say about Protestant chorales:
Everyone who is acquainted with music knows how these melodies have latterly been
translated into modern scales, and overloaded with sudden changes and modulations. . . . Indeed, so long as the people [of Bachs time] were content to remain
in utter ignorance of the old church tones, no real remedy for the evil was possible,
for the theoretical works on the subject then in existence threw but little light on the
matter.47
Although Thibaut gave no examples, Ein feste Burg ist unser Gott would
appear to embody just such an offending melody. To this day, this favorite of all
Lutheran hymns is better remembered in its Baroque redaction than in its
decidedly modal original, and the modern changes provide an excellent
window onto the nature of Thibauts and his contemporaries atavistic longings
(ex. 3.14). For one thing, the common-practice version includes applied leading tones (sudden changes and modulations). Still more intriguing, however,
is a more subtle alteration: passing tones filling in the pentatonic gaps 68 (of
the first phrase) and 53 (of the penultimate phrase).48 This all-important matter of passing tones and thirds constitutes the final component of nineteenthcentury chant theory, to which we now turn.
3. Leaps versus Steps: The Third

In 1741 Jean Lebeuf published his Trait historique et pratique sur le chant ecclsiastique, the sort of treatise that would become much more common in the nineteenth century. Although chastised posthumously by DOrtigue for engaging in
misguided corrections of chant, Lebeufs work expressed a concern for
authenticity, critically engaging textual discrepancies among earlier editions.
The Belles Lettres began once again to flourish in the kingdom 200 years ago, which is
to say, under the reign of Franois I, but the Chant of the Church didnt appear to gain
much perfection. While barbarism disappeared little by little in the colleges, certain
inflexible voices in the choirs of many churches still corrupted the sweetness of
Gregorian Psalmody. These cantors of the sort which Thodulfe, bishop of Orlans in
the ninth century, called Vox taurina [bull voice], feeling that at the end of certain
Ein fe ste Burg ist un

Er hilft uns frei aus al
und Waf
be trof
fen,
fen,
Der alt
ser Gott, ein gu te Wehr

ler Not, die uns itzt hat
se Feind, mit Ernst
ers itzt meint, gro Macht und viel List sein grau sam R stung
ist
auf
Erd
ist
nicht seins glei
chen.
Ein fes te Burg

Er hilft uns frei
Der alt
List sein grau sam R
ist un ser Gott, ein gu te Wehr und Waf

aus al ler Not, die uns jetzt hat be trof
se Feind, mit
fen.
fen.
Ernst ers jetzt meint, gro Macht und viel
stung ist, auf Erd ist nicht seins Glei
chen.
Example 3.14. Two versions of Ein feste Burg. (a) Das Babstsche Gesangbuch (1545);
(b) Hauschoralbuch (1844).
121
psalmodic terminations it was more convenient for them to descend by a third than by
stepwise degrees, changed the motion by seconds into thirds; for example
for the 1st mode,
instead of
they put
u o u a
e.
u o u a
for the 3rd mode,

instead of
e.
they put
e u o u a e.
e u o u a e.
for the 6th mode,

instead of
they put
e u o u
a e.
e u o u
for the 7th mode,

instead of
a e.
they put
e u o u a e.
e u o u a e.
And as the semitones appeared more difficult in practice because of the harshness of
their voice, they made the following change at the mediation of even the seventh mode:
instead of singing as had been done previously in Dixit Dominus
Do mi no me o:
49
they sang. . .
Do mi no me o:
In characteristic Enlightenment fashion, Lebeuf favored modernity (the Belles

Lettres) over medieval barbarism, in this instance associating stepwise melody
with the former, and simpler disjunct motion with the latter.
A hundred years after Lebeuf, Adrien de La Fage, in his Cours complet de plainchant, warned of precisely the opposite tendency in local variants of chant, as the
following excerpts demonstrate.
There is another formula of ferial oration which differs from the preceding only in the drop
of a minor third, sung on the last syllable of the oration and on the last of the conclusion.
Con ce
de mi
se
ri cors De us fra
gi
li
ta
ti
no str pr si
di
um...
re sur ga mus. Ou re sur ga mus. Per Chri stum Do mi num no strum. A men. Ou A men.
They also use, at will, the inflection of the third in the Dominus vobiscum. This second
ferial formula was often altered in the following manner, which merits no praise:50
re
mus. Con ce
de
no
bis... Chri stum Do
mi num no
strum.
122
When the Pater is recited at the end of Nocturne and in some other cases, only the first
words and last words are intoned aloud, making on the last syllable an inflection of a
minor third, reproduced in the conclusion by the choir.
Pa ter no ster. Et ne nos in du cas in ten ta ti on em.
R. Sed li be ra
nos
a ma lo ou ma lo.
The second conclusion is bad.51

Of the four intonations of the Magnificat, the third seems the best to us; the first two
are tolerable, but the ornament placed at the end of the fourth gives it a completely
ridiculous aspect.52
Mag ni
fi cat.
Mag ni
fi cat.
Mag ni
fi cat.
Mag ni
fi cat.
Each of La Fages admonitions addresses the unscrupulous interpolation of

steps, objections that find support from N. A. Janssen: The si is apparently a
passing tone, which was arbitrarily introduced.53 Janssen continues more
strongly, regarding example 3.15a, The two semibreves are, again, notes of filling-in: and, consequently, they constitute a mistake.54 Concerning the end of
the Pater noster (ex. 3.15b), he gives an alternate, stepwise cadence, with a succinct rebuke, again seconding La Fage on the same point.55
a
Sic ca
ni tur pun
ctum.
mauvais
nos
ma
lo.
ma
lo.
Example 3.15. Censured passing tones (from Janssen, Les Vrais Principes du chant
grgorien, 1845).
Another chant scholar, F.-J. Ftis, provides further illumination on the question of minor-third leaps. Ftis emphasizes the need to distinguish ornamental
semibreves from the more structural breves, a principle that he illustrates using
a characteristic Gregorian motive:
One sees thus that it completely denatures successions of this type to give to each note
the same value; for, in the example in question, the melody rests on these notes:
the others are but ornament.56
123
Ftis contended with a great deal of what he considered textual infidelity, for
instance the discrepancy between two versions of a Gloria:
One will see that the simplicity of the primitive chant, so well conceived by the composer, by reason of the length of the hymn and the quantity of words, was spoiled by a
multitude of superfluous notes, which rendered the chant languid and monotone in
this edition. . . .
For example, who will not be disagreeably affected to see this form, so simple and so
noble:
Do
mi
ne
De
us Rex c
les
tis.
replaced by this redundancy of notes?
Do
mi
ne
De
us
Rex c
le
stis.
The whole Gloria in the French editions is full of absurdities of the same sort; sometimes even there is no likeness between the form of the ancient chant and that of the
modern. I will take for example this passage:
do
ra
mus te.
which the editors have changed into this:57
do
ra
mus
te.
The complaint here involves melodic extravagance, while simplicity is deemed

the sine qua non of authentic chant. Even two isolated passing tones, apparently
added to a certain Regina coeli, draw censure from Ftis:
In putting two notes on the first syllable of the first alleluia, and two more on the third
syllable, [the editors] take away the natural grace of this passage. . . . With regard to the
second alleluia, no one could fail to see that all the notes joined by intervals of seconds
give a dull form, in comparison to that of the original chant. It is the same with the third
alleluia, which is a model of elegance in the ancient chant and whose form is tedious in
the French editions.58
Finally, consider Ftiss analysis of the Sanctus in example 3.16, whose original
(pentatonic) opening is supposedly a good deal more gracious and original
than the later (stepwise) one.59
124
Sanc
tus,
Sanc
tus,
Example 3.16. Two Sanctus openings.
4. Conclusions
One must proceed cautiously when assessing the comments of polemicists like
La Fage, Janssen, and Ftis, for while the question of thirds versus steps clearly
engendered a certain amount of attentionand a decided preference for the
formerit is equally clear that any number of considerations were involved,
from prosody to scalar integrity. Nevertheless, these quotations, along with
those above concerning chromaticism, leading tones, and tritones, demonstrate a pronounced yearning for melodic and scalar purity in sacred music, a
purity (it will have been noted) exemplified by the pentatonic scale. Although
this connection was not explicitly made at the time, the discourse remains
highly suggestive.60
The meticulous scrutiny exhibited by these chant-lovers, their obsession with
authenticity, and their fierce opposition to major-minor tonality, to the modern
accretions of chromaticism, and to melodic opulence in general, represent an
essential component in the history of sacred music in the nineteenth century. In
such a climate, composers would have naturally internalized a deeper awareness
of plainchant modality. Although the ideological revolution of the Cecilians
remained largely a theoretical endeavor, composers exposed to their ideas, even
if not directly converted by their recommendations, must have become both
acutely sensitive to the infradiatonic style of chant, and increasingly concerned
with the melodic demands of their own sacred music.61
D. Other Connections
1. Primitivism qua spirituality
Thus far I have discussed Gregorian pentatonicism and its aesthetic and theoretical implications in the context of the nineteenth century, in the hope of clarifying the motivations behind composers use of the religious pentatonic.
Beyond this, I would like to advance one more brief discussion, which will shed
further light on our topic and draw connections to chapter 2: Romantic conceptions of the primitive.
Rousseaus famous dictum, that society corrupts Mans inherent goodness,
only gained in pertinence as the Industrial Revolution marched on. The notion, an
extension of the Enlightenment precept of human equality, became transformed
in the Romantic imagination such that some were more equal than others: for
125
the Romantics, high and low met at the infinity of the divine.
A related notion that would blossom in the nineteenth century was the equation of nature with the supernatural. The Romantic fascination with rural life is
perhaps best demonstrated in painting, which abounds in pastoral scenes of
human simplicity and purity, images whose religious content can be more or less
explicit. Collectively, [peasant-religious paintings] tell us that peasant man, the
most basic of men, lives his life in the service of God.62
Millets LAnglus (185759) is one exemplary depiction of the communion
between God and the meek of the earth (plate 3.1). An earlier and even more
emphatic expression of this Romanticized view is Vincents La Leon de labourage
(1798), in which a wealthy family has brought their son to the country to be
tutored by a rugged plowman (plate 3.2). The old farmer educates the boy in
place of the childs own fatherindeed, with his sage and severe presence he
stands as the Eternal Father, to whom the biological parents respectfully defer.
The imposing aura of this patriarch conveys at once the earthly and the divine
a divinity amplified by a commanding outstretched arm, an allusion to the God
of Michaelangelos Creation of Adam.63
Disclaimer:
Some images in the printed version of this book
are not available for inclusion in the eBook.
To view the image on this page please refer to
the printed version of this book.
Plate 3.1. Jean-Franois Millet, LAnglus (185859). (Paris, Muse dOrsay. Used
by permission).
126
Disclaimer:
Some images in the printed version of this book
are not available for inclusion in the eBook.
To view the image on this page please refer to
the printed version of this book.
Plate 3.2. Franois-Andr Vincent, La Leon de Labourage (1798). (Bordeaux

Muse des Beaux-Arts. Clich du M. B. A. de Bordeaux. Photo Lysiane
Gauthier. Used by Permission.)
Writings about music also invoked this elevation of the primitive. Thibaut,
condemning what he thought to be elitist, intellectual art, observed,
On the other hand, all the melodies that spring from the people, or are retained by
them as favorites, are generally chaste and simple in nature like a childs.
It is in this sense quite possible for a learned man to rank below a child.64
Hoffmann claimed that only those musicians gifted with a childlike and pious
mind would appreciate the subtle beauties of Renaissance music.65 As Dom
Prosper Guranger, disciple of Lamennais and grandfather of the Solesmes project, wrote, Plainchant is the sung prayer of the people. . . . Its prosody bears the
peoples accent, its modes are natural scales, the peoples.66 According to the
Nouvel eucologue en musique . . . , a book owned by Liszt: In effect, plain-chant is
the melody of all, intelligible to all, at the same time that it expresses faithfully
and with more ability than any other song, the long prayer of the Church militant and the solemn thoughts of hearts far from their native land.67
To be sure, the pastoral topics frequent appearance in religious contexts
antedates the Romantic movement, in part owing to traditional depictions of the
Nativity. Thus Liszts pentatonic Hirtengesang an der Krippe (ex. 3.17a) in fact
exists within a larger tradition of pastoral-religious music that includes Corellis
Christmas Concerto and Handels Pastoral Symphony. But in the absence of an
127
tranquillo
ten.
dim.
rall.
smorz.
dim.
Example 3.17. The intersection of the religious pentatonic and the primitive pentatonic. (a) (P348) Liszt, Christus (186672), Hirtengesang an der Krippe, beginning. (b) (P349) Liszt, Anglus! Prire aux anges gardiens (1882), m. 120.
explicitly rustic program, a passage like the pentatonic dolcissimo con grazia from
Liszts Anglus! Prire aux anges gardiens (ex. 3.17b) makes a more complex
statement, suggesting a broader category of primitivism qua spirituality. That is,
in the case of the first three pieces mentioned, pastoral musical devices directly
express the pastoral content of the program, whereas in Liszts Anglus, that
expression involves an additional, unstated association: the Romantic conflation
of sacred and pastoral. Clearly the blurring of boundaries between primitivism
and religiosity implies an inherently reciprocal connection between the primitive pentatonic and the religious pentatonic.
2. The Idea of the Infinite:

The Pentatonic Construction of Spirituality
Finally, and before at last surveying the repertoire of the religious pentatonic,
I wish to argue that spirituality in some sense resides in the pentatonic scale,
as it were, at least vis--vis the major scale. That is, beyond its associations with
plainchant or with the noble savage, pentatonicism serves as a fitting vehicle
for the idea of spirituality through its particular tonal aberrations. This construction of spirituality, already alluded to by some of our informants above,
hinges on a few aesthetic and philosophical points, which I will now elucidate.
Conspicuously absent from the pentatonic scale, the tritone and leading tone
have routinely elicited metaphors related to tension and implication. Ftiss
exposition of the concepts is highly revealing, and his anthropomorphic
128
language would be echoed by such theorists as Kurth and Schenker. Concerning

the tritone between 7 and 4, Ftis explains: The attraction of these two notes,
the necessity for the seventh degree to rise while the fourth degree falls, is the
peculiar character of the leading tone, which received its name from this tendency.68 A similar interpretation attends Ftiss disallowance of a triad on iii,
which he blames on the seventh degree, of which the natural attraction toward
the tonic cannot be satisfying to the conditions of repose.69
This metaphor of tonal energy may be understood as extending to any worldly
forcefor instance, the attraction embodied in human desire. The notion of
desire as the burden of a fallen humanity is a familiar component of the JudeoChristian religious tradition, among others.
For those who live according to the flesh set their minds on the things of the flesh, but
those who live according to the Spirit, the things of the Spirit.
For to be carnally minded is death, but to be spiritually minded is life and peace.
(Romans 8:56)
In nineteenth-century philosophy, Schopenhauer epitomizes this belief:

All willing arises from need, therefore from deficiency, and therefore from suffering.
The fulfillment of a wish ends it; yet for one wish that is fulfilled there remain at least
ten which are denied. Further, the desire lasts long, the demands are infinite; the satisfaction is short and scantily measured out. . . . Therefore, as long as our consciousness
is filled by our will, as long as we are given up to the urgent prompting of desires with
their constant hopes and fears, as long as we are the subject of willing, we can never
have lasting happiness nor peace.70
In this view, spiritual peace comes not from the consummation of desire, but
rather from its negation, its transcendence. Not surprisingly, then, Schopenhauer
describes the essence of Christianity as the surrender of all volition . . . the suppression of will, and with it of the whole inner being of this world.71 Given the
willful nature of 4 and 7, the implications for musical aesthetics are obvious and
surely account to some degree for the phenomenon of the religious pentatonic.72
The transcendent denial of leading-tone tendency must have been precisely
what Richard Strauss had in mind at the final cadence of Death and Transfiguration
(ex. 3.18). Here a prominent leading tone resolves down to 6 and then to 5, and
in so doing the melody conjures up the unfathomable, paradoxical world of the
Example 3.18. Strauss, Death and Transfiguration (1889), final cadence.
129
hereafter. In contrast to the religious pentatonic, Strausss design draws upon the
aesthetic of the heroic, representing transcendence through struggle: the leading tone is introduced only to be confounded. A similar sense of transcendence,
however, assumes a more spiritual, more pacific expression through the religious
pentatonic, where melodic leading tones remain emphatically absent.
The very absence of the leading tonethe single most powerful tendencytonemay thus be understood as a musical metaphor for the divine, and the
degree to which this absence is emphasized will largely determine the strength
of the metaphor. According to this interpretation, one may hear the consonance
of the pentatonic scale as a reflection of existential peace; the behavior of 6 as a
deliverance from that degrees traditional tonal servitude; the leap to 8 as an
impossibility that nevertheless flows effortlessly as a miraculous reversal of 6s
tendency to fall. Especially at cadences, the miracle of 68 (compounded with
the traditional associations of melodic ascent) evokes that heavenly world in
which attractions cease to operate. These qualities resemble precisely those that
DOrtigue so admired in the musical world of plainchant, where the idea of succession is lost and is absorbed by each degree into the idea of the infinite, since
the succession brings to each chord the sentiment of fullness, of permanence,
and of abstract unity.73
To complete our interrogation of nineteenth-century scalar ideology, consider Ftiss description of Arab scales of sounds in small variable intervals, which
entail a languorous and sensual music . . . amorous songs and lusty dances.
On the contrary, among the harsh and serious peoples of the yellow race, or Mongols,
music, solemn and monotone, strange and difficult for Europeans, is produced from a
tonal system where the semitone often disappears, and of which the incomplete scale is
composed of only five sounds placed at intervals of a tone from one another, with the
gaps where the semitones of the scale called diatonic are.74
Ftiss opposition, while not consistentmusic of small intervals is sensual and

lusty, while that of large intervals is solemn and monotone, strange and
Table 3.2. A structuralist interpretation of the religious

pentatonic.
human
earthly
temporal
corporeal
teleological
dramatic
desire
leading tone
major-minor
divine
heavenly
eternal
spiritual
discursive/spatial
religious
transcendence
no leading tone
pentatonic
130
difficultnevertheless strongly supports the possibility of a religious pentatonic. This interpretation seems to imply chromatic erotic, from which
equation may be inferred the opposite one, pentatonic spiritual.75
In summary then, the foregoing notions yield the network of oppositions
given in table 3.2.76
E. The Religious Pentatonic

I will now introduce examples of the religious pentatonic. As will be expected by
now, these examples vary widely both in extent and manner of usage. For this
reason they have been arranged in subcategories as follows: minimal examples;
cadential 68; bass 68; pentatonic themes; and pentatonic scales.
1. Minimal Examples
The pentatonic step, 53, though by far the less conspicuous of the scales two
minor thirds, can nevertheless serve as a potent allusion to pre-modern sacred
music. Example 3.19 ends with just such an allusion, which is strengthened by a
tonic triad drone ultimately giving way to monophony. (See also P270, P271.) By
the same token, the diatonic upper neighbor to 5 can serve as a marginally pentatonic device (P272, P273), but it is when 6 abandons its stepwise allegiances
that the more archaic minor third 68 arises. The opening of Bruckners Te
Deum (P274) uses 7 in descent, but with an ensuing 68 leap, as is typical in
chant; the first instance of 67 represents a tonal intrusion, occasioning a shift
from C major to the distant key of B major. Quite often 68 motion approaches
the nature of cadential action (P275P280); fully cadential 68 comprises an
important element of the religious pentatonic, to be discussed later.
As mentioned above, a particularly common pentatonic formula is the
Gregorian incipit, a rising succession of a major second and a minor third. The
formula naturally turns up when chant is quoted, as in the canonical intonation
that composers such as Michael Haydn sometimes incorporated into their
Gloria Mass movements (ex. 3.20). Haydns Missa Sancti Hieronymi (P282) also
displays the composers well-known sensitivity to this melodic style: in the
Benedictus, the themes initial 135 is answered imitatively as 568, rather
than the more typical tonal answers 578, 582, or 583. Other eighteenthcentury usage of the Gregorian incipit, however, tended not to traverse 68: the
Credo of Mozarts Mass, K. 192, for instance, renders it as 124.
The Gregorian incipit sometimes goes unharmonized (in keeping with its origins), though plagal progressions provide an obvious harmonic accompaniment.
Mahler responded ingeniously to the incipits harmonic implications and the possibilities of pentatonic voice leading: in the breakthrough theme of his Symphony
#1, bass and melody accomplish what might be described as a pentatonic voice
et
non sup
plan
ta
bun
tur
gres sus
jus.
et
non sup
plan
ta
bun
tur
gres sus
jus.
et
non sup
plan
ta
bun
tur
gres sus
jus.
et
non sup
plan
ta
bun
tur
gres sus
jus.
Choral
Al
le
lu
ja,
al
le
lu
ja.
Al
le
lu
ja,
al
le
lu
ja.
Al
le
lu
ja,
al
le
lu
ja.
Al
le
lu
ja,
al
le
lu
ja.
Example 3.19 (P269). Bruckner, Os justi (1879), end.
Allegro ma non troppo
Glo
ri
in
ex cel
sis
De
Example 3.20 (P281). Michael Haydn, Missa Sancti Aloysii (1777), Gloria,
beginning.
132
exchange (P283, mentioned in chapter 1). That this gesture can be heard as a
(major/pentatonic) transformation of the movements initial minor-key theme
suggests the notion of spiritual transcendence and calls to mind the programmatic
title contained in an early version of this movement, DallInferno al Paradiso.
Clearly, though, the theme relates to Wagners Grail motif from Parsifal in sharing a common source, the so-called Dresden Amen tune (ex. 3.21a, b). Tellingly,
the more classically oriented Reformation Symphony of Mendelssohn (ex. 3.21c)
presents only the second half of the theme, i.e., omitting the Gregorian incipit
perhaps a judgment upon non-classical 6 as musically and religiously unreformed. (Similarly, though perhaps more surprisingly, Mendelssohns paraphrase
of Ein feste Burg later in this symphony transforms Luthers 68 into 78.)
Referring to Wagners Grail motif, Liszt once confessed, Those intervals are
very well known to me, as I have written them time and time again! . . . However,
sempre
Example 3.21. The Dresden Amen in three versions. (a) (P283) Mahler,
Symphony #1 (1888), iv, breakthrough theme, reh. 26, (b) (P284) Wagner,
Parsifal (1881), Prelude, Grail motif, m. 38, (c) Mendelssohn, Reformation
Symphony (1830), i, m. 33.
133
they are old Catholic intervals, and so even I did not invent them myself.77 Liszt
found no shortage of uses for the incipit, whether as part of a freely invented
allusion to chant (P285), or as a bona-fide parody (P286). (The latter melody
shows how the pentatonic scale can be constructed from the incipit together
with an inversionally related pitch-class set.) Borrowed or not, the formulas
appearance in the Dante Symphony sports Liszts original contribution of a harmonization that boldly overturns conventional harmonic syntax, VIVI (P287);
also contained in this excerpt is an equally bold gesture that is the subject of the
next section: a 68 cadence.
(See also P288P291.)
2. Cadential 68
One distinctive innovation of Romantic harmony was the increased use of plagal progressions at all levels of formal structure, a stylistic trait related to a general reorientation toward flat-side harmony and what might be called the
coda aesthetic. Leonard Meyer has asked why this came about.
Why, that is, were plagal cadences chosen by Romantic composers but not by those of
the Classic period (although the cadences were just as available then)? One reason, suggested by Ruth A. Solie (in a personal communication), is that plagal endings are
related, through the Amen aspects of the cadence, to the sacred. From this point of
view, the choice of plagal progressions at the end of works can be related to the religious aura surrounding artists, works of art, and aesthetic experience.78
Certainly, eighteenth-century composers did choose plagal cadences on occasion

(see table 1.1, p. 29), but Meyers question could be extended to the important
question of voice leading: Why is it that the 68 cadence, which was stylistically
unavailable in the eighteenth century, emerged and thrived in the music of the
Romantic era? One explanation for its later appearance involves the ideological
factors discussed in the present chapter: I propose that the 68 melody, via its
allusion to chant (as in the liturgical Amens of ex. 3.22)79, contributed an additional degree of spiritual significance to the increasingly conventional plagal
cadence. The bona-fide religion of Christianity could thus be distinguished, via
68, from Meyers metaphorical religion of absolute music.
Among the earliest Romantic 68 cadences that I know of appears in the
Religiosamente concluding the first movement of Berliozs Symphonie fantastique
(P292), the style-historical importance of which was discussed in chapter 1.
Having now established the interpretive framework of the religious pentatonic,
we can better understand the cadence in relation to the symphonys program,
in particular the heros religious consolations. The delicate homophonic
orchestral texture, the hushed dynamics, and the purity of C major, all create
an ethereal tone that amplifies the humble aesthetic of the pentatonic figure.
Moreover, this section engages a certain play between a and a (as does the
pieces ide fixe itself) but resolves the matter in favor of the pentatonic ascent:
134
Janssen (1845)
re
gnas
in
cu
la
cu
lo
rum.
R. A
men.
Haberl (1865/1900)
Su
per
te
or
ta
est.
In
cu
la
cu
rum. A
men.
Example 3.22. 68 Amens in two nineteenth-century liturgical books.
qui
cke
sein
Herz!
qui
cke
sein
Herz!
qui
cke
sein
Herz!
dim.
Example 3.23 (P293). Brahms, Alto Rhapsody (1869), end.

the melodic 68 redeems, as it were, the inner-voice 65.80 This technique
of the Picardy sixth (introduced in chapter 1)the 68 cadence as an audacious foil to prior chromaticismthus consummates the rhetorical meaning of
religious pentatonicism. The device functions in two distinct semiotic modes:
in addition to its direct evocation of liturgical chant, it serves as a tonal
metaphor of salvation, a seemingly miraculous deliverance of 6 from its tragically downward-tending (which is to say, earth-bound) existence.81 The
Picardy sixth accounts for much of the feeling of consolation in the final
chords of Brahmss Alto Rhapsody (ex. 3.23), which involves both melodic and
inner-voice chromaticism prior to the plagal 68 (see also P294). A still more
emphatic catharsis attends the coda of Tchaikovskys Romeo and Juliet (P295,
also mentioned in chapter 1), in which a prominent and pathetic 6, reinterpreted as 5, forms an appoggiatura to the ensuing, celestial 6.82 Clearly,
135
rit.
Lauretta
Bab bo, pie t,
pie
t!
(piangendo)
bab bo, pie t,
pie
t! . . .
rall.
Example 3.24 (P296). Puccini, Gianni Schicchi (1918), O mio babbino caro, end.
evocations of the sacred have fruitful applications to ostensibly secular music
as well, here expressing the religious sentiments proper to the subjects of
death and reconciliation.83
Overtones of pentatonicisms associations with the primitive merge seamlessly
with the religious pentatonic in example 3.24; by using the 68 cadence here,
Puccini foregrounds the allusive nature of the text as both a childish plea
(babbo) and a solemn prayer (piet).
8
3. Bass 68
In the recurring cadential formula of the Dona nobis from Beethovens Missa
Solemnis (ex 3.25), the bass leap 68 forms a sort of appoggiaturaor rather, a harmonization of the sopranos appoggiaturawhich explanation renders the nonclassical voice leading no less remarkable. In the nineteenth century, the adoption
of 68 (or 61) motion in the bass does sometimes serve a cadential role in its own
right and thus forms another distinctive component of the religious pentatonic.
Consider Liszts Adagio for organ (ex. 3.26a), a faithful transcription of his own
Consolation #4 for piano (ex. 3.26b). Among the handful of subtle revisions
applied to the earlier piece, the most significant occurs at the final cadence, where
136
S.
cem, do
na
no
bis pa
cem,
na
no
bis
pa
cem,
na
no
bis
pa
cem,
na
no
bis
pa
cem,
A.
cem,
do
T.
cem,
do
B.
cem, do
Example 3.25 (P322). Beethoven, Missa Solemnis (1823), Dona, mm. 2631.
a
Example 3.26. Liszt, two versions of the same plagal cadence. (a) (P323)
Adagio for organ (1867), end; (b) Consolation #4 (1850), end.
Liszt replaces the standard plagal with a bass 68 cadence. The change demonstrates, perhaps, a more religiously oriented use of this religious instrument, or
else the older composers more sensitive interpretation of the expressive marking
con divozione. These cadences can function either in low-level foreground articulations (P324), or in more structurally significant contexts (P325). Above all, the
Ho
san
na
Ho
san
na
Ho
san
na
Ho
san
na
Ho
san
na
Ho
san
na
Ho
san
na
Ho
san
na
137
Example 3.27 (P326). Liszt, Christus (186672), Resurrexit, m. 357.
Example 3.28. Two cadences from Niedermeyer and DOrtigue, Gregorian

Accompaniment (1857), pp. 62, 77.
consonant status of 6 with 1 makes for a softening of the cadential energy, even in
as unusual a succession as the cadence in example 3.27, vi7Iii7I.
As it happens, cadences such as thesetypically IV6I or viIconform to the
guidelines established by Niedermeyer and DOrtigue for the accompaniment
of chant. The two pedagogues forbade dominant seventh chords and discouraged 51 bass leaps, insisting that even the bass line should obey the laws of
plainchant melody.84 In fact, some of the harmonizations they propose make
copious use of third motion in the bass (ex. 3.28).85
4. Pentatonic Themes
While the foregoing examples have displayed varying degrees of pentatonic inflection, the present section includes material of a more assertively pentatonic nature
138
and/or of greater thematic importanceof which Faurs In paradisum discussed above (P338) offers a classic example. Both the Kyrie and Christe of Liszts
Missa Choralis are pentatonic, the former an ambiguous modal theme suggesting
both minor and relative major, the latter more firmly planted in the major (P339,
P340). Liszts pentatonic themes comprise a majority of these examples;86 in addition to his many newly composed themes, others have been taken from other
sources. A leitmotif of his St. Elisabeth (P341) comes from the chant Quasi stella,
while his organ eulogy Am Grabe Richard Wagners (P342) borrows Wagners bell
motif (P343), a tetratonic theme (1563) to which Liszt added a cadential 21.
In Wagners original (the conclusion to act 1 of Parsifal), the bells toll repetitively
under gentle C-major chords, underscoring the choirs words Selig im Glauben.
Repetition likewise amplifies the pentatonic theme of Brnnhildes sleep concluding Die Walkrie (ex. 3.29). As Wotans magic spell plunges Brnnhilde deeper
and deeper into the realm of the unconscious, a seventeen-measure decrescendo (p
dolce to ppp) accompanies a gradual abandonment of dominant harmony, even as
the 65 appoggiaturas remain.87 The signification here is multifaceted: via the religious pentatonic (sleep as otherworldly, the spell as supernatural) and via the
primitive pentatonic (the sleeper as innocent, the music as lullaby).
5. Pentatonic Scales
A still more powerful effect results when the pentatonic scale is used not thematically,
but rather as purely sonorous material. Pentatonic scalesas scales per sesometimes
act as a fleeting sign of the supernatural. This subcategory, then, further encourages
the acceptance of the larger category of the religious pentatonic as a topos in its own
right, more than a mere circumstantial corollary of noble simplicity.
A particularly touching example occurs in the final movement of Bruckners Te
Deum (ex. 3.30). A formidable double fugue has been building in intensity, culminating in one of the movements few cadences, to the global dominant, G
major. The climax involves a crescendo from p to ff and a rising sequence in which
the sopranos trace a fully chromatic octave ascent, gg. Following the downbeat
of the cadence, the entire texture immediately drops out, and the first violins play
a descending pentatonic scale spanning three octaves. Loud is answered by soft,
rising is answered by falling, and, most importantly, chromatic is answered by pentatonic. In short, humanitys desperate and frenzied plea, Let us not be confounded, meets divine grace in all its surprising tranquility. (Gounods St. Cecilia
Mass sets apart its final Amens in a similar, if less dramatic, way; see P357.)
Pentatonic scales were a favorite device of Liszts (P358P367). The striking
pentatonic scales of the misterioso within the Faust movement of Liszts Faust
Symphony (P358) have eluded the pieces many commentators, who prefer to
label the passage in purely formal terms (episode, development, etc.).
Constantin Floros alone has advanced a hermeneutic reading of the passage:
(Er wendet sich langsam zum Gehen.)
8va
dolce
(8va)
pi
(8va)
sempre pi
(Er wendet sich nochmals mit dem Haupt un blickt zurck.)
(8va)
(8va)
Example 3.29 (excerpt of P344). Wagner, Die Walkre (1856), III/3,

Brnnhildes sleep, 17 from end.
poco a poco cresc.
te
Do
mi
ne
spe
poco a poco cresc.
Do
mi
dar,
ne,
non
Do
con
fun
mi
dar,
poco a poco cresc.
ter
num,
non
con
fun
dar in
ae
ter
num,
non
con
poco a poco cresc.
cresc. sempre
ra
vi,
spe
ra
ne,
vi,
Do
non con
fun
spe
ra
mi
ne,
dar,
non con
non
fun
con
dar
marc.
fun
dar
in
ae
ter
num,
in
ae
ter
cresc.
Example 3.30 (P356). Bruckner, Te Deum (1884), In te, Domine, speravi,

mm. 5564.
141
vi:
fun dar in ae ter
in
ae
ter
num,
non
num,
num, non
non
con
fun
dar
con
fun
in
dim.
This passage, which has something Impressionistic, atmospheric-ethereal about

it, can only point to the symbol of the Macrocosmos, which Faust finds in
Nostradamuss book.88 An acknowledgement of the religious pentatonic can
confirm Floross intuition, as Fausts beholding the sacred symbol marks his
turning from philosophy to religion, or at least, from Mind to Spirit.
The pentatonic scale in Liszts Sposalizio (P360)traversed via chappesis organically related to the thematic material of the piece, lending the coda the character
of an understated apotheosis. In this piece, as in the Miracle of the Roses from
Liszts St. Elisabeth (P361), the pentatonic scale may serve a dual function in signifying the pastoral as well as the divine. Descending scales seem to be Liszts preferred
use, but rising scales are also found, and the difference appears to be significant. In
the first verse of Liszts St. Cecilia cantata (P362), for instance, we are told of the
famous musician who offers holy songs night and day, which image occasions a shift
to D and a rising pentatonic scale, marked dolce ; likewise, two of St. Elisabeths
prayers are punctuated by rising added-sixth lines (ex. 3.31; see also P364). Hence,
if descending pentatonic scales represent a glimpse of heaven, it seems that ascending scales represent human (or more specifically, saintly) petitions to God.
All of the examples discussed here have been associated with delicate textures
and soft dynamics (dolce is a common indication). The choral climax of Liszts
142
poco rit.
ja,
a tempo
rall.
ich kom me bald!
Example 3.31 (P363). Liszt, St. Elisabeth (1862), II/5, Elisabeths death prayer,
m. 42.
grandioso
con forza
con forza
Example 3.32 (P367). Liszt, Invocation from Harmonies potiques et religieuses

(1848), mm. 5259.
Ossa arida (P365), however, involves an ecstatic outpouring: accompanying the

last of three exhortations to Audite verbum Domine (Hear the word of the
Lord), the organ presents repeated pentatonic scalar figures, fortissimo and
doubled in four octaves, as an overwhelming confrontation with divine majesty.
Something of the same nature occurs throughout Ordo from Septem Sacramenta
(P366). The fetishization of pentatonic scales in these examples and others (for
instance, ex. 3.32) is related to a final category of pentatonicism that we will
explore in the next chapter, the coloristic pentatonic glissando.
Part 3
Beyond Signification
Chapter Four
The Pentatonic Glissando

In the last two chapters, I have focused on pentatonicism as signifier, a network
of musical and extramusical signs derived from a multitude of historical sources
and marshaled by nineteenth-century composers for the purpose of representation. It would be doctrinaire, however, to suppose that compositional decisions were solely the product of ideological forces and programmatic
tendencies: musical elements dont just stand to impress a composer as (conceptually) right, but also as (acoustically) good. And even granting that sounding good entails aesthetic (and hence, ideological) assumptions, we must
acknowledge a broad class of pentatonicism whose derivation can be said to be
in some sense purely musical. The subtle change in melodic sensibility traced
in chapter 1, after all, arose as much from within composers fertile imaginations as from a self-conscious assimilation of foreign elements. Meanwhile, we
have also encountered some of Liszts extravagant pentatonic scalar passages
which, whatever their programmatic motivations, bespeak a certain infatuated
celebration of sound for its own sake. In this chapter I will describe a prominent and influential tradition of nonsignifying pentatonicism, the coloristic
pentatonic harp glissando, which I believe inspired Liszts and others virtuoso
pentatonic pianism, and which was an important forerunner of the use by the
Impressionists of pentatonicism en soi (as Serge Gut termed it), the subject
of chapter 5.1
A. The Harp in the Nineteenth Century

It was noted in chapter 2 that a technical peculiarity of the pianothe arrangement of its twelve notes into black and white keysfurnished pianists with a
direct introduction to the pentatonic scale. The modern harp possesses a similarly fortuitous design feature that likewise affords a handy, if less obvious, illustration of pentatonicism. Ironically, the development of this featurethe
so-called double action, patented by rard in 1810was motivated by a desire
to make the harp more fully chromatic. It fell to harpists to explore the unique
implications of rards design; their curiosity and ingenuity led to the discovery
of musical resources that rank among the most characteristic elements in the
harps vocabulary.
146
the pentatonic glissando
1. The Harp: History, Construction, and Performance

At the turn of the nineteenth century, the piano and the harp were more equal
in musical stature than they are today, thanks in part to the popularity endowed
to the latter by one of its most famous aficionados, Marie Antoinette.2
Describing musical life at the French court, Leopold Mozart mentioned harp
composers as prominently as keyboard composers.3 Beethoven, whose Variations
on a Swiss Song, WoO 64, were published by Simrock pour la harpe ou le fortepiano, once wrote to the piano maker Streicher, I hope the time will come
when the harp and the pianoforte will be treated as entirely different instruments.4 Pratt has even speculated that certain of Haydns piano sonatas and
Mendelssohns Songs without Words were originally conceived with the harp in
mind.5 In the nineteenth century, the harp became, along with the guitar, an
important feature of domestic music making and of salon life, offering a relatively inexpensive alternative to the piano.6 Judging from the quantity of potpourris and variations on operatic themes written for the harp, the instrument
shared with the piano a large body of popular repertoire. The most celebrated
harp virtuoso of the century, Elias Parish-Alvars (whom we will discuss shortly),
was also an accomplished pianist who published many of his works in versions
intended for either instrument.
This rivalry notwithstanding, the harp and the piano are, from a technical perspective, very different instruments. The rather perplexing assembly of notes in
example 4.1, for instancetechnically, an augmented-seventh chordis a peculiar response to the instrument for which it was written, the modern harp.7 With
seven strings to the octave, the harp is first of all a diatonic instrument; chromatic notes, which are produced by a pedal action, occur only as alterations of
the seven diatonic pitch-classes. (Harp designs with twelve strings to the octave
had been attempted but proved impractical for both builder and player.)
Hence, the enharmonicism of this example (what harpists call a homophone
or synonym) is more than a notational anomaly, but a practical reality: in contrast to the enharmonic conflations of the piano keyboard, the harps a and b
sound on two adjacent strings.
8va
Example 4.1. Flix Godefroid (181897), Etudes mlodiques (posthumous), #2,

Les Arpges, m. 9.
147
Moreover, this contrived arpeggio bespeaks further technicalities that

confront the harpist in performance, namely: (1) the fact that the harp,
being a plucked instrument, is inhospitable to the re-articulation of a vibrating string; (2) the harpists use of only four fingers (the little finger, on
account of its shortness and weakness, is not used); (3) the difficulty in quickly
repositioning the hand. The enharmonic a, then, transforms a desired triadic
flourish into a four-note pattern, which falls happily under the hands and
ensures a consistent fingering in each successive octave.8 While this idiosyncratic arpeggio may appear to be little more than a novelty, similar motivations
surely account for the arpeggio in the second measure of example 4.2, a tonic
added-sixth chord. Importantly, this straightforward four-note arpeggio is
obtainable without enharmonicism and the conceptually esoteric augmented
seventh.
We will return to the added-sixth arpeggio later. For the time being, we can
note an impulse among nineteenth-century harp composers to devise fournote approximations of triadic consonance in their arpeggiated passages, analogous to the ubiquitous (and likewise, four-note) dominant-seventh and
diminished-seventh arpeggios of the eighteenth century (and as in the first
measure of example 4.2). This impulse represents a step toward a momentous
innovation in nineteenth-century music: the development of additive harmony. A more decisive step depended on an advance in harp design perfected
by Sbastien rard in the early 1800s, a historical detail that warrants some
digression.
con forza
Example 4.2 (P368). Parish-Alvars, Serenade, op. 83 (1846), mm. 3031.
148
2. The Double-Action Harp

The harp as it existed at the turn of the nineteenth century had suffered from
deficiencies of which even its devotees were acutely aware.9 The pedal apparatus in general use at that time was a single action mechanism that allowed
the player to raise any pitch-class a semitone. Although all twelve tones of the
equal-tempered chromatic scale were thus available, certain common melodic
successions would require the rapid repedaling of a single string, a difficult
and ultimately unsatisfactory maneuver. (A melodic minor scale, for example,
is not possible without undue pedal changes.) And because only sharpwards
chromatic modifications were possible, key choice and modulations were
likewise constrained: in the conventional open tuning of E major, the harp
could accommodate the most often encountered major keys (E, B, F, C, G,
D, A, and E), but any keys outside of this orbit would not support a complete
scale.
Such melodic and tonal limitations captured the attention of the celebrated
piano builder Sbastien rard, who developed and perfected an improved
design for the harp during the course of over twenty years, starting around 1790.
Thanks to rards musical vision, technical ingenuity, and business sense, the
harp remained competitive during the rapid ascendancy of the piano in the
early nineteenth century. His chief innovation was the introduction of an action
capable of raising each pitch-class not just one semitone, but as many as two.
Thus, when his double-action harp (harpe double mouvement) was tuned in C
major, it became possible to play in any flat or sharp key: depressing all the pedals halfway yields the scale of C major; depressing them fully yields the scale of
C major; and particular pedaling configurations exist for each of the other keys,
even with two options for most pairs of enharmonically equivalent keys.
Table 4.1. Tonal and melodic capabilities of the single- and double-action harps.
enharmonically
duplicable
pitches
semitones
3-note
chromatic
clusters
4-note
chromatic
clusters
fga
gab
cde
none
all but:
Single-action
harp in E
Double-action
harp in C
ed
ag
all but:
g, a, d
ff
bb
cc
all
all
abcd
bcde
cdef
defg
efga
gabc
149
Moreover, the double-action harp yields many more potential enharmonic

redundancies than does the single-action harp, and the harpist thereby acquires
a greater flexibility of pedaling options in many situations, which ultimately
increases the playability of chromatic passages. Table 4.1 illustrates these new
resources by enumerating the many chromatic spans that became practical only
on rards harp.
Conceptually, the new design was but a logical extension of the oldrards
achievement hinged mainly upon overcoming mechanical and intonation
issuesbut the benefit to the player was immense. And although rards
improvements failed to fulfill an admirers prediction that the rivalry between
piano and harp will undoubtedly be settled in favor of the harp,10 rards basic
design of 1811 gradually gained widespread acceptance and has been the standard ever since. Nevertheless, the double-action harps expanded chromatic
palette conceals an inevitable deficiency it shares with its older sibling: it can
sound no more than seven pitch-classes at any given time, for which reason
Berlioz (a champion of rards harp) called both instruments essentially
antichromatic.11
3. The Enharmonic Glissando

Antichromatic, indeed! Pedalings that produce fewer than seven pitch-classes constitute a great and unexpected benefit for the harpist, as a calculated coordination
of synonyms may yield extraordinary effects. Perhaps the simplest application of this
capability is the device sometimes called martellato, the rapid reiteration of a single
pitch by essentially trilling adjacent strings that have been pedaled into a unison.12
In example 4.3, the harp thereby mimics the tremolo picking of a mandolin. This
(F E )
Example 4.3. Parish-Alvars, Grand Study in Imitation of the Mandolin, op. 84

(1846), mm. 1820.
150
technique achieved its consummation in the significantly more ambitious enharmonic glissando. Berlioz, though he seems never to have used the device himself,
gave the following excited account in his orchestration treatise:
It is truly incredble what todays great harpists can exploit from these double notes,
which they called synonyms. M. Parish Alvars, possibly the most extraordinary virtuoso of the harp ever heard, plays figures and arpeggios which appear at first sight to be
absolutely impossible, but whose difficulty exists solely in the ingenious use of the pedals. He plays passages like [the following] with extraordinary rapidity.
Allegro assai
8va
etc.
The ease of this passage becomes obvious when one realises that the player has only to
slide with three fingers from the top strings downwards, without fingering individual notes and as fast as he pleases, since by using synonyms the instrument is tuned
completely in a series of minor thirds, producing a chord of the diminished seventh.
Instead of a descending scale of C major
it has13
To be more precise, the pedals in this case would be set to abcdefg,

effectively eliminating three of the harps seven notes.
The technique Berlioz described has been called variously the sdrucciolando,
the Aeolian flux, the four-toned enharmonic scale, the enharmonische
Septimenakkorde, and, colloquially, one of the harps big bags.14 It is without
a doubt the most distinctive tool the harpist wields, and as such it has perhaps
been overused: Some composers, it has been said, demand of their Harpists not
fingers, but brooms.15 Nevertheless, the genesis of the enharmonic glissando
appears to have been purely accidental, a fortuitous consequence of rards
chromatic improvements combined with the increasing popularity of the gliss.
The earliest reference that I have found for this resourceful application of synonyms is from the harpist, composer, and pedagogue Nicholas Charles Bochsa,
151
who in 1832 described not a glissando, but an enharmonic arpeggio. This

device, more Showy than difficult, was fingered as a scale, but sounded as an
arpeggiated chord of either the dominant seventh or diminished seventh.16 Yet,
in the more than fifty works of his that I have been able to examine (compositions, arrangements, and collections of exercises) I have found only one that
exploits the harps enharmonic resources in this way: his La Valse du feu:
Impromptu fantastique of fifteen years later uses diminished-seventh glissandi to
depict the subterranean noises of Mt. Vesuvius (ex. 4.4). Bochsa may have
normally adopted a more conservative mode in his published compositions, so
as not to alienate the many players at the time who owned only a single-action
harp (for years the instrument of choice at the Paris Conservatoire, thanks to the
dubious political influence of the Naderman family, purveyors of single-action
harps). His most famous pupil, on the other hand, Elias Parish-Alvars (the
English prodigy mentioned above by Berlioz), boldly explored the musical possibilities of his instrument throughout an extensive and successful career of touring and composing. The illustrious harp patriarch Alphonse Hasselmans
assessed Parish-Alvars importance with the simple epithet, our Paganini.17
Bruit souterrain
Allegretto
Near the sounding board
G
veloce
glissando
Example 4.4. Bochsa, La Valse du feu (1847), mm. 1719.
152
B. The Pentatonic Glissando

1. Parish-Alvars and the Pentatonic Glissando
In his own day, Parish-Alvars (180849) enjoyed another flattering epithet, this
one offered by Berlioz: The man is the Liszt of the harp.18 Berlioz heard him play
on at least two occasions, in Dresden and in Frankfurt, and reported having been
mesmerized by his music.19 In the course of the harpists concert tours throughout Europe, Russia, and the Near East, he had occasion also to meet Thalberg,
Czerny, Field, Mendelssohn, and Liszt, the latter of whom likewise described the
Englishman in reverent tones: His face is comparatively mature for his years, and
from underneath his prominent forehead speak his dreamy eyes expressive of the
glowing imagination which lives in his compositions.20 (Liszt supposedly made a
habit of imposing on his one-time flame Rosalie Spohr to favor him with private
performances of Parish-Alvars fantasies.21) Upon Parish-Alvars untimely death in
1849, he was eulogized by the Oesterreicherische Courier : Who in the musical world
did not know him, love him, and honor him?22
Parish-Alvars popularized many novel harp effects, including the use of harmonics, damped notes, and the pedal slide.23 In addition, it has been speculated
that Thalbergs renowned three-hand technique on the piano was inspired by
the harpists similarly ambitious textures.24 Above all, Parish-Alvars pursuit of
the harps enharmonic possibilities effected a small revolution for the instrument. While Bochsa apparently used enharmonic arpeggios sparingly and theorized only the diminished-seventh and dominant-seventh varieties, Parish-Alvars
made more extensive use of the device and entertained such unlikely pitch-sets
as that shown in example 4.5; this glissando has the peculiar property of sounding out of order, on account of a doubly diminished second, bc, which produces a seeming 43 appoggiatura.25
Diminished-seventh and dominant-seventh glissandi were certainly ParishAlvars favorites, but pentatonic and added-sixth sets are the next most frequent.
His experiments with glissandi in additive harmony may ultimately relate to the
four-note fingering patterns mentioned above: in Parish-Alvars oeuvre appear
several added-sixth arpeggios (P369P376) and a few added-ninth arpeggios
(P377P378). (These fingered patterns occur most often in descent, as is technically easier for the player.26) As enharmonic glissandi per se, the four-note sets
of Iadd6 (ex. 4.6; see also P380P382), viio7, and V7 are abundantly available on
the double-action harp, but not at all on the single-action (table 4.2).27 The pentatonic glissando (ex. 4.7; see also P384P387), available on the double-action
harp in all chords, is available on the single-action harp in only those four
chords that would have been avoided as tonics. (Added-ninth glissandi are not
possible on either instrument.) The four- and five-note sets of Iadd6 and Iadd6,9
represent the optimum tonal consonance of the modern harp, to borrow
David Hurons term and to formalize what I meant earlier by sounding good.28
In short, some incalculable combination of rards innovation, Bochsas and
to be played
B
F
Example 4.5. Parish-Alvars, Grand Study in Imitation of the Mandolin (1846),

mm. 2830.
(G )
19
(D ) (B )
glissando
glissando
19
Example 4.6 (P379). Parish-Alvars, Fantasia, op. 35 (1838), 51 after Allegro

con fuoco.
154
Table 4.2. Enharmonic glissando capabilities of the single- and doubleaction harps.
Single-action
harp in E
Double-action
harp in C
viio7
V7
Iadd6,9
Iadd6
Iadd9
none
none
none
none
none
all
E, B, G,
D, A
A, B,
C, F
all
E, B, G,
D, A
none
none
8va
loco
sdrucciolando
E G
Example 4.7 (=P383). Parish-Alvars, La Danse des fes (1844), 26 after Allegro.
Parish-Alvars inventiveness, and the aural and digital currency of the addedsixth chord together generated a unique source of pentatonicism, one heard
throughout the salons of Europe.
Such pentatonicism serves a primarily coloristic function, a mildly dissonant
substitute for tonic stability in a wash of sound somewhere between melody and
harmony. As such, the major added-sixth chord represents the limit of the harp
glissandos consonant potential. If this pursuit of consonance was Parish-Alvars
ultimate purpose, he achieved it only late in his career, exceeding the addedsixth limit through an additional contrivance: his posthumous Grand Fantasia on
I Capuleti e i Montecchi by Bellini and Semiramide by Rossini prescribed tuning
the f-string a semitone low. This nonstandard tuning (what string players refer
155
8va
(8va)
{G }
Example 4.8. Parish-Alvars, Grand Fantasia on I Capuleti e i Montecchi by Bellini

and Semiramide by Rossini (posthumous; 1850), end.
to as scordatura) yields the possibility of an extra (triple) synonym and an unadulterated triadic glissando on A major: abcdefg (ex. 4.8).29
2. The Larger Impact of the Pentatonic Glissando

It is difficult to ascertain the immediate impact of Parish-Alvars enharmonic
glissandi among composers and theorists. Berlioz, while captivated by the enharmonic glissando, never called for the device. Liszt did, though only in diminishedseventh form, in keeping with the turbulent drama of his harp cadenzas.30
Orchestration manuals provide but a limited record. Berliozs account quoted
above appeared only in the second (1855) edition of his orchestration treatise,
which mentions only in passing the possibility of chords . . . other than those of
the diminished seventh. F. A. Gevaert, too, is silent on the topic in the first of
156
his two treatises (1863), though the later volumes exposition of the enharmonic
glissando (1885) adds considerable depth as compared to Berlioz, explicitly enumerating the means of producing not only the three diminished-seventh chords,
but also five dominant-seventh chords, five minor-seventh chords, and five halfdiminished seventh chords.31 Even Parish-Alvars himself mentioned only the
diminished-seventh glissando in his unfinished harp method.32 The failure of
these and other writers to broach pentatonic or added-sixth harmonies surely
reflects more the inadequacy of contemporary theory to document these structures than it does the rarity of these glissandi in practice.33 It also seems likely
that harp pentatonicism was performed more often than it was published. As
Bochsa and Berlioz implied, the chordal glissando furnished a technically trivial
means of producing a dazzling effect. Thus, any harpist inclined toward improvisation would have no doubt reckoned such a device an essential crowd-pleaser.34
It is equally difficult to ascertain the relationship between harp pentatonicism
and nineteenth-century pentatonicism more generally, but I think it likely that
pianist-composers such as Liszt were influenced by their now-forgotten harpist
contemporaries. In any case, more or less concurrently with the development of
the harps pentatonic glissando, composers began to explore added-sixth and
pentatonic flourishes for the piano as well. The piano, of course, has nothing of
the harps capacity to rectify chordal gaps; rather, scalar bravado requires a virtuosity that is more than mere illusion. For this reason too, pianistic cascades
remain somewhat closer to the realm of melody, compared to the sonorous opulence of the true glissando. Thalbergs frequent and flamboyant arpeggio passages are occasionally enlivened by added notes (ex. 4.9), a circumstantial
pentatonicism found also in Chopin and, more extensively, in Liszt. (See
P389P412.) These arpeggios faithfully reflect scale-degree function, whereas
Parish-Alvars glissandi interpret the structures more harmonically.
The black-key piano glissando, of course, gives the pianist the closest thing to
the harpists big bag. We have seen an incipient version in the fingered passagework of Chopins black-key etude (P394 cited earlier; see also P413); the
true glissando is far from trivial to execute but has been prescribed by several
composers (ex. 4.10). (See also P415, P416.)
8va
loco
cresc.
Example 4.9 (P388). Thalberg, Nocturne, op. 16 #1 (1836), mm. 3435.
157
8va
glissando
8va
Example 4.10 (P414). Debussy, Feux dartifice, from Prludes, book 2 #12
(1913), mm. 1718.
3. From Sound to Signification

Coloristic pentatonicism represents an important innovation in nineteenth-century harmonic practice. Still, meaning is not so easily excluded from our discussion, and mention must be made of the pentatonic harp glissandos adoption in
film music: no doubt by virtue of both the exotic and religious connotations of
pentatonicism, pentatonic glissandi have come to serve as a sign of suspended
reality, marking flashback or dream sequences. The convention has assumed
the status of clich and even the stuff of parody. At the time of this writing, for
instance, the program Car Talk on National Public Radio (NPR) has been
employing the device in a tongue-and-cheek manner, consistent with the shows
self-conscious flippancy. In a segment called Stump the Chumps, the resident
automobile gurus are put to the test by revisiting their diagnoses from a prior
week; for the listeners sake, these deliberations are recalled as a flashback,
framed by pentatonic glissandi. I asked NPR composer B. J. Leiderman about his
choice of this sound effect for the segment.
The harp gliss was simply performed on my electronic keyboard (set to a harp sample)
by glissing up and down the black keys while holding the sustain pedal. Id be interested
to hear what youve dug up about the history of the harp gliss, as my only reference . . . is from cartoons and film[:] anytime there is a dream sequence, there seems
to be that mandatory gliss.35
Chapter Five
Debussy and the Pentatonic Tradition

The nineteenth-century harp pentatonic (leaving aside its more recent incarnations) and its analogue in piano music are exceptional among the diverse repertoire considered thus far for their ostensible non-signification. The explorations
in consonance that were pioneered by Parish-Alvars anticipated a late-century
aesthetic concern with sheer sonorous beauty, one distinctive aspect of the pentatonic style of the Impressionists. At the same time, programmatic music was
also of great concern to these composers, who inherited the traditions of pentatonic signification outlined in part 2 of this book. Moreover, for all their compositional daring, the Impressionists wrote tonal music after all and hence
partook of a certain musical tradition as well, including the style-history outlined
in part 1 of this book. I would like to revisit these traditions in the context of
Impressionism, before exploring Debussys more radical practices.
A. The Tradition of Signification

The rustic theme of Debussys early suite, Printemps (ex. 5.1), is straightforward,
self-contained, and classical in its melodic style, resembling the plainest examples of nineteenth-century pentatonicism. Many other examples could be given,
from the tetratonic Alleluias concluding Le Martyre de Saint Sbastien (religious
pentatonic), to the pentatonic invocation to Pan of Six pigraphes antiques (primitive pentatonic), to the extraordinary pentatonicism of Pagodes (exotic pentatonic), of which a detailed analysis will be given below. Debussy, that is,
continued to employ the same pastoral, exotic, and religious pentatonicism as
his predecessors. And Debussy was not alone in this; pentatonic primitivism and
exoticism in Ravel have been mentioned in chapter 2.
Trs modr
Example 5.1. Debussy, Printemps (1887), i, mm. 15.
debussy and the pentatonic tradition
159
There is no question, however, that many of these later examples exhibit a

qualitatively more imaginative handling of pentatonic material. The Lever du
jour from Ravels Daphnis et Chlo, for instance, employs an idyllic pastoral pentatonicism (complete with pentatonic birdcallsee P141), but one deftly manipulated in the service of a singular programmatic effect: the depiction of a
sunrise. Ravel poetically captures the paradoxical drama of this daily occurrence
through the resolution of a G-pentatonic set to a D-pentatonic set (ex. 5.2).
The moment is astonishingmusically, the culmination of a large, prolonged
crescendo and a harmonic release by means of a plagal cadencebut at the same
time subtle, understated, and ill-defined, even anticlimacticthe harmonic resolution in question entails no fewer than four common tones and a pedal bass
that further softens the voice leading. (Incidentally, those common tones are
especially obvious in the harps pentatonic glissandi, not shown here.) This
unique programmatic task profited from an earnest and original engagement
with the pure structure of a pentatonic sound-world.
Nevertheless, Debussys and Ravels copious pentatonic usage in music of all
sorts calls into question the primacy of program: regardless of signification, pentatonicism clearly fascinated these composers as a pure musical resource. Some
of the fruits of that fascination will concern the rest of this chapter, and Debussy,
doubtless the most famous pentatonicist, will be its main focus. I hope to clarify
D maj: IV64 (pentatonic)
I (pentatonic)
Example 5.2. Ravel, Daphnis et Chlo (1912), Lever du jour, 1 before reh. 157.
160
Debussys place in pentatonic history, demonstrating both commonalities with

and distinctions from the approaches of his predecessors.
B. The Tradition of Non-Classical 6

Debussy is rightly considered a preeminent musical innovator and one of the most
decisive influences on twentieth-century musical styles. His pentatonic practice
certainly ranks among the important components of his musical language. This
practice, while at times radical, nevertheless also participates in a dialogue with the
more general nineteenth-century tendency described in chapter 1: a resourceful
preoccupation with 6 (and subdominant harmony) at the expense of 7 (and dominant harmony), epitomized by the non-classical 6 of the plagal leading tone.
1. La Fille aux cheveux de lin

Debussys prelude La Fille aux cheveux de lin certainly minimizes the role of the
leading tone. On the other hand, the great importance assumed by 6 in the piece
is matched by a notable ambivalence in its treatment, an ambivalence foreshadowed by the initial motive, a minor-seventh arpeggio suggesting both G major
and E (Aeolian) minor. In the context of G (which shortly emerges as the unambiguous tonic), the arpeggio extends from 5 down to 6 and back again; in this way
it emphasizes those two degrees but obscures their conventional adjacency relationship by fracturing a major second into a minor seventh (ex. 5.3). The theme
confirms its tonality with a plagal leading tone, and the rest of the piece is punctuated with additional 68 cadences in several varieties (ex. 5.4): conventional plagal (IVI), mixed dominant-plagal (V11 I), deceptive plagal (IVvi), and others.
In each instance, however, the cadential melody continues by retreating down the
tetrachord from 8 to 5 (with the exception of measures 1821, to be discussed
Trs calme et doucement expressif
sans rigueur
Example 5.3. Debussy, La Fille aux cheveux de lin, from Prludes, book 1 #8
(1910), beginning.
12
15
(trs peu)
18
30
35
3
perdendosi
Example 5.4. Debussy, La Fille aux cheveux de lin, cadences.
162
below). Classical and non-classical 6 thus mingle, but in both cases the melodic
motion disavows the convention of true leading-tone ascent.
At the same time, a simple audit of the melodic peaks in the piece reveals a
structural soprano that ascends in consistently pentatonic motifs, driven locally
by plagal leading tones (ex. 5.5). The pieces climax in measure 21 (at mf, the
dynamic pinnacle of this serene prelude) represents a crisis in this ascent. This
jarring C-major triad grows out of a 68 cadence in E major and its three subsequent repetitionsfirst in the original tenor register, then an octave higher,
and finally, though abortively, an octave higher still, in the register of the structural soprano (ex. 5.6). That last, feigned repetition breaks with its model
G : I
m. 1
(VI )
6
12
13
15
IV
VI
IV
ii I
16
18
21
28
35 36
Example 5.5. Debussy, La Fille aux cheveux de lin, reduction.
Un peu anim
cdez
3
Example 5.6. Debussy, La Fille aux cheveux de lin, climax and retransition
(mm. 1924).
163
precisely at the moment of cadence, skipping 6 altogether and leaping instead

from 5 to 8; in so doing, it avoids what would have been the first chromatic intrusion into the structural line (c) and hence reverses the tonal trajectory of the
piece in preparation for the recapitulation. Moreover, the requisite post-cadential
descent also skips this note, using instead the gapped motif edb. Pivotally,
the sudden insertion of a C-major triad at this moment turns 1 in the key of VI
into 6 in the key of I. The curious neglect of melodic c, and its sublimation
harmonically into c, function to destabilize the plagal leading tone of the submediant (6/VI), just as a classical retransition destabilizes the classical leading
tone of the dominant (7/V)in both cases global scale degree 4. (Further play
between the raised and natural form of 6 ensues in the inner voices in measures
2223.)
To this point, the structural line has outlined a span of a ninth from 5 up to
6that is, a reversal of the opening motives distinctive boundary tones.
Whereas 56 existed just beyond the upper and lower bounds of the opening
motive, it exists comfortably within the ninth in question, once at either
extreme. This neighbor motion was in fact instantiated in the lower portion of
the structural line (m. 6); the higher 6, which was so dramatically highlighted at
the pieces climax, soon connects with 5 in a final, octave-transposed statement
of the theme (m. 28), creating a satisfying parallelism and invoking a resumption of classical behavior. From a more explicitly Schenkerian perspective, the
piece to m. 28 represents an interruption structure elaborated by a large-scale
transfer of register (again, see reduction, ex. 5.5). The final cadence of the
piece, then, consummates this (pentatonic) interruption, extending the structural line to its highest point and featuring 68 in both melody and bass, ii64I
(ex. 5.7). The bare octave on 5 that follows as a seeming afterthought again stubbornly challenges melodic closure and further indicates Debussys idiosyncratic
construal of 6 as a deeply conflicted degree. Nineteenth-century composers
long-sought emancipation of 6, though championed here by Debussy, is also
reconsidered and reinterpreted in the interest of tempering melodic directedness. In a strange way, the pendulum has swung.
perdendosi
Example 5.7. Debussy, La Fille aux cheveux de lin, end.
164
2. La Mer
In La Fille aux cheveux de lin, Debussy deploys 6 with uncommon imagination and
with a commitment to long-range design. His La Mer, though subtitled symphonic sketches, likewise contains details involving the skillful and far-reaching
regulation of the submediant, particularly at the ends of its three movements. If
the first movement opens with an unremarkable 6the modest 56 ostinato
that comprises the initial melodic ideathe movement ends by showcasing this
degree through an astounding sleight of hand (ex. 5.8). The final measures
lumbering alternation between I and vi seems to set up a straightforward (if nonclassical) tonal polarity, but the culminating chord is actually a combination
of the two, Iadd6. In the end, 6 is neither resolved nor retained (as happens,
retenu
ww., str.
a tempo
brass, timp.
Example 5.8. Debussy, La Mer (1905), i (De laube midi sur la mer), end.
165
memorably, in Mahlers Der Abschied, ex. 1.18), but simply dissolves by means
of a brazen feat of orchestration. The major triad that is left makes a slightly
unconvincing ending, and in any case can scarcely be heard as an arrival per se.
The second movement ends with a superimposition of weakly competing keys.
The tonic E is suggested by the cadential bass leap be into the final section (m.
245), which accompanies the resolution of a whole-tone set (and its altered
dominant-seventh subset) into a long-sustained Eadd6 chord. On the other hand,
two subsequent melodic figures suggest B as tonic, if only by implication: the piccolos diatonic line and the harps pentatonic gesture both break off in the
course of their would-be cadential ascents, at 7 of B (defga) and at 6 of
B (cdfg), respectively (ex. 5.9). The opposition between the two tonics
B:
?
3
Picc.
B:
Hp.
Tpt.
3
8va
Str.
E: I add 6
Example 5.9. Debussy, La Mer, ii (Jeux de vagues), mm. 249254.
Vn.
B:
E:
3
Hp.
Fl.
Glock.
Example 5.10. Debussy, La Mer, ii (Jeux de vagues), end.
166
comes to a head with the enigmatic melodic fragments of the final measures (ex.
5.10). Measure 258 is the crucial convergence of three events, which, ingeniously, attain and then swiftly annul melodic closure: (1) the high b in the violins seems to resolve the harps dangling g pentatonically, as 68 of B; (2)
simultaneously, however, the flutes, in imitation of the harp, land on g and sustain it until the end; (3) the glockenspiel, which, like the violins offered a downbeat b and hence a mild endorsement of tonic B, continue to cthat is, the
same 6 of E that was highlighted in the previous (apparently tonic) added-sixth
chords. In short, the moment compels the listener to consider two different
notes as unresolved submediants.1
These two pitch-classes connect with the tonality of La Mer as a whole, which,
judging from the endings of the outer movements, can roughly be considered
D major: d (c) and a (g) are 1 and 5 of D. More significantly, the melting together of E-pentatonic and B-pentatonic recalls the opposition, and then
melting together, of I and vi at the end of the first movement. The third movement, on the other hand, does finally achieve a forceful resolution in its structural cadence (ex. 5.11): the majestic viI not only serves as a triumphant
Picardy sixth in response to the equivocating motif that pervades the movement,
6565 (ex. 5.12), but also recalls, and decisively settles, the elusive close of
the first movement. While La Fille involved a constant equivocation between classical and non-classical resolutions of 6, the dramatic impact of La Mer surely
3
3
vi
Example 5.11. Debussy, La Mer, iii (Dialogue du vent et de la mer), mm.

266270.
Example 5.12. Debussy, La Mer, iii (Dialogue du vent et de la mer), mm.

254256.
167
depends in part on how it teasingly reserves a straightforward non-classical resolution until the end of a multi-movement work.
C. Beyond the Pentatonic Tradition:

Debussy and the Twilight of Tonality
These discussions have concerned Debussys affinity for the contrapuntal potential and the distinctive sound of the submediant within major-minor tonality.
This affinity was shared by many nineteenth-century composers and, as I have
maintained throughout this book, relates integrally to the story of pentatonicism
per se. But beyond this, Debussy certainly explored and exploited the musical
possibilities inherent in the pentatonic scale itself, no less than he did those of
other exotic, archaic, and synthetic scales.
1. The Scalar Craftsman

I will briefly mention a number of such possibilities. As described in the introduction, the pentatonic scale contains the f to f property, which facilitates
mutations between pentatonic scales a fifth apart (as occured in Ravels Lever
du jour, discussed earlier).2 On a more general level, this property emerges
at the intersection of the pentatonic and the diatonic, since the major scale
can be constructed from the pentatonic scales of I, IV, and V; David Kopp has
shown how just such a derivation motivates the harmonic design of Debussys
Les Collines dAnacapri.3 Above all, the harmonic flexibility and modal ambiguity of pentatonicism (and infrapentatonicism) must have appealed to Debussy;
as instantiated in Pagodes (see below), pentatonic textures lacking an assertive
bass can easily dissolve into harmonic obscurity. It is for this reason also that
subsets of the pentatonic scale occupied Debussy perhaps even more than the
full five-note set itself. Furthermore, one such subset, set-class [025], as well as
the related [0257], can generate the pentatonic scale through transposition by
fourth/fifth, an abstract combinatorial property that Debussy often makes
quite audible (ex. 5.13; see also La Mer, ex. 5.8 above, antepenultimate
measure).
Pentatonicisms potential combinations and interactions, notably, are not confined to such diatonic contexts. It is with Debussy that the opposition assumed
throughout this book between pentatonic and chromatic finds both its clearest
expression and its occasional disintegration. Indeed, the various structural
relationships among Debussys favorite scales provided rich opportunities for
this sonic craftsman.
As a configuration of three major seconds divided between two groups (123
and 56), the pentatonic scale offers an obvious interface with a rather different
scale, the whole-tone. In particular, any given pentatonic scale will share three
168

pentatonic (= [02479])
pentatonic (= 2 x [0257])
3
3
3
Example 5.13. Debussy, Khamma (1912), ii, Premire danse, mm. 36.
pentatonic
whole-tone (c)
whole-tone (c )
Example 5.14. Common tones between pentatonic and whole-tone scales.
notes with one brand of whole-tone scale and two notes with the other (ex.
5.14). Debussys prelude Voiles, for instance, uses the motive abaf as a
pivot from a whole-tone to a G-pentatonic collection and uses those same
pitches again as a pivot back (ex. 5.15). Debussys enthusiasm for the two scales
may relate to the rough congruence of each with the slendro tuning of the
Javanese music Debussy so admired: a five-tone scale like Debussys pentatonic,
slendro nevertheless employs equal spacing, like Debussys whole-tone.4
A different set of commonalities exists between the pentatonic and octatonic scales: an octatonic scale will contain four major added-sixth chords separated by minor thirds and can be partitioned, as it happens, into two such
chords separated by a tritone. This fact is applied in the final section of
Debussys Rondes de printemps (from Images). The sprightly B-pentatonic
dance that begins this section contrasts starkly with the ponderous octatonic
(bcddefga) phrase that preceded it (ex. 5.16a). Nevertheless, the
169
trs souple
serrez
cdez
dim. molto
8va
En animant
(rapide)
cresc.
molto
Example 5.15. Debussy, Voiles (1909). (a) mm. 2224; (b) mm. 4043.
tonal shift between these two sections is impelled by their common bass pedal
and their four shared notes, bdfgin fact, this added-sixth chord is the
very set that opens the pentatonic passage (ex. 5.16b). Moreover, the chief
melodic cell of the octatonic passage, acd, prefigures the melodic ostinato
of the pentatonic passage, which relates as a transposed retrograde, gfd;
the accompanying bass ostinato further elaborates this relationship through
another form of the cell, the transposed retrograde inversion fgb. Those
two motives, gfd and fgb, balance within the added-sixth set across its
axis of reflective symmetry (ex. 5.16c).
A precarious confluence of pentatonic, whole-tone, and octatonic writing
occurs elsewhere in Rondes. The ethereal G-pentatonic chord struck in measure 60 supports an octatonic English horn melody by virtue of the two scales
four common tones,5 and this chord then proceeds in parallel motion through
F-pentatonic to D-pentatonic (ex. 5.17). The latter goal is perhaps motivated by
the capacity of Gadd6 and Dadd6 as partitions of the octatonic scale in question.
In any event, the motion is facilitated by a descending whole-tone scale which
voices the 321 of G-, F-, and D-pentatonic, in nested succession.
octatonic
cresc. poco a poco
expressif, marqu
Au mouvement
pentatonic
Example 5.16. Debussy, Images pour orchestre (1909), Rondes de printemps, mm. 16163, with analysis of pitch content.
171
Whole-tone (Harp)
Octatonic (English Horn)

Hp.
EHn.
pi
G
pentatonic
F
D
pentatonic pentatonic
G add 6
F
Octatonic
(English Horn)
D add 6
Whole-tone
(Harp)
Example 5.17. Debussy, Images pour orchestre, Rondes de printemps,

mm. 6062, with analysis of pitch content.
2. Radical Pentatonicism: Pagodes

The examples discussed so far have incorporated pentatonic elements with fluidity and imagination. In a way, Debussys non-dogmatic usage actually represents a more earnest and thoroughgoing commitment to these novel
compositional alternatives, as compared to the strict, unadulterated pentatonicism of Vogler (Pente chordium, P2) or Liszt (e.g., the coda to Sposalizio, P360). In
some exceptional situations, though, Debussys ambitious pentatonicism distinguishes itself not only in its refinement and nuance but in its sustained use and
its utter suffusion of textures. One of Debussys most famous pentatonic efforts,
Pagodes, is such a work, exemplary for its subtle, atmosphericin a word,
Impressionisticuse of pentatonicism. David Kopp has detailed the almost minimalistic shifts of pitch-content throughout the piece, gradual additions to and
deletions from a pervasive B-pentatonic scale.6 My analysis here (which shares
much with Kopps) further emphasizes these shifting pitch-sets by observing how
172
Debussys precise melodic and textural decisions undermine even the weak
tonality of major-pentatonicism.
The pentatonicism of the opening texture (ex. 5.18) is divided between the
bass pedal tone (1) and the tetratonic (2356) melodic motive. The melody,
that is, not only lacks the implicative forces of 4 and 7, but also lacks the most
tonal portion of the pentatonic scale, 123. In particular, it lacks the repose of
the tonic, however conspicuously the latter is provided by the accompaniment.
This tetrachord (set-class [0257]), is a favorite infrapentatonic resource of
Debussys, one that avoids the sweetness and triadic-tonal associations of the
major third but instead features the austere intervals of the second and fourth.
Beneath this repeating tetratonic theme, the stepwise countermelody (b) of
measures 710 at first appears to offer some measure of tonal normalcy, providing the missing 1 as well as 7, but diatonicism is destined to be an anomaly in
this piece (ex. 5.19). Indeed, a fully pentatonic theme (c) soon emerges in measure 11, and as it does, the bass makes its first move away from the tonic, to a
submediant pedal. The contrasting material at measure 15 (d) presents an
Modrment anim
2
dlicatement et presque sans nuances
3
8va
(a)
3
rit.
8va
5
a tempo
rit.
Example 5.18. Debussy, Pagodes (1903), mm. 16.
8va
7
a tempo
(b)
rit.
8va
a tempo
11
(c)
2
3
3
14
(d)
16
Example 5.19. Debussy, Pagodes, mm. 718.
174

Animez un peu
19
21
poco cresc.
Toujours anim
23
3
3
3
3
25
3
3
3
3
understated scalar shift to the pentatonic scale of V or, equivalently, iiithe precise harmonic identity is obscured by inner-voice chromaticism and the disappearance of the bass.
When the fully pentatonic theme (c) returns (mm. 1922), it is accompanied
by a descending bass line whose retransitional function depends ultimately
upon an illusion: it conveys an increased harmonic rhythm even as the
chameleon-like versatility of the pentatonic upper voices precludes a straightforward sense of harmonic identity or progression (ex. 5.20). The varied return
175
of the main theme (m. 23) at first appears to offer a pentatonically complete
rendition of the tetratonic material, as all five tones are present in the upper
voices. However, a closer look reveals a juxta- and super-imposition of two intervallically identical tetratonic sets (2356 and 1256), a result of the canonic
treatment of the theme; thus, within each phrase, each individual voice evades
the pentatonic scale, in favor of a less tonal subset.
The codetta to the first main section (mm. 2730) exposes a new tetratonic
theme (e) accompanied above by familiar Debussian organum (ex. 5.21). This
tetratonic collection (2356, as in the opening theme) proves peculiarly apt
for this polyphonic device, as the resulting counterpoint in parallel thirds (i.e.,
2/5, 3/6, 5/2, and 6/3) contains only perfect intervals; a fully pentatonic
organum of this sort would contain a single major third (1/3) beside its four
perfect fourths (2/5, 3/6, 5/1, and 6/2), a perhaps overly differentiated interval structure for Debussys purposes. (It is precisely the differentiation of intervals in a scale that contributes the tonal principle of position-finding.7)
Compare Ravels opulent pentatonic organum cited above (ex. 5.2).
The e in measure 33 (ex. 5.22) renders a curious effect (f), one that capitalizes
on the pentatonic circumstances, for it represents the chromaticization of a scale
degree not yet heard melodically (both e and e have occurred in the lower
parts). At the same time, it appears alongside the pitches of the home pentatonic
revenez au 1 Tempo
27
3
3
3
3
(e)
33
(f)
Sans lenteur
176
37

dans une sonorit plus claire
(g)
retenu
Tempo 1
52
scale, forming an unprecedented melodic tritone with the crucial incipit dcb,
the very segment of the home pentatonic scale that has not sounded all these
thirty-some measures (with the exception of its appearance in the diatonic b).
Nevertheless, both of these new developments prove short-lived when the main
theme returns as figuration over yet another tetratonic/pentatonic melody in
measure 37 (g), again with no clearly projected tonal center (ex. 5.23). This
theme begins as if a transposed version of c (a transposition that does not transgress the original pentatonic boundaries of the theme) and otherwise vaguely
resembles prior material, with its simple declamatory rhythms and octave voicings. Debussy, that is, has not endeavored to distinguish these pentatonic fragments, which by now have acquired the quality of caprice, revealing their essential
musical emptiness beyond their common scalar identity. A forceful restatement of
g and a return of theme f precedes the recapitulation, measure 53, which is elided
with fs concluding dcb (here, 321), thus producing at this critical juncture
a fleeting hint of a straightforward, tonal pentatonicism (ex. 5.24).
The recapitulation proceeds as before (in abridged form) until the statement
of g in measure 73, which now retains the cd neighbor ostinato of the preceding measures (ex. 5.25). This ostinato had accompanied the chromatic/pentatonic material of d, associated with the pentatonic scale of V; there, the
congruence of the ostinatos pitches with the pentatonic scales of both I and V
Animez un peu
68
70
cresc.
72
74
76
toujours
molto
178
78

8va
dim.
79
(8va)
dim.
1 Tempo
80
(8va)
8va
81
8va
8va
had mediated the transition from the one scale to the other (mm. 1819,
repeated in 6869). These pitches serve the same function here, with the introduction of dominant pentatonic figuration in measure 78 (ex. 5.26); following
prior practice, this figuration is fragmented into two pitch-class-set-equivalent
tetrachords, 2567 and 3567 (set-class [0247]). Unlike all prior pentatonic
material, however, these tetrachords both contain the major-third trichord
[024] (here, 765, or local 321) and hence stand to project harmonic function more strongly; on the other hand, and again typically, this opportunity for
harmonic clarity is defeated by the sudden absence of a bass note.
179
In measure 80, this dominant-pentatonic figuration meets a final restatement

of the opening material, that is, a tonic bass note with the remaining tetrachord
of the home pentatonic scale in the melody (ex. 5.26). Even more than the ostinato, this tetrachord is a melodic switch-hitter, containing precisely those four
notes common to both the tonic and dominant pentatonic: it lacks the root of
the former (1) and the third of the latter (7). The recapitulation of diatonic b (m.
84) takes on a slightly different meaning this time, then, as its (tonic-oriented)
trichord 321 seems to answer the 765 of the figuration, while its sustained 7
seems to endorse the dominant. In place of cs recapitulation is its pentatonic
stand-in, g, whose appearance (m. 88) occasions the transformation of the continuing dominant pentatonic figuration into the familiar tetratonic set 2356:
7 simply and unceremoniously disappears while its four surviving comrades
effortlessly assimilate into the home pentatonic (ex. 5.27). The bass now lingers
87
8va
8va
88
pi
89
Figure 5.1. Summary analysis of Debussys Pagodes.
181
retenu
97
aussi
que possible
(laissez vibrer)
Example 5.28. Debussy, Pagodes, end.
on 2, its eventual lone descent to 1 in measure 95 the only sign of harmonic finality amidst the persistent figuration, which undercuts the progression through its
assiduous retention of 2. The pieces closure consists mainly in the simple cessation
of motion and the indication laissez vibrer, a stillness that quietly invites the listener at last to behold the home pentatonic set as one complete entity, no longer
endlessly fragmented, manipulated, and given unstable or ambiguous harmonic
support (ex. 5.28). (A summary analysis is given in figure 5.1.)
***
In chapter 1, I argued that Dvorks extreme pentatonic melodic style called into
question certain assumptions of common-practice tonality. In the end, though,
his and others extensions of scalar practice, while melodically and harmonically
novel, left the more salient aspects of tonality intact: namely, the priority of the
triad and the essentially dramatic use of harmonic progression and contrast.
Dvorks pentatonicism represents a tonally viable, ultimately triadic style corresponding to that of certain conservative twentieth-century composers like
Copland and Vaughan Williams. In contrast, the pentatonicism of Debussys
Pagodes (written the year before Dvorks death) exists in a sort of dim, pre-tonal
world, in which distinctions between consonance and dissonance, between a
harmony and its successor, are projected so weakly as to preclude any drama of
the sort normally associated with tonality in the strict sense. The idealism of
Dvork becomes the nihilism of Debussy.
Afterword
Beyond Debussy
Debussy was not alone in relishing the syntactic-structural resources of pentatonicism en soi. The pentatonicism of Mahlers Das Lied von der Erde, long associated with the works Chinese-inspired texts, has been shown to involve
far-reaching structural functions.1 Bartk and Kodly have been credited with
pioneering an organic synthesis of the music of East and West, namely, the
melodic thinking of pentatonicism and the harmonic thinking of the acoustic
scale;2 Bartk himself referred to the pentatonic scale as the most suitable antidote for the hyperchromaticism of Wagner and his followers, even as he also
instructed that the simpler the melody the more complex and strange may be
the harmonization.3 Pentatonic applications to post-tonal vocabularies have
likewise been noted in the music of Ives, Villa-Lobos, Milhaud, and Crumb.4
There is also clear evidence in twentieth-century music of the persistent influence of nineteenth-century significationthe exotic (exx. A.1, A.2), the
pastoral-primitive (exx. A.3A.5), and the religious (ex. A.6). A distinctly twentieth-century extension of this heritage is seen in the use of pentatonicism in
allusions to African American music, such as the faux spiritual of example A.7.
Today pentatonicism has become something of a commonplace for Western
listeners, owing chiefly to its ubiquity in various genres of popular music
(exx. A.8A.12). Such popular music would seem to constitute the current
musical mainstream, and recording artists at the turn of the twenty-first century
find themselves in a position roughly analogous to that of musicians at the turn
of the nineteenth century: possessing a robust and cosmopolitan musical language with broad appeal. Likewise, stylistic and conceptual incursions periodically enliven this music and its attending culture, in a manner reminiscent of
early Romanticism: from George Harrisons sitar to Eric Claptons blues, from
the perennial reincarnations of Latin rock to the pop-marketed, best-selling
recordings of Benedictine chant. Despite these broad historical similarities,
however, the case of pentatonicism is altogether different in the two contexts:
Anglo-American pop-rock derives its pentatonicism largely from African sources
and frequently assumes a minor-mode form. Furthermore, in the present context, pentatonicism is neither a signifier per se, nor a quaint vestige of prior styles,
but a vital fount of musical material. After all, pentatonicism suits well the terse,
riff-based melodic style that is conducive to improvisation, group composition,
and directness of communicationthe hallmarks of popular music. Grounded
184
beyond debussy
in (more or less) conventional diatonic harmony, pop-rock pentatonicism actually achieves the opposite of Debussys ambiguity and expansiveness.
Just as tonal music in general continues to entertain and inspire a hundred
years after some proclaimed tonality exhausted, there is no reason to suppose
that composers, even in the twenty-first century, will deplete the possibilities of
pentatonicism. But should pop-rock composers ever grow tired of the bluesbased pentatonic scales that have served these genres for half a century, a stripping down to a sub-pentatonic structure would seem unlikely. Five notes may be
a lower limit (or at least a significant threshold) for melodic interest and variety.
In this respect, the particular compositional circumstances of nineteenth-century
music seem to have been unique to that time.
8va
marcato
Example A.1. Stravinsky, Le Chant du rossignol (1917), #1, reh. 6.

3
Example A.2. Britten, Prince of the Pagodas (1956), Prelude, beginning.
Andante sostenuto
Cadenza
sur la touche
senza misura
Example A.3. Vaughan Williams, The Lark Ascending (1914), beginning. ( 1925
Oxford University Press. Used by permission. All rights reserved.)
It has be come that time
rock
ing gen tly and talk
of eve
ning
ing gen
when
tly
peo ple
sit on their porch es,
and watch ing the street and the
sempre legato
stand ing up in to their sphere of pos
ses sion
of the trees, of birds hung
espr.
ha
vens,
hang
ars.
Example A.4. Barber, Knoxville: Summer of 1915 (1947). ( 1949 (Renewed)

by G. Schirmer, Inc. [ASCAP]. International Copyright Secured. All Rights
Reserved. Reprinted by Permission.)
But list en!
a voice is near;
lontano, semplice
Great Pan him self
low whis per ing
through the reeds,
Example A.5. Argento, To Be Sung upon the Water (1972), #2, reh. 1.
Example A.6. Honegger, Pastorale dt (1920), mm. 3638.
Cb.
Vc.
Va.
Vn. II
Vn. I
Hn.
Bsn.
Cl.
Ob.
Fl.
subito
subito
subito
subito
subito
subito
subito
subito
un poco animando
Animez, mais trs peu
Refrain (very slowly, with deep expression)
Ol
man riv er,
dat
ol man riv er,
He
must know sump in, but
molto legato
dont say noth in, He
jus keeps roll in, He
keeps on
roll in
long.
Example A.7. Jerome Kern, Ol Man River (1927), refrain. ( 1927 UniversalPolygram International Publishing, Inc. Copyright Renewed. All Rights
Reserved. Used by Permission.)
Moderately
Verse:
G
The man
who on
ly lives
for
Em7
Em6
Am7
mak
ing
mon
Am7
Em7
lives
life
that is
nt
nec
es sar
ly
sun
D7
ey
D7
ny.
Example A.8. Gershwin, Nice Work If You Can Get It (1937), verse.
Slowly
Ive got
on
cloud
sun shine
day;
Example A.9. Smokey Robinson, My Girl (1964). ( 1964, 1972, 1973, 1977
[Renewed 1992, 2000, 2001, 2005] Jobete Music Co., Inc. All Rights Controlled
and Administered by EMI April Music Inc. All Rights Reserved. International
Copyright Secured. Used by Permission.)
Example A.10. Jimi Hendrix, Purple Haze (1967). ( 1967, 1980 by

Experience Hendrix, L.L.C. Copyright Renewed 1995. All Rights Controlled
and Administered by Experience Hendrix, L.L.C. All Rights Reserved.)
Am
C/G
Am
C/G
Am
C/G
Fmaj7
Fmaj7
Fmaj7
Example A.11. Jimmy Page, Stairway to Heaven (1971), beginning of guitar solo.
Moderately
met my
old
lov
er
on the
street last night;
Example A.12. Paul Simon, Still Crazy After All These Years (1975).
Catalogue of
Pentatonic Examples
Preface to the Catalogue

This Catalogue illustrates the phenomenon of pentatonicism from the eighteenth century to Debussy. Its musical examples have been ordered according to
P numberidentifiers that serve as cross-references from the text, where each
example has been discussed (or at least mentioned). Each of these examples is
cited in the books main Index, which provides page references to the examples
every mention and appearance, whether in the text or in the Catalogue. In addition, a Chronological Index of Catalogue Examples appears beginning on p. 197.
As was explained in the Introduction, while the pentatonic scale is easily
defined, it will be useful to refer more generally to pentatonicism: a set of features
peculiar to the strict pentatonic system. The casual reader who refers to the catalogue without also reading the text will thus occasionally be surprised to find
examples on the periphery of the pentatonic stylefor instance, the hexachordal theme of P50 or the third dyads of P104. Such examples are included as
illustrations of particular musical influences relevant to the history and meaning
of pentatonicism and have been reproduced here when it would have been
impractical to do so in the course of the text.
Dates given in the example captions (whether in this catalogue or the text
itself), refer to composition whenever practical, and otherwise to publication (as
for all of Parish-Alvars works). In some cases, only rough dating estimates have
been possible.
Chronological Index of
Catalogue Examples
ca. 1700
1712
1719
1720s?
1725
1728
1741
1741
1756
1757
1777
1777
1778
1781
1785
1785
ca. 1790s
1791
1791
1795
1797
1798
1801
1804
1806
1806
1806
1806
1808
1809
1816
1816
1819
1819
Johann Christoph Pez, Concerto pastorale [P46]

Handel, Il pastor fido [P40]
Vivaldi, Violin Concerto in A major, Il cucu, RV 335 [P135]
Heinichen, Pastorale per la Notte della Nativitate Christi [P47]
Vivaldi, La primavera [P133]
Vivaldi, Flute Concerto in D major, Il gardellino, RV 428 [P134]
Handel, LAllegro, il penseroso, ed il moderato [P128]
Handel, Messiah [P49]
Leopold Mozart, Sinfonia di caccia [P55, P60]
Handel, The Triumph of Time and Truth [P48]
Michael Haydn, Missa Sancti Aloysii [P281]
Michael Haydn, Missa Sancti Hieronymi [P282]
Rosetti, Sinfonia pastoralis [P125]
Haydn, Symphony #73, La Chasse [P53]
Haydn, Symphony #88 [P173]
Knecht, Le Portrait musical de la Nature [P131]
Punto, Rondeau en chasse [P58]
Grtry, Guillaume Tell [P67]
Mozart, The Magic Flute [P50, P101]
Haydn, Symphony #104 [P174]
Beethoven, Deutsche, WoO 13 #5 [P182]
Vogler, Pente chordium [P2]
Haydn, Die Jahreszeitzen [P52, P82, P166]
Lesueur, Ossian [P238]
Beethoven, cossaise, WoO 83 #1 [P184]
Beethoven, String Quartet, op. 59 #2 [P43]
Domenico Corri, The Travellers [P3]
Mhul, Uthal [P78]
Beethoven, Symphony #6 [P132, P159]
Weber, Incidental music to Turandot [P4]
Schubert, Jgers Abendlied [P85]
Schubert, Wiegenlied [P105]
Rossini, La donna del lago [P57]
Schubert, Trost [P83]
198
1820s?
1822
1822
1823
1823
1823
1824
1824
1825
1825
1827
1828
1828
1828
1828
1828
1828
1828
1829
1829
1829
1830
183032
1831
1832
1832
1832
1832
1833
1833
1833
1834
1834
1834
1835
1835
1836
1836
1836
1836
1837
1837
1838
chronological index of catalogue examples

Kalkbrenner, Hymne des dix mille ans [P5]
Schubert, Gott in der Natur D. 757 [P200]
Schubert, Der Musensohn [P86]
Beethoven, Missa Solemnis [P322]
Loewe, Vogelgesang [P136]
Schubert, Die schne Mllerin, Des Baches Wiegenlied [P118]
Schubert, Lndler, D. 814 #1 [P171]
Schubert, Lndler, D. 814 #4 [P172]
Boieldieu, La Dame blanche [P80, P81, P218, P225, P239]
Schubert, Die junge Nonne [P150]
Schubert, Frhlingslied, D. 919 [P199]
Berlioz, Waverley [P233]
Chopin, Krakowiak [P242]
Chopin, Rondo, op. 73 [P398]
Schubert, Piano Trio in B major [P63]
Schubert, Sonata in A major, D. 959 [P177]
Schubert, Symphony #9 [P175]
Schubert, Winterreise, Frhlingstraum [P41]; Gute Nacht [P191];
Die Krhe [P193]; Der Lindenbaum [P59]; Mut! [P194]; Die
Post [P192]; Rckblick [P84]
Berlioz, Irlande, op. 2 #2, Hlne [P230, P231]; #7, LOrigine de la
harpe [P232]
Chopin, 3 cossaises, op. 72 #3, #1 [P185]; op. 72 #3, #2 [P186]; op. 72
#3, #3 [P187]
Rossini, Guillaume Tell [P68, P70, P79]
Franz Lachner, Das Waldvglein [P87]
Berlioz, Symphonie fantastique [P72, P292]
Berlioz, Rob Roy [P226, P227]
Chopin, Etude, op. 10 #5 [P394]
Chopin, Nocturne, op. 9 #1 [P62]
Chopin, Waltz, op. 18 [P176]
Cherubini, Ali-Baba [P6]
Chopin, Introduction and Rondo, op. 16 [P395]
Loewe, Die Oasis [P16]
Loewe, Das Muttergottesbild im Teiche [P161]
Mendelssohn, Jagdlied [P88]
Parish-Alvars, Tema con variazioni, WoO PA1 [P374]
Chopin, Nocturne in C minor, op. 27 #1 [P305]
Chopin, Waltz, op. 34 #1 [P183]
David, Aux Filles dgypte [P19]
Glinka, A Life for the Tsar [P248, P249, P250, P264]
Liszt, Fantaisie romantique sur deux mlodies suisses [P54, P69]
Thalberg, Nocturne, op. 16 #1 [P388]
Berlioz, Requiem [P306, P307, P324]
Chopin, Etude, op. 25 #5 [P396]
Liszt, Au Lac de Wallenstadt [P202]
1838
1838
183861
1839
1840
1840
1840
1840
1840
1840
1840
1841
1842
1842
1842
1842
1842
1842
1842
1843
1843
1843
1843
1844
1844
1844
1844
1844
ca. 1844
1845
1845
1845
1845
184574
1846
1846
1846
1846
1846
1847
1847
1848
1848
1848
1848
1849
199
Liszt, Chapelle de Guillaume Tell [P299]

Parish-Alvars, Fantasia, op. 35 [P372, P379]
Liszt, Sposalizio [P301, P360]
Liszt, Transcendental Etude #1 [P399]
Loewe, Die Mutter an der Wiege [P113]
Schumann, Liederkreis, op. 24, Morgens steh ich auf [P196]
Schumann, Der Nussbaum [P158]
Schumann, Unterm Fenster, op. 34 #3 [P236]
Thalberg, Fantasy on Oberon, op. 37 [P392]
Chopin, Ballade in A major[P169]
Chopin, Mazurka, op. 50 #3 [P45]
Franck, Piano Trio in F minor, op. 1 #1 [P413]
Liszt, Albumblatt in Walzerform [P190]
Mendelssohn, Scottish Symphony [P217, P219]
Parish-Alvars, Fantasia on Themes from Webers Oberon, op. 59 [P381]
Thalberg, Andante Final de Lucia di Lamermoor, op. 43 [P390]
Thalberg, Fantasy on Don Juan, op. 42 [P391]
Chopin, Ballade in F minor [P170]
Franz, Schlummerlied [P115, P119]
Parish-Alvars, Grand Fantasia on Rossinis Mose, op. 58 [P375, P378,
P382]
Parish-Alvars, Grande Fantaisie et Variations de Bravoure, op. 57 [P373]
Chopin, Berceuse [P120]
Gade, Symphony #1 [P77]
Loewe, Alpins Klage [P221]
Loewe, Der Mohrenfrst auf der Messe [P17]
Parish-Alvars, La Danse des fes [P383]
Mass, Le Muletier de Calabre [P90]
David, veillez-vous [P92]
David, Le Pcheur sa nacelle [P111]
Liszt, Es rufet Gott uns mahnend [P351]
Parish-Alvars, Scenes from My Youth, op. 75, Gipsies March [P380]
Liszt, St. Cecilia [P311, P330, P347, P362]
Gade, Comala [P51, P220]
Parish-Alvars, The Farewell, op. 68 (Romance #20) [P370]
Parish-Alvars, Grand Study in Imitation of the Mandolin [P371, P384]
Parish-Alvars, Serenade, op. 83 [P368, P369, P385]
Loewe, Lied der Knigin Elisabeth [P228]
Schumann, Das Hochlandmdchen, op. 55 #1 [P235]
Liszt, Invocation from Harmonies potiques et religieuses [P367]
Liszt, Mass in C minor [P278, P288]
Schumann, Album fr die Jugend [P127]
Wagner, Lohengrin [P99, P315]
Liszt, Ballade #1 [P402]
200
1849
1849
1850
1850
1850
1851
1851
1851
185166
1852
1852
1853
1853
1853
1854
1854
1854
1855
1855
1855
1855
1855
1855
1855
1855
1855
1856
1856
1856
1856
1856
1856
1856
1858
1858
1858
185881
1859
1859
185965
185977
1860
1860
1860
1860
1860s?

Nicolai, Die lustigen Weiber von Windsor [P222]
Schumann, John Anderson, op. 145 #4 [P234]
Liszt, Consolation #3 [P404, P405]
Parish-Alvars, Grand Fantasia on I Capuleti e i Montecchi by Bellini and
Semiramide by Rossini [P376, P377]
Schumann, Symphony #3 [P160, P178]
David, La Perle du Brsil [P106]
Reyer, un Berceau [P216]
David, Au Couvent [P208]
Gounod, Les Naades [P98]
Schumann, Incidental Music to Manfred [P65]
Cornelius, Wiegenlied [P121]
Gounod, Messe aux Orphonistes [P298]
Liszt, Ballade #2 (autograph ending) [P403]
Mass, La Chanson du printemps [P143]
Reyer, Adieu Suzon [P76]
Wagner, Das Rheingold [P96]
Gounod, St. Cecilia Mass [P280, P291, P297, P327, P353, P357]
Liszt, glogue [P204]
Liszt, Pastorale [P203]
Liszt, Les Prludes [P205]
Liszt, Rigoletto (concert paraphrase) [P406, P407]
Offenbach, Ba-Ta-Clan [P18]
Saint-Sans, La Cloche [P155]
Saint-Sans, Le Lever de la lune [P229]
Saint-Sans, Viens [P164]
Bruckner, Ave Maria [P272]
Cornelius, Am Morgen [P165]
Cornelius, Simeon [P162]
Cornelius, Vorabend [P100]
Liszt, Dante Symphony [P287, P310]
Saint-Sans, Mass, op. 4 [P337]
Wagner, Die Walkre [P344]
Chipp, Twilight Fancies #2 [P167]; #3 [P211]
Liszt, Herr, wie lange [P313, P334]
Liszt, Missa solemnis [P314]
Balakirev, Overture on Three Russian Themes [P259]
Gounod, Faust [P328]
Meyerbeer, Dinorah [P56, P71]
Liszt, Missa Choralis [P273, P331, P332, P339, P340]
Saint-Sans, Samson et Dalila [P24]
Brahms, Gesang aus Fingal, op. 17 #4 [P237]
Liszt, Die Himmel erzhlen [P352]
Liszt, Les Morts [P345]
Loewe, Thomas der Reimer [P148, P224]
Gounod, Choral [P154]
1861
1861
1861
1862
1862
1862
1862
1862
1863
1864
1866
186672
1867
1868
1868
1868
1868
1868
1869
1869
1869
1869
1869
1869
1869
1869
186987
18691902
1870
1871
1871
1872
1872
1872
1874
1874
1874
1874
1874
1874
1874
1875
1875
1876
1877
201
Brahms, Darthulas Grabesgesang, op. 42 #3 [P223]

Liszt, Faust Symphony [P346, P358]
Liszt, Mein Gott [P336]
Chabrier, Ronde gauloise [P102]
Cornelius, Abendgefhl [P109]
David, Lalla-Roukh [P20, P21]
Liszt, St. Elisabeth [P279, P289, P335, P341, P361, P363, P364]
Thalberg, Fantasy on Il Trovatore, op. 77 [P389]
Gounod, Les Champs [P97]
Gounod, Mireille [P64, P74, P103]
Bruckner, Mass in E minor [P276]
Liszt, Christus [P326, P333, P348]
Liszt, Adagio for organ [P323]
Bizet, Rve de la bien aime [P142]
Brahms, Wiegenlied [P104]
Liszt, Requiem [P325, P329]
Massenet, Lve-toi [P91]
Thomas, Hamlet [P240]
Balakirev, Islamey: Oriental Fantasy [P260]
Brahms, Alto Rhapsody [P293]
Brahms, Liebeslieder Waltzes, op. 52 #3, O die Frauen [P188]; #6 Ein
kleiner, hbscher Vogel [P144]; #13, Vgelein durchrauscht die
Luft [P129]; #15, Nachtigall, sie singt so schn [P124]
Chabrier, Ivresses! [P180]
Liszt, Hungarian Coronation Mass [P303, P350]
Saint-Sans, Marche Orient et Occident [P22]
Tchaikovsky, Romeo and Juliet [P295]
Wagner, Siegfried [P139]
Borodin, Prince Igor [P243, P244]
Faur, Pices brves, op. 84 #7, Allgresse [P408]
Wagner, Siegfried-Idyll [P140]
Bizet, Djamileh [P23]
Brahms, Schicksalslied [P110, P294, P302]
Massenet, Bonne Nuit! [P112]
Saint-Sans, La Princesse jaune [P8, P9, P10, P11, P12, P13, P14, P15]
Tchaikovsky, Symphony #2 [P258]
Brahms, Der Abend [P108]
Brahms, Neues Liebeslieder, op. 65 #8, Weiche Grser [P201]
Liszt, Anima Christi [P277]
Mass, Berceuse [P114]
Mass, Dans les Bois [P126]
Mass, Eho! [P89]
Mussorgsky, Pictures at an Exhibition [P266]
Faur, Nocturne, op. 33 #2 [P409]
Grieg, Peer Gynt Suite [P75]
Liszt, Weihnachtsbaum [P42]
Faur, Requiem [P270, P275, P300, P338]
202
1877
1879
1879
1879
1879
1879
1880
1880
1880
1881
1881
1881
1882
1882
1882
1882
1883
1883
1883
188396
1884
1884
1884
1884
1884
1885
1885
1885
1885
1886
1886
1886
1886
1886
1887
1888
1888
1888
1888
1888
1889
1889
1890
1891
1891

Gounod, Messe brve in C major [P317]
Bruckner, Os justi [P269]
Liszt, Organ Mass [P309]
Liszt, Ossa arida [P365]
Liszt, Pater Noster [P312]
Liszt, Via Crucis [P286]
Chausson, Les Papillons [P138]
Grieg, Vaaren (Spring) [P145]
Puccini, Messa di Gloria [P321]
Chabrier, Pices pittoresques, Menuet pompeux [P179]
Faur, Messe basse [P320]
Wagner, Parsifal [P153, P284, P343]
Borodin, Symphony #1 [P247]
Liszt, Anglus! Prire aux anges gardiens [P349]
Liszt, Marche funbre [P308]
Liszt, Von der Wiege bis zum Grabe [P116]
Chausson, Rveil [P130]
Liszt, Am Grabe Richard Wagners [P342]
Lully, Le Bourgeois Gentilhomme (arr. Weckerlin, 1883) [P1]
Mahler, Lieder eines fahrenden Gesellen [P195]
Bruckner, Te Deum [P274, P356]
Liszt, Eucharista [P285]
Liszt, Matrimonium [P271]
Liszt, Ordo from Septem Sacramenta [P366]
Rimsky-Korsakov, Sinfonietta on Russian Themes [P262]
Liszt, O Sacrum Convivium [P359]
Liszt, Salve regina [P290]
Reinecke, Harp Concerto [P386]
Sullivan, The Mikado [P25, P26]
Delibes, Bonjour, Suzon! [P207]
Delibes, glogue [P73]
DIndy, Symphony on a French Mountain Air [P241]
Faur, Barcarolle, op. 44 [P410]
Saint-Sans, The Carnival of the Animals, #13, The Swan [P137]
Borodin, Symphony #2 [P245, P246]
Brahms, Zigeunerlieder #3 Wisst Ihr, wann mein Kindchen [P95]; #5,
Brauner Bursche fhrt zum Tanze [P267]; #9, Weit und breit
[P268]
Gounod, Messe solennelle #4 in G minor [P316]
Mahler, Symphony #1 [P283]
Rimsky-Korsakov, La Grande Pque russe [P257, P387]
Johann Strauss, Jr., Donauweibchen [P189]
Chabrier, Ballade des gros dindons [P181]
Chabrier, Toutes les Fleurs [P206]
Hahn, Paysage [P94, P209]
Faur, En Sourdine [P123]
Grieg, Bell-Ringing [P152]
1892
1892
1892
1893
1893
1893
1893
1894
1895
1895
1896
1896
1896
1898
ca. 1898
1899
1900
1900
1900
1901
1901
1901
1902
1902
1903
1904
1904
1905
1905
1906
1906
1906
1908
1911
1911
1912
1913
1913
1915
1918
1925
1926
203
Bruckner, Psalm 150 [P319]

Hahn, Dune Prison [P156]
Hahn, LHeure exquise [P168]
Dvork, Symphony #9 [P210]
Gounod, Requiem [P318]
Messager, Madame Chrysanthme [P7, P27, P28]
Tchaikovsky, Symphony #6 [P251]
Faur, Une Sainte en son aurole [P354]
Lyadov, Etude, op. 37 [P411]
Lyadov, Mazurka, op. 38 [P261]
Chausson, Ballade [P163]
Rimsky-Korsakov, Sadko [P252, P253, P254, P255, P256, P263, P265]
Saint-Sans, Piano Concerto #5, Egyptian [P29]
Ravel, Shhrazade [P35]
Schoenberg, Ei, du Ltte [P93]
Mascagni, Iris [P30, P31, P32, P33]
Mahler, Symphony #4 [P146, P212]
Rachmaninoff, The Lilacs [P214]
Rachmaninoff, Melody [P117]
Mahler, Ich bin der Welt [P198]
Mahler, Um Mitternacht [P149]
Ravel, Jeux deau [P415]
Mahler, Symphony #5 [P304]
Rachmaninoff, Spring [P213]
Cui, Prelude in A major, op. 64 #17 [P412]
Mahler, Kindertotenlieder [P122]
Nielsen, Sleep [P107]
DIndy, Jour dt la montagne [P147]
Ravel, Miroirs, v, La Valle des cloches [P157]
Rachmaninoff, Before My Window [P215]
Rachmaninoff, Let Me Rest Here Alone [P197]
Suk, Asrael [P355]
Ravel, Gaspard de la nuit [P416]
Coleridge-Taylor, A Tale of Old Japan [P34]
Ravel, Ma Mre loye [P36]
Ravel, Daphnis et Chlo [P141]
Debussy, Feux dartifice, from Prludes, book 2 #12 [P414]
Rachmaninoff, The Bells [P151]
Richard Strauss, Eine Alpensinfonie [P61, P66]
Puccini, Gianni Schicchi, O mio babbino caro [P296]
Ravel, LEnfant et les sortilges [P37, P38]
Puccini, Turandot [P39]
P1. Lully, Le Bourgeois Gentilhomme (arr. Weckerlin, 1883), IV/9, Turkish scene, 2nd
Entre, m. 20.
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
hou,
206
catalogue of pentatonic examples
P2. Vogler, Pente chordium (1798), beginning. (From Georg Joseph Vogler: Pices de
clavecin (1798); and Zwei und dreisig Prludien (1806), Madison, WI: A-R Editions, Inc.,
1986. Used with permission. All rights reserved.)
13
17
20
P2. (continued)
23
26
29
31
207
208
P3. Domenico Corri, The Travellers (1806), I/3, beginning.
P4. Weber, Incidental music to Turandot (1809), mm. 1931.

Vn. I
Vn. II
Va.
Vc.
Cb.
Vn. I
Vn. II
Va.
Vc.
Cb.
Vn. I
Vn. II
Va.
Vc.
Cb.
209
210
P5. Kalkbrenner, Hymne des dix mille ans (1820s?).

Moderato
Dix
hon neur, neuf
Rois,
de
ses
leur
ay
mille ans de bon
fois
sa
ge
eux
hon
vain
heur, de gloire
neur!
queur,
les
au
Dix
mes,
mille
du
lEm pe
reur,
fen
ans
haut
seur
de
bon
des
des
heur!
Cieux,
211
P5. (continued)
clai rent de
leurs pu res
flam
mes:
hon neur, neuf
fois
hon
cresc.
neur!
queur.
fils
du
Ciel!
sois
tou
jours
vain
212
P6. Cherubini, Ali-Baba (1833), #3, 11 from end.
P7. Messager, Madame Chrysanthme (1893), Prologue, Yves fantasy.

Allegretto
Pierre
Eh oui... cest vrai!
Yves
Je me ma rie
rai Aus si tt
ar ri
v l bas! . .

P8. Saint-Sans, La Princesse jaune (1872), overture, mm. 7486.
Allegro giocoso
P9. Saint-Sans, La Princesse jaune (1872), #5, mm. 1930.

Dans la coulisse.
na
ta
ma
si
ta!
wa
na
na
ta
sa
213
214

dolce graziosamente
Sur leau claire
et sans ri
de
Il a le ha sard pour gui
Glis se mon ba teau
de;
Moi je re gar de dans
leau
quil
Au des sus du flot tran
le
Est le grand ciel
ar gen
215

Kornelis
In
do
cile
man
te,
Tu mo b
ras
appassionato
P12. Saint-Sans, La Princesse jaune (1872), between #5 and #6.
Cest ain si que ton i
a mour ap par tient,
Se re fl
ma
Com me le ciel,
te en mon coeur,
ge,
et
hum ble mi roir
O beau t pure qui mon
la stre, et le nu age
du
tien!
216
P13. Saint-Sans, La Princesse jaune (1872), between #5 and #6.

Mais non je ne trouve plus
Au front de limpassible image
Les rayonnements damour entrevu,
O Lna, sur ton doux visage.
Oui, le rve est vaincu par la ralit.
Il manque ses yeux ltincelle

Lclair que tu leur as prt.
Et je sens quelle nest plus belle

O Lna que de ta beaut
Je taime!

Lna
Non!
Kornlis
chan
te en
Le
Ja
fant
Cest
Lna
Korn.
jai
me
pon
est
char
mant
toi
que
217
218
P15. Saint-Sans, La Princesse jaune (1872), end.

cresc.
stringendo
P16. Loewe, Die Oasis (1833), beginning.

Adagio
tranquillamente
dolce
P17. Loewe, Der Mohrenfrst auf der Messe (1844), mm. 1721.
P18. Offenbach, Ba-Ta-Clan (1855), Introduction, mm. 2737.

Moderato
P19. David, Aux Filles dgypte (1836), secondary theme.
219
220
P20. David, Lalla-Roukh (1862), Overture, mm. 1317.

Andantino
P21. David, Lalla-Roukh (1862), II/8, Loin du bruit, end.

a tempo
dim.
P22. Saint-Sans, Marche Orient et Occident (1869), 3 before reh. 4.
Fl. I
Fl. II
Tri.
221
P23. Bizet, Djamileh (1871), #10, Duet, m. 255.

Moderato
espressivo
Ta
mien!
vre par
fu
e,
Ta
P24. Saint-Sans, Samson et Dalila (185977), I/6, Philistine chorus to the spring, end.
tou
jours!
tou
jours!
222
P25. Sullivan, The Mikado (1885), Overture, beginning.

Allegro

P26. Sullivan, The Mikado (1885), Overture, third section.
P27. Messager, Madame Chrysanthme (1893), III/7, Danses, Allegro moderato.

Allegro moderato
cantabile
P28. Messager, Madame Chrysanthme (1893), III/7, Danses, Pi vivo.

Pi vivo
223
224
P29. Saint-Sans, Piano Concerto #5, Egyptian (1896), ii, Poco pi mosso after reh.
26.
8va
cantabile
(8va)
(8va)
(8va)
cresc.
P29. (continued)
(8va)
(8va)
(8va)
dolce
225
226
P30. Mascagni, Iris (1899), Overture, LAurora, reh. 5.

Largo
calmo e sostenuto
trattenuto
a tempo
subito
sostenendo
a poco
P31. Mascagni, Iris (1899), reh. 3.

rall.
a tempo
3
en tro un ce
spo
di
ro
se.
dolce
3
3

P32. Mascagni, Iris (1899), 1 after reh. 7.
(alzando le braccia verso il cielo)
Largo sostenuto
attaccando con slancio
Ma,
Sol,
tu
vie
ni
8va
rall.
P33. Mascagni, Iris (1899), reh. 25.

(occupandosi dei fiori del suo piccolo giardino)
Iris
Andantino
recitando
In
re
pu
stil
le,
ga
ie
scin
til
le
Il Cieco
Tu mi hai tolto la vista,
ma io
(le Mousm scendono nel ruscello a lavare)
legatissimo
sostenendo
a tempo
sempre
rit.
Iris
scen
Il C.
de
la
vi
ta!
Lac
qua
vedo la Tua Gran dezza;
sef
fon
de . . . .
la tua Gran
a tempo
rit.
sempre
227
228
P34. Coleridge-Taylor, A Tale of Old Japan (1911), 5 after reh. 3.

Listesso tempo
3
Chorus
S.
Ki mi, the child of his bro ther,
3
Bright as the moon
in May,
A.
Ki mi, the child of his bro ther,
Bright as the moon
in May,
3
3
3
3
P35. Ravel, Shhrazade (1898), mm. 7582.

cresc.
3
Perse,
et lInde,
et puis la
Chine,
Allegro
3
Les
man da rins ven
trus
sous les om
brel les, Et les prin ces ses aux mains
fi
nes,
Et les let
229
230
P35. (continued)
3
trs
qui se
que rel lent Sur la
po
sie
et sur la beau
P36. Ravel, Ma Mre loye (1911), Laideronette, Impratrice des Pagodes, beginning.
Mouvement de marche
m.d.
231
P37. Ravel, LEnfant et les sortilges (1925), mm. 2027.

Lenfant
Jai pas en vie de faire ma pa
pro me ner.
ge,
Jai en
Jai en vie dal ler me
vie
de man ger tous les g
teaux
232
P38. Ravel, LEnfant et les sortilges (1925), Chinese Teacup.

La Tasse ( lEnfant, en le menaant de ses doigts pointus et dors)
espressivo, portando
Keng a
fou,
Mah
jong,
Keng
8va
fou,
(8va)
Puis
kong kong
pran pa,
oh
r,
P39. Puccini, Turandot (1926), I, reh. 19 (childrens hymn).

Andantino
Ragazzi (interni, avvicinandosi)
L,
su
mon
ti del
lest,
la
ci
8va
co
gna can
t,
Ma
la
pril
8va
ri
fio
r,
ma
la
ne
ve non sge
non
233
234
P40. Handel, Il pastor fido (1712), II/1, Caro Amor, mm. 2435.
Ca ro A mor,
la
scia in pa
ca ro A mor,
ce
lal
ma
sol
per
mi
mo
men
ti
a,
P41. Schubert, Winterreise (1828), Frhlingstraum, mm. 58.
Ich trum te von bun
ten
Blu
men,
so wie sie wohl bl hen im Mai,
P42. Liszt, Weihnachtsbaum (1876), #3, Die Hirten an der Krippe, beginning.
un poco marcato
marcato
P43. Beethoven, String Quartet, op. 59 #2 (1806), finale, beginning.

Presto
P44. Chopin, Nocturne, op. 37 #2 (1839), mm. 2833.

sostenuto
P45. Chopin, Mazurka, op. 50 #3 (1842), mm. 4548.
mezza voce
235
236
P46. Johann Christoph Pez, Concerto pastorale (ca. 1700), Adagio, beginning.
Pastorale
Adagio
P47. Heinichen, Pastorale per la Notte della Nativitate Christi (1720s?), beginning.
2 Oboes
(Flutes)
Organo
(Cembalo)
6
4
6
4
5
3
6
4
5
3
P48. Handel, The Triumph of Time and Truth (1757), Pleasure, beginning.
Vn. I
Ob. I, II
Vn. II
Va.
Bsn.
Cb.
P49. Handel, Messiah (1741), Pastoral Symphony, beginning.
237
P50. Mozart, The Magic Flute (1791), I, Quintet, mm. 310.

sotto voce
Drei Knb
chen,
jung,
schn,
hold
und
wei
se, um
Drei Knb
chen,
jung,
schn,
hold
und
wei
se, um
schwe
ben euch
auf
eu
rer
Rei
se,
sie wer
den eu
re
schwe
ben euch
auf
eu
rer
Rei
se,
sie wer
den eu
re
Fh
Fh
rer
sein,
folgt
ih rem Ra
te
ganz
al
lein.
rer
sein,
folgt
ih rem Ra
te
ganz
al
lein.
238
P51. Gade, Comala (1846), #1, Chor der Krieger und Barden, beginning.
Andante
Hn.
P52. Haydn, Die Jahreszeiten (1801), #29, Herbst, Hrt! hrt das laute Getn, mm.
8489.
Jetzt hat er die Hun de ge tuscht;
Jetzt hat er die Hun de ge tuscht;

Hn.
Hn.
Cl., Bsn.
P53. Haydn, Symphony #73, La Chasse (1781), iv, mm. 3741.
P54. Liszt, Fantaisie romantique sur deux mlodies suisses (1836), mm. 45455.
8va
3
rit.
P55. Leopold Mozart, Sinfonia di caccia (1756), i, beginning.

Allegro
Solo
239
240
P56. Meyerbeer, Dinorah (1859), #16, Chant du Chasseur, beginning.

(Le chasseur, sur le haut des rochers, regarde si les camarades arrivent)
Allegro
Le Chasseur
En
(il donne du cor pour appeler

les camarades)
chas se, en
chas se, en chas
se!
En
(il donne du cor)
chas se, pi queurs a
droits!
Sui vons sa tra
marcato
La b te pas se,
ce
Jus
quau
fond des bois,
P57. Rossini, La donna del lago (1819), I/1, m. 163.
fi
gli
P58. Punto, Rondeau en chasse (ca. 1790s), beginning.

Allegretto
I
Ob. II
Hn. I
in F II
I
Ob. II
I
Hn. II
di mor
rea
241
242
P59. Schubert, Winterreise (1828), Der Lindenbaum, beginning.

Mig
P60. Leopold Mozart, Sinfonia di caccia (1756), ii, beginning.

Hn. I
in D II
Vn. I
Vn. II
Va.
Cb.
P61. Richard Strauss, Eine Alpensinfonie (1915), Der Anstieg, reh. 18.
I
a2
I
III
Hn.
in F
a2
II
IV
a 2 marcatissimo
I
III
Hn.
in F
II
IV
cresc.
(Jagdhrner von ferne)
a3
hinter der Scene
I
III
V
a3
Hn. II
in E IV
VI
a6
VII
to
XII
Tpt.
in C
I
II
Hn.
in F
I
II
a2
3
3
3
3
243
244
P61. (continued)
a3
I
III
V
a3
hinter der Scene
Hn. II
in E IV
VI
VII
to
XII
a3
a6
Tpt.
in C
I
II
Tbn.
I
II
a2
Ob.
Hn.
in F
I
II
legatissimo
sempre pianissimo
245
P63. Schubert, Piano Trio in B major, D. 898 (1828), i, mm. 5153.

3
3
3
P64. Gounod, Mireille (1864), IV/14, Chanson, beginning.

Andante
Trs modr
dim.
P65. Schumann, Incidental Music to Manfred (1852), #4, Alpenkuhreighen, beginning.

Nicht schnell
(Echo)
EHn.
Man
fred.
Horch,
der Ton!
246
P66. Richard Strauss, Eine Alpensinfonie (1915), Auf der Alm, 3 before reh. 51,
English horn.
EHn.
P67. Grtry, Guillaume Tell (1791), Overture, beginning.

Adagio
3
Allegro
247
P68. Rossini, Guillaume Tell (1829), I/2.

Andantino
Ranz des Vaches

Hn.
Allegretto
3
P69. Liszt, Fantaisie romantique sur deux mlodies suisses (1836), mm. 4549.
8va
Allegro pastorale
dolcissimo ma sempre marcato
(8va)
8va
poco cresc.
248
P70. Rossini, Guillaume Tell (1829), Overture, mm. 17692.

Andante
EHn.
dolce
Fl.
EHn.
Fl.
P71. Meyerbeer, Dinorah (1859), #13, Villanelle des deux ptres, beginning.
(deux petits ptres descendent du haut de la montagne, jouant sur leurs chalumeaux)
Plus lent
pressez
a capriccio
(en cho)
doux
P72. Berlioz, Symphonie fantastique (183032), iii, beginning.

Adagio
EHn.
marcato
Ob.
249
P73. Delibes, glogue (1886), beginning.

Andante
8va
P74. Gounod, Mireille (1864), Overture, beginning.

Andante
3
3
3
3
3
3
3
250
P75. Grieg, Peer Gynt Suite (1875), Morning Mood, beginning.

dolce
P76. Reyer, Adieu Suzon (1854), mm. 68.

a tempo
jours
P77. Gade, Symphony #1 (1844), iii, beginning.

Ob. I
dolce
div.
Va.
dolce
div.
Vc.
dolce
Cb.
dolce
Ob. I
Va.
Vc.
Cb.
Ob. I
Va.
Vc.
Cb.
251
252
P78. Mhul, Uthal (1806), Overture, mm. 921.
Va. I
Va. II
Solo
Cl.
Hn.
in C
I
Bsn.
Vc.
Cb.
Va. I
Va. II
I
Cl.
Hn.
in C
Solo
Bsn.
Vc.
Cb.
P79. Rossini, Guillaume Tell (1829), I/1, mm. 916.
dolce
253
254
P80. Boieldieu, La Dame blanche (1825), I/1, Choeur des montagnards, beginning.
dolce
S.
Son nez!
Son nez!
Son nez cors et
mus et
te.
mus et
te.
mus et
te.
dolce
T.
Son nez!
Son nez!
Son nez cors et

dolce
B.
Son nez!
Son nez!
Son nez cors et
dolce
S.
u nis.
dolce
T.
u nis.
dolce
B.
u nis.
P81. Boieldieu, La Dame blanche (1825), III/16.

Allegro moderato
S.
Chan tez,
joy eaux m ne strel.
Chan tez,
Chan tez,
T.
B.
255
256
P82. Haydn, Die Jahreszeiten (1801), #29, Herbst, Hrt! hrt das laute Getn
mm. 11116.
Ho,
ho,
Ho,
ho,
Ho,
ho,
ho,
ho!
Ta
Ho,
ho,
ho,
ho!
Ta
ho!
Ta
jo,
ho,
ho!
ho!
Ta
yo!
ho,
ho!
jo,
ta
jo,
ho,
ho!
yo,
ta
yo!
ho,
ho!
P83. Schubert, Trost (1819), mm. 1014.
Hr ner kln ge ru
fen kla gend aus
des For stes gr
ner Nacht,
257
258
P84. Schubert, Winterreise (1828), Rckblick, mm. 5969.
Ich zu r
ich
zu
cke wie der
wan ken, vor ih rem Hau se
cke
wie
der
wan
stil le stehn,
ken, vor ih
rem Hau se stil le
stehn,
vor
decresc.
stil
le
stehn.
dim.
mcht
ih
rem Hau se
259
P85. Schubert, Jgers Abendlied (1816), beginning.

Sehr langsam, leise
Im
Fel
de
schleich
ich
still
und
wild,
P86. Schubert, Der Musensohn (1822), mm. 514.
Durch Feld und Wald zu schwei fen, mein Lied chen weg zu
pfei
fen,
so gehts von Ort
zu Ort,
so gehts von Ort
zu Ort.
260
P87. Franz Lachner, Das Waldvglein (1830), mm. 1620.
Das
Wald,
im
Vg
lein hat ein
sch nes Los
im
Wald.
P88. Mendelssohn, Jagdlied (1834), end.
so
dim.
gilts das
Le
ben
mein.
261
P89. Mass, Eho! (1874), refrain.
au
ho!
Les a
gneaux vont aux
plaines
ho!
sans
respirer
Et les loups sont aux bois
Et
les
loups
sont
aux bois
dim.
E ho!
dim.
dim.
Et les loups sont aux
bois
ho!
dim.
262
P90. Mass, Le Muletier de Calabre (ca. 1844), mm. 2428.
Ahu!
mes mu
les
sec
Sans
mu
les
sec
P91. Massenet, Lve-toi (1868), beginning.

Lent et expressif
L
dim.
sost. assai
toi,
ve toi, chre en se ve
dim.
li
e!
ve
P92. David, veillez-vous (1845), beginning.
bel
le,
Ma
belle,
veil
aux
lez vous,
grands yeux bleus,
P93. Schoenberg, Ei, du Ltte (ca. 1898), beginning.
Ei,
du
L te S te, Wit te, ei, du
Lt te, weerst du
min!
263
264
P94. Hahn, Paysage (1890), 4 before E major.
ne,
Ch
re
vous
em me
ner!
P95. Brahms, Zigeunerlieder, op. 103 (1888), #3 Wisst Ihr, wann mein Kindchen,
mm. 1011.
Allegro
S.
A.
Sch tze
lein,
du
bist mein,
Sch tze
lein,
du
bist mein,
T.
B.
non legato

P96. Wagner, Das Rheingold (1854), i, m. 1.
Woglinde
Wei
a! Wa
ga!
Wo ge, du Wel
wa ga
la wei
a!
wal
la la, wei
le,
a la
wal le
zur Wie
wei
a!
P97. Gounod, Les Champs (1863), refrain.

rit.
Viens!
les champs les champs ont aus si leurs
colla voce
mours!
a tempo
ge!
265
266
P98. Gounod, Les Naades (1852), end.
Fu
yons,
ta
ruis
yons
vers
la
fu
gne
seaux
clairs.
morz. affatto.
8va
dans
les
mon

P99. Wagner, Lohengrin (1848), I/3, mm. 4244.
Leb wohl!
Leb wohl!
mein
lie
P100. Cornelius, Vorabend (1856), mm. 78.
Nun, Lieb ster, geh, nun schei
de!
P101. Mozart, The Magic Flute (1791), I, Quintet, mm. 2324.
So
le
bet wohl!
wir wol
len gehn,
So
le
bet wohl!
wir wol
len gehn,
So
le
bet wohl!
wir wol
len gehn,
ber Schwan!
267
268
P102. Chabrier, Ronde gauloise (1862), m. 72.

long
gu!
Ah!
gu!
Ah!
Ah!
Ah!
269
P103. Gounod, Mireille (1864), IV/14, Chanson, end.

(en sloignant)
ah!
ah!
dim.
ah!
270
P104. Brahms, Wiegenlied (1868), beginning.

Zart bewegt
Gut en
bend, gut
Nacht,
P105. Schubert, Wiegenlied (1816), beginning.

Langsam
Schla
fe,
schla
fe,
hol der, s
sser
Kna
P106. David, La Perle du Brsil (1851), Entracte, Le Rve, beginning.

Allegretto moderato
il canto
dolce ed espressivo
be,
P107. Nielsen, Sleep (1904), 2 before reh. 15.

molto tranquillo
Drm
me
svin
der,
Drm
me
svin
der,
Drm
me
svin
der,
Drm
me
svin
der,
molto tranquillo
P108. Brahms, Der Abend (1874), 4 before reh. G.
ru
het,
ru
het und
lie
bet!
ru
het,
ru
het und
lie
bet!
ru
het,
ru
het und
lie
bet!
ru
het,
ru
het und
lie
bet!
271
272
P109. Cornelius, Abendgefhl (1862), end.

3
Ganz wie ein Schlum mer lied vor.
P110. Brahms, Schicksalslied (1871), 16 before reh. I.
Stt
te
zu
ruhn,
Stt
te
zu
ruhn,
Stt
te
zu
ruhn,
Stt
te
zu
ruhn,
P111. David, Le Pcheur sa nacelle (1845), refrain (m. 7).

sostenuto
O tout
sen
dort,
O tout
sen
dort!
P112. Massenet, Bonne Nuit! (1872), mm. 1519.

poco rit.
Bon ne
nuit,
bon ne
nuit,
a tempo
bon ne nuit!
poco rit.
a tempo
P113. Loewe, Die Mutter an der Wiege (1840), vocal entrance (m. 6).
Schlaf,
hol
der Kna
be, sss und
mild!
273
274
P114. Mass, Berceuse (1874), vocal ending.

a piacere
Dors!
dors!
mon
en
fant.
P115. Franz, Schlummerlied (1843), beginning.

Andante con moto
Ru
he Sss
lieb
chen, im
Schat
ten
la melodie ben marcato
P116. Liszt, Von der Wiege bis zum Grabe (1882), Der Wiege, beginning.
Andante
una corda

P117. Rachmaninoff, Melody (1900), mm. 3536.
cresc.
rapt
in
bliss
ful
dreams,
to
wa
ken
ne
ver
more . . .
8va
P118. Schubert, Die schne Mllerin (1823), Des Baches Wiegenlied, mm. 3438.
bis das
Meer
will
trin
Meer
will
ken
trin
die
ken die
Bch
lein aus,
Bch
lein
aus.
bis das
275
276
P119. Franz, Schlummerlied (1843), end.
dich ein.
smorzando
P120. Chopin, Berceuse (1844), end.
P121. Cornelius, Wiegenlied (1853), end.

im Tempo
nachahmend
1. 2.
P122. Mahler, Kindertotenlieder (1904), end.
sempre
3.
277
278
P123. Faur, En Sourdine (1891), vocal ending.
Le
ros
si
gnol
sempre
sempre
chan
dim.
ra.
sempre
te
279
P124. Brahms, Liebeslieder Waltzes, op. 52 #15 (1869), Nachtigall, sie singt so schn,
beginning.
dolce
S.
Nach
dolce
ti
Nach
dolce
ti
Nach
dolce
ti
Nach
ti
A.
T.
B.
8va
dolce
II
dolce
S.
gall,
sie
singt
so
schn,
gall,
sie
singt
so
schn,
gall,
sie
singt
so
schn,
gall,
(8va)
sie
singt
so
schn,
A.
T.
B.
II
280
P125. Rosetti, Sinfonia pastoralis (1778), i, mm. 1417.

Allegro molto

P126. Mass, Dans les Bois (1874), vocal entrance (m. 13).
Au
chan
sa
prin
te
Na
temps
vez
vous
loi
seau
pas ou
nat
et
voix?
P127. Schumann, Album fr die Jugend (1848), Gukkuk im Versteck, beginning.

Immer sehr leise
1.
281
282
P128. Handel, LAllegro, il penseroso, ed il moderato (1741), Sweet Bird, mm. 2226.
ad libitum
Sweet bird,
sweet bird, that shunst the noise of

I Solo
fol ly,
most
mu si cal,
most mel an chol y.
6
4
5
3
P129. Brahms, Liebeslieder Waltzes, op. 52 #13 (1869), Vgelein durchrauscht die
Luft, beginning.
S.
V
ge lein
durch rauscht die Luft,
durch rauscht
die Luft,
ge lein
durch rauscht die Luft,
durch rauscht
die Luft,
A.
II
poco
283
P130. Chausson, Rveil (1883), beginning.

Mouvement modr
1st Voice
2nd Voice
Mon coeur,
l ve
toi!
poco rit.
D j
la lou
et
te
Se
cone en chant ant
son aile
a tempo
Mon coeur,
leil.
au so
cresc.
l ve
toi!
D j
l lou
et
te
Se
284
P131. Knecht, Le Portrait musical de la Nature (1785), i, mm. 3739.

Fl.
dolce
I
Ob.
Bsn.
Hn.
Vn. I
dolce
Vn. II
dolce
Va.
dolce
pizz.
Vc.
Cb.
P132. Beethoven, Symphony #6 (1808), ii, mm. 12932.

Nachtigall
cresc.
Kuckuck
Wachtel
285
286
P133. Vivaldi, La primavera (1725), i, mm. 2126.

e
Vn.
princ.
Vn. I
Vn. II
Augei
Vn.
princ.
Vn. I
Vn. II
Vn.
princ.
Vn. I
Vn. II
con
lieto
canto,
Festosetti
La
Salutan
gli
287
P134. Vivaldi, Flute Concerto in D major, Il gardellino, RV 428 (1728), 1,

mm. 1318.
a piacimento
P135. Vivaldi, Violin Concerto in A major, Il cucu, RV 335 (1719), i, mm. 1823.
288
P136. Loewe, Vogelgesang (1823), mm. 57.

cresc.
rau
rau
schen und
schen und
lr
men,
schwr
sin
gen
und
schwr
men,
men,
P137. Saint-Sans, The Carnival of the Animals (1886), #13, The Swan, end.
rit.
Lento
a tempo
Vc.
8va
Pno. I
rit.
Vc.
Pno. I
Pno. II
289
P138. Chausson, Les Papillons (1880), beginning.

Vif
Les
pa
pil
trs lger
lons
cou leur de
nei
ge
vo
lent par
es
290
P139. Wagner, Siegfried (1869), II/2, forest bird.

(Siegfrieds Aufmerksamkeit wird endlich durch den Gesang der Waldvgel gefesselt.)
sempre
P140. Wagner, Siegfried-Idyll (1870), 4 after Lebhaft.

Fl.
I
Cl.
(lustig)
Hn.
Fl.
(lustig)
I
Cl.
Hn.
Fl.
cresc.
I
Cl.
3
Hn.
cresc.
cresc.
291
292
P141. Ravel, Daphnis et Chlo (1912), Lever du jour, 11 after Lent.

3
Picc.
6
Fl.
Fl.
in G
Picc.
6
Fl.
Fl.
in G
P142. Bizet, Rve de la bien-aime (1868), mm. 1721.
Qui chan tait
sur ses
ri
ves.
293
P143. Mass, La Chanson du printemps (1854), beginning.

Allegretto semplice
P144. Brahms, Liebeslieder Waltzes, op. 52 #6 (1869), Ein kleiner, hbscher Vogel, reh. D.
dolce
Der
Vo
gel
kam
in
Der
Vo
gel
kam
in
der
Vo
gel
kam
in
Vo
gel
kam
in
dolce
dolce
Der
Vo
gel
kam,
dolce
Der
8va
dolce
II
dolce
294
P144. (continued)
ei
ne
sch
ne
Hand,
ei
ne
sch
ne
Hand,
ei
ne
sch
ne
Hand,
ei
ne
sch
ne
Hand,
(8va)
II
P145. Grieg, Vaaren (Spring) (1880), mm. 2632.
mot Sol
og mot Su mar.
8va
e con Ped.
P146. Mahler, Symphony #4 (1900), i, reh. 10.

Fliessend, aber ohne Hast
a4
Fl.
deutlich
BsCl.
in A
Alle Betonungen zart

Vc.
pizz.
Cb.
a4
Fl.
BsCl.
in A
Vc.
Cb.
sempre
295
296
P146. (continued)
a4
Fl.
BsCl.
in A
Bsn. I
dim.
zarte Betonungen
Vn. I
zarte Betonungen
Va.
Vc.
sempre
Cb.
sempre
a4
Fl.
BsCl.
in A
Bsn. I
Vn. I
Va.
Vc.
Cb.
297
P147. DIndy, Jour dt la montagne (1905), i, Aurore, woodwinds after reh. 4.

Solo
Picc.
I Solo
Fl.
6
I Solo
Ob.
I
Picc.
Fl.
I
Ob.
P148. Loewe, Thomas der Reimer (1860), m. 33.
Gl
cke
lein,
8va
298
P149. Mahler, Um Mitternacht (1901), beginning.

Tranquillo,
con moto eguale
P150. Schubert, Die junge Nonne (1825), mm. 7074.
Horch!
Glck
lein
vom
fried
Turm;
lich
er
net
das

P151. Rachmaninoff, The Bells (1913), beginning.
Allegro, ma non tanto
cresc.
P152. Grieg, Bell-Ringing (1891), end.
molto
morendo
P153. Wagner, Parsifal (1881), I, end.
299
300
P154. Gounod, Choral (1860s?), mm. 1319.

8va
cresc.
P155. Saint-Sans, La Cloche (1855), mm. 510.
Seu
le en ta som bre
tour
aux fa tes den te
ls,
P156. Hahn, Dune Prison (1892), beginning.

Pas trop lent
Le
avec la plus grande tranquillit
ciel
est par des sus le
toit,
si bleu,
si
cal
me . . .
P157. Ravel, Miroirs, v, La Valle des cloches (1905), beginning.

Trs lent
trs doux et sans accentuation
un peu marqu
301
302
P158. Schumann, Der Nussbaum (1840), beginning.

Allegretto
Es
gr
net ein
Nuss
baum
vor
P159. Beethoven, Symphony #6 (1808), ii, mm. 1718.
dem
Haus,
P160. Schumann, Symphony #3 (1850), ii, end.
dim.
P161. Loewe, Das Muttergottesbild im Teiche (1834), end.
P162. Cornelius, Simeon (1856), end.
Das Knb lein wun
der bar.
poco rit.
303
304
P163. Chausson, Ballade (1896), end.
Dans
une
gno
ran
ce
blan
che.
retenu
305
P164. Saint-Sans, Viens (1855), beginning.

Allegro moderato
sotto voce
S.
Viens!
Viens!
sotto voce
B.
Viens!
sotto voce
S.
U
ne
flte in
vi
si
ble Sou pi re dans les ver gers.
B.
Viens!
306
P165. Cornelius Am Morgen (1856), beginning.

Langsam
Die Nacht
Hr
ver
geht
mein Ge bet,
nach
All
mcht
er Ruh.
ger,
du!
307
P166. Haydn, Die Jahreszeiten (1801), #2, Komm, holder Lenz! mm. 58.
Chor der Landleute
S.
Komm,
hol
der
Lenz!
des Him mels Ga
be,
komm,
Komm,
hol
der
Lenz!
des Him mels Ga
be,
komm,
Komm,
hol
der
Lenz!
des Him mels Ga
be,
komm,
aus
Komm,
hol
der
Lenz!
des Him mels Ga
be,
A.
T.
B.
P167. Chipp, Twilight Fancies #2 (1858), end.

diminuendo
ritardando
308
P168. Hahn, LHeure exquise (1892), beginning.

Tranquillo e dolce possibile
La lu
ne
De cha
que
blan
che
Luit
dans les
bois;
bran
poco
che
Part
ne
voix
Sous la ra
re.
P169. Chopin, Ballade in A major (1841), beginning.

Allegretto
mezza voce
P170. Chopin, Ballade in F minor (1843), mm. 1113.
309
310
P171. Schubert, Lndler, D. 814 #1 (1824), beginning.
P172. Schubert, Lndler, D. 814 #4 (1824), beginning.
con sordini
con sordini
P173. Haydn, Symphony #88 (1785), iii, trio.
P174. Haydn, Symphony #104 (1795), iii, beginning (reduced score).
311
312
P175. Schubert, Symphony #9 (1828), iii, mm. 512.

I
I
Fl. II
I
Ob. II
I
Cl. II
I
Bsn. II
I
Hn. II
Timp.
in C-G
I
I
Fl. II
I
Ob. II
I
Cl. II
a2
I
Bsn. II
I
Hn. II
Timp.
in C-G
P176. Chopin, Waltz, op. 18 (1832), mm. 2227.
P177. Schubert, Sonata in A major, D. 959 (1828), scherzo, m. 13.
P178. Schumann, Symphony #3 (1850), ii, beginning.

Sehr mssig
ten.
ten.
ten.
ten.
313
314
P179. Chabrier, Pices pittoresques, Menuet pompeux (1881), mm. 6873.
a tempo
rall. poco a poco
P180. Chabrier, Ivresses! (1869), mm. 11820.

Moins vite
trs expressif
airs!
Ai
mons
nous
ai
mons
nous,
dolce
P181. Chabrier, Ballade des gros dindons (1889), mm. 1920.
Les
gros
din
dons!
Mouvement de Valse
e con grazia
P182. Beethoven, Deutsche, WoO 13 #5 (1797), mm. 1724.

Trio
dolce
P183. Chopin, Waltz, op. 34 #1 (1835), mm. 3340.
P184. Beethoven, cossaise, WoO 83 #1 (1806), beginning.
315
316
P185. Chopin, 3 cossaises, op. 72 #3 (1829), #1, beginning.

Vivace
brillante

3
P188. Brahms, Liebeslieder Waltzes, op. 52 #3 (1869), O die Frauen, beginning.

T.
O
die
Frau
en,
die
Frau
en,
die
Frau
en,
die
Frau
en,
B.
II
317
P189. Johann Strauss, Jr., Donauweibchen (1888), #2, mm. 510.
P190. Liszt, Albumblatt in Walzerform (1842), beginning.

Allegro
8va
cresc.
8va
P191. Schubert, Winterreise (1828), Gute Nacht, mm. 7175.
st
ne
Ruh,
318
P192. Schubert, Winterreise (1828), Die Post, mm. 711.
Von der
Stra
her
ein
Post
horn klingt.
P193. Schubert, Winterreise (1828), Die Krhe, mm. 1617.
Kr
he,
wun
der li
ches Tier,

P194. Schubert, Winterreise (1828), Mut! mm. 89, 1516.
8
schttl ich ihn
her
un
ter.
15
sing
ich hell
und
mun
ter.
P195. Mahler, Lieder eines fahrenden Gesellen (188396), end.
Al
les!
Lieb
und
Leid,
und
morendo
Traum!
Welt,
und
319
320
P196. Schumann, Liederkreis, op. 24 (1840), Morgens steh ich auf, mm. 3336.
tru
mend
wand
le
ich
bei
Tag.
P197. Rachmaninoff, Let Me Rest Here Alone (1906), 13 before end.

2
2
Well
know
thy
en dear
8va
dim.
part
ing . . .
rapido
cresc.
ments
at
321
P198. Mahler, Ich bin der Welt (1901), mm. 1114.

tranquillo
Ich
bin
der
Welt
ab
han den ge kom
men,
3
3
P199. Schubert, Frhlingslied, D. 919 (1827), mm. 7982.
und
je
des Herz
mit
Won
schwellt,
mit
Won
ne
schwellt
decresc.
ne
322
P200. Schubert, Gott in der Natur, D. 757 (1822), Allegro molto vivace.
in E
Allegro molto vivace
in E
Es
regt in den Lau ben des Wal des sich schon,
Es
regt in den Lau ben des Wal des sich schon,
P201. Brahms, Neues Liebeslieder, op. 65 #8, Weiche Grser, (1874), beginning.
Ruhig
dolce
Wei
che
Gr
ser
Wei
dolce
che
Gr
ser
Wei
dolce
che
Gr
ser
Wei
che
Gr
ser
dolce
dolce
dolce
P201. (continued)
im
Re
vier,
im
Re
vier,
im
Re
vier,
im
Re
vier,
323
324
P202. Liszt, Au Lac de Wallenstadt (1838), beginning.

Andante placido
dolce
3
dolcissimo egualmente
cantabile
P203. Liszt, Pastorale (1855), mm. 2027.
P204. Liszt, glogue (1855), mm. 69.
P205. Liszt, Les Prludes (1855), mm. 2014.

Cor.
dolciss.
325
326
P206. Chabrier, Toutes les Fleurs (1889), mm. 1317.

a tempo
re!
dolce
Les
les lys
aux sa
luts
espress.
sempre
Les lys flu ets dont
le
sa
tin
se
do
re,
P207. Delibes, Bonjour, Suzon! (1886), mm. 915.
Bon jour, Su zon, ma fleur des bois!

a tempo
lan gou reux,

P208. David, Au Couvent (185166), refrain.
rall.
Et
des fo rts
Hu mer lair frais,
Et des fo rts Hu mer lair frais!
rall.
P209. Hahn, Paysage (1890), end.
De sa basse in
fi
ni
e!
8va
bassa
P210. Dvork, Symphony #9 (1893), ii, mm. 3840.
327
328
P211. Chipp, Twilight Fancies #3 (1858), end.

3
P212. Mahler, Symphony #4 (1900), iii, mm. 31825 (horns only).

Pesante
3
Schalltrichter auf
3
3
Schalltrichter auf
P213. Rachmaninoff, Spring (1902), Pi vivo.

Pi vivo
Und
Und
3
Spiel end durch die Lf te
streicht der
Spiel end durch die Lf te
streicht der
ke
cke,
fri
sche
Wind.
ke
cke,
fri
sche
Wind.
cresc.
329
330
P214. Rachmaninoff, The Lilacs (1900), beginning.

Allegretto
sempre tranquillo
At the
red
of the dawn,
un poco ten.
Where I meet the new day like a
Oer the dew span gled lawn,
cantabile
P215. Rachmaninoff, Before My Window (1906), beginning.

Lento
cantabile
Be fore my win dow stands
flowr ing cher ry
tree,
P216. Reyer, un Berceau (1851), mm. 1114.

rit.
par mi
les fleurs
dA vril
par
mi les fleurs dA vril
P217. Mendelsson, Scottish Symphony (1842), iii, mm. 916.
sempre
331
332
P218. Boieldieu, La Dame blanche (1825), III/16, Choeur et Air cossais, mm. 920.
voi
ci ven ir
la ban nie
re
voi
ci ven ir
la ban nie
re
des
voi
ci ven ir
la ban nie
re
voi
ci ven ir
la ban nie
re
des
voi
ci ven ir
la ban nie
re
voi
ci ven ir
la ban nie
re
des
che va liers,
des che va liers,
des che va liers dA ve nel
des
che va liers,
des che va liers,
des
che va liers,
des che va liers,
des
che
va liers,
des che
va liers,
des che
va liers dA ve nel
che
va liers,
des che
va liers,
des che
va liers dA ve nel
che
va liers,
des che
va liers,
des che
va liers dA ve nel

P219. Mendelssohn, Scottish Symphony (1842), iv, mm. 39699.
Allegro maestoso assai
divisi
P220. Gade, Comala (1846), #9, Chor der Krieger, mm. 3133.
T.
Ent
flohn
ist
der Feind Ge
se,
Ent
flohn
ist
der Feind Ge
se,
B.
333
334
P221. Loewe, Alpins Klage (1844), mm. 4754.

Allegretto
Ryno.
Vor
Wind
und
bei
Re
sind
gen,
P222. Nicolai, Die lustigen Weiber von Windsor (1849), Overture, beginning.
Andantino moderato
tremolando
3
P223. Brahms, Darthulas Grabesgesang, op. 42 #3 (1861), mm. 4853.

Poco animato
mezza voce
Wach
auf,
wach
auf,
Dar
thu
la!
mezza voce
Wach
auf,
Frh ling
ist
wach
auf,
Dar
thu
la!
Frh ling
wach
auf,
Dar
thu
la!
Frh ling
ist
mezza voce
Wach
auf,
mezza voce
Wach auf,
mezza voce
wach
Wach auf,
mezza voce
wach
Wach
wach
auf,
auf,
Dar
thu
la!
Frh ling
ist
auf,
Dar
thu
la!
Frh ling
ist
auf,
Dar
thu
la!
Frh ling
molto dolce
ist
ist
335
336
P223. (continued)
3
drau
en!
die
Lf
te
su
seln,
te
su
seln,
su
seln,
su
seln,
drau
en!
die
Lf
drau
en!
die
Lf
te
3
drau
en!
die
Lf
te
drau
en!
die
Lf
te
su
seln,
drau
en!
die
Lf
te
su
seln,
3
3

P224. Loewe, Thomas der Reimer (1860), mm. 9397.
Allegretto
Sie
rit
ten durch den gr nen Wald, wie glck lich da
wie glck lich da
der Rei
der Rei
ritenuto
P225. Boieldieu, La Dame blanche (1825), Overture, mm. 1317.
mer war,
mer war!
337
338
P226. Berlioz, Rob Roy (1831), 4 after reh. 7.
poco
P227. Berlioz, Rob Roy (1831), 14 after reh. 9 (reduced score).
339
340
P228. Loewe, Lied der Knigin Elisabeth (1847), mm. 4548.

Andantino idilliaco
P229. Saint-Sans, Le Lever de la lune (1855), end.
P230. Berlioz, Irlande, op. 2 #2, Hlne (1829), beginning.
P231. Berlioz, Irlande, op. 2 #2, Hlne (1829), end of verse.
tait
cha
que
ber
ger.
P232. Berlioz, Irlande, op. 2 #7, LOrigine de la harpe (1829), end of verse.
a tempo
Son
mant
par
mi
les
ro
seaux.
341
342
P233. Berlioz, Waverley (1828), reh. 2.
unis.
pizz.
div.
espress.
pizz.
P234. Schumann, John Anderson, op.145 #4 (1849), beginning.

Langsam
John
An
der son,
mein
Lieb!
John
An
der son,
mein
Lieb!
John
An
der son,
mein
Lieb!
John
An
der son,
mein
Lieb!

P235. Schumann, Das Hochlandmdchen, op. 55 #1 (1847), beginning.
Nicht schnell
Solo
S.
Nicht
Solo
Da
men tnt von
ho
hem Rang
mein kunst
los lnd li cher Ge
Nicht
Solo
Da
men tnt von
ho
hem Rang
mein kunst
los lnd li cher Ge
Nicht
Da
men tnt von
ho
hem Rang
mein kunst
los lnd li cher Ge
Da
men tnt von
ho
hem Rang
mein kunst
los lnd li cher Ge
A.
T.
Solo
B.
Nicht
S.
sang;
mir
blei
be fern
so
eit
ler
Stern; geht mir
mein Hoch land
sang;
mir
blei
be fern
so
eit
ler
Stern; geht mir
mein Hoch land
sang;
mir
blei
be fern
so
eit
ler
Stern; geht mir
mein Hoch land
sang;
mir
blei
be fern
so
eit
ler
Stern; geht mir
mein Hoch land
A.
T.
B.
Choir (without Solo voices)

S.
md
chen!
In
gr
nen Tha
les
Schat
ten,
o,
auf
md
chen!
In
gr
nen Tha
les
Schat
ten,
o,
auf
md
chen!
In
gr
nen Tha
les
Schat
ten,
o,
auf
md
chen!
In
gr
nen Tha
les
Schat
ten,
o,
auf
A.
T.
B.
343
344
P236. Schumann, Unterm Fenster, op. 34 #3 (1840), beginning.

Allegretto
Wer ist
vor mei
ner Kam mer thr?
Ich
bin
es,
ich
bin
es!
P237. Brahms, Gesang aus Fingal, op. 17 #4 (1860), mm. 6978.

espress.
Tre
nar,
der
lieb
li
che
Tre
nar
starb,
starb!
nar,
der
lieb
li
che
Tre
nar
starb,
starb!
espress.
Tre
Md
chen
von
ni
store!
Md
chen
von
ni
store!
P238. Lesueur, Ossian (1804), III, Entre des chasseurs dansants, mm. 1017.
345
346
P239. Boieldieu, La Dame blanche (1825), I/1, Choeur des montagnards, mm.
6673.
P240. Thomas, Hamlet (1868), Pas des chasseurs, mm. 1417.
347
P241. DIndy, Symphony on a French Mountain Air (1886), beginning (reduced score).
Solo
EHn.
espr.
avec sourdines
Vn. I
poco
avec sourdines
Vn. II
poco
avec sourdines
Va.
poco
avec sourdines
Vc.
poco
Cb.
EHn.
dolce
dim.
Vn. I
pi
dim.
Vn. II
pi
Va.
pi
Vc.
pi
Cb.
dim.
348
P242. Chopin, Krakowiak (1828), beginning.

Introduction
Andantino quasi Allegretto
Hn.
in F
8va
legato e semplice
Pno.
Vn. I
sempre legato
Vn. II
sempre legato
Va.
sempre legato
Vc.
sempre legato
Cb.
sempre legato
I
Hn.
in F
(8va)
Pno.
Vn. I
Vn. II
Va.
Vc.
Cb.
349
P243. Borodin, Prince Igor (186987), I/1, choral entrance, m. 29.

Allegro moderato e maestoso
S.
To the
sun
bove, glo
ry,
glo
ry,
Glo
ry,
vic to
ry
To the
sun
bove, glo
ry,
glo
ry,
Glo
ry,
vic to
ry
To the
sun
bove, glo
ry,
glo
ry,
Glo
ry,
vic to
ry
To the
sun
bove, glo
ry,
glo
ry,
Glo
ry,
vic to
ry
A.
T.
B.
S.
to no ble
Prince I
gor, glo
ry,
glo
ry.
To Rus sia,
glo ry and fame!
to no ble
Prince I
gor, glo
ry,
glo
ry.
To Rus sia,
glo ry and fame!
to no ble
Prince I
gor, glo
ry,
glo
ry.
To Rus sia,
glo ry and fame!
to no ble
Prince I
gor, glo
ry,
glo
ry.
To Rus sia,
glo ry and fame!
A.
T.
B.
350
P244. Borodin, Prince Igor (186987), end.

cresc.
Hail,
Prince
cresc.
Hail,
Prince
cresc.
Hail,
Prince
cresc.
Hail,
Prince
cresc.
gor!
gor!
gor!
gor!
P245. Borodin, Symphony #2 (1887), iii, 6 before reh. O.

Vn. I
Vn. II
Va.
3
Vc.
3
Cb.
3
Vn. I
rall.
Vn. II
rall.
Va.
rall.
Vc.
rall.
Cb.
rall.
351
352
P246. Borodin, Symphony #2 (1887), iv, mm. 1012 (strings only).
Vn. I
Vn. II
Va.
Vc.
Cb.
P247. Borodin, Symphony #1 (1882), iv, end (reduced score).
Vn. I
Vn. II
Va.
Vc.
Cb.
Vn. I
Vn. II
Va.
Vc.
Cb.
Vn. I
Vn. II
Va.
Vc.
Cb.
353
354
P248. Glinka, A Life for the Tsar (1836), I/1, Peasants Chorus.
S.
A.
O
sch
ne
Len
zes
zeit,
Wie
uns
dein
S.
A.
Na
hen
freut!
Der
ge
lein
S.
A.
lsst,
Will
kom
men ihr
lie ben, fro hen
Gst.
Schar sich blic
ken
P249. Glinka, A Life for the Tsar (1836), III/12, 1 afer reh. 30.
Wei
se
walt
er
im
Va
ter
land,
Wei
se
walt
er
im
Va
ter
land,
Wei
se
walt
er
im
Va
ter
land,
Wei
se
walt
er
im
Va
ter
land,
riten.
walt er
im
Land!
walt er
riten.
im
Va
walt er
im
Land!
walt er
riten.
im
Va
walt er
im
Land!
walt er
riten.
im
Va
walt er
im
Land!
walt er
im
Va
355
356
P250. Glinka, A Life for the Tsar (1836), Epilogue, #23.

Allegro maestoso
S.
A.
Heil
dir
Russ
land, du
hei
li
gen
Land!
Heil
dir
Russ
land, du
hei
li
gen
Land!
Heil
dir
Russ
land, du
hei
li
gen
Land!
T.
B.
P251. Tchaikovsky, Symphony #6 (1893), i, 2nd theme.

Andante
teneramente, molto cantabile, con espansione
P252. Rimsky-Korsakov, Sadko (1896), reh. 37.

Allegro non troppo
Choir
T.
Clair
est
le
so
leil
bril
lant
de
mi
di,
Clair
est
le
so
leil
bril
lant
de
mi
di,
B.
T.
gai
le
beau
fes
tin,
quand
il
est
en
train!
gai
le
beau
fes
tin,
quand
il
est
en
train!
B.
357
358
P253. Rimsky-Korsakov, Sadko (1896), 12 after reh. 144.

Choeur (Les marchands et le peuple de Novgorod)
S.
Oh!
voy
ez
gens
de
Nov
go
rod
le
grand,
Oh!
voy
ez
gens
de
Nov
go
rod
le
grand,
Oh!
voy
ez
gens
de
Nov
go
rod
le
grand,
Oh!
voy
ez
gens
de
Nov
go
rod
le
grand,
A.
T.
B.
P254. Rimsky-Korsakov, Sadko (1896), Venetian Song, end.
359
P255. Rimsky-Korsakov, Sadko (1896), 3 after reh. 182.

Niej.
lac
Il men est
la mai son
sur la
ri
ve tout au
bord du lac, la mai
P256. Rimsky-Korsakov, Sadko (1896), Indian Song, beginning.
P257. Rimsky-Korsakov, La Grande Pque russe (1888), 1 before reh. C.

Cadenza
I Solo
dolce e piacere
ten.
colla parte
360
P258. Tchaikovsky, Symphony #2 (1872), iv, theme.

Allegro vivo
P259. Balakirev, Overture on Three Russian Themes (185881), end.

Andante
morendo
morendo
P260. Balakirev, Islamey: Oriental Fantasy (1869), 13 after Allegro vivo.
8va
glissando
P261. Lyadov, Mazurka, op. 38 (1895), mm. 6270.

Pi mosso
3
3
361
362
P262. Rimsky-Korsakov, Sinfonietta on Russian Themes (1884), reh. D.

I Solo
Hn.
in F
Vn.
Va.
Vc.
Cb.
I
Hn.
in F
Vn.
Va.
div.
Vc.
Cb.
363
P263. Rimsky-Korsakov, Sadko (1896), reh. 157.

Nijata
Allegro non troppo
Vi
ve
Nov go rod
le grand!
Vi
en
tier!
ve
tou jours,
Les Plerins
monde
P264. Glinka, A Life for the Tsar (1836), III/14, Bridesmaids Chorus, beginning.
Con moto
dolcissimo e commodo
364
P265. Rimsky-Korsakov, Sadko (1896), Ballad of the People of Vseslavitch, reh. 27.
Moderato assai
(Niejata joue sur ses gousli et chante le lai de Volkh Vueslavitch.)
Choir
T.
Fais
vi
brer
les cor des dun
doux
ac
Fais
vi
brer
les cor des dun
doux
ac
B.
P266. Mussorgsky, Pictures at an Exhibition (1874), Promenade, beginning.

Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenuto
365
P267. Brahms, Zigeunerlieder, op. 103 (1888), #5, Brauner Bursche fhrt zum Tanze,
beginning.
Allegro giocoso
Brau
ner Bur
sche
Brau
ner Bur
sche
Brau
ner Bur
sche
Brau
ner Bur
sche
ben marc.
fhrt
zum Tan
ze
sein
blau u
gig
sch
nes
Kind,
fhrt
zum Tan
ze
sein
blau u
gig
sch
nes
Kind,
fhrt
zum Tan
ze
sein
blau u
gig
sch
nes
Kind,
fhrt
zum Tan
ze
sein
blau u
gig
sch
nes
Kind,
366
P268. Brahms, Zigeunerlieder, op. 103 (1888), #9, Weit und breit, mm. 2124.
Pi presto
nur mein Schatz der
soll mich lie ben,
soll mich lie ben
al
le
zeit,
nur mein Schatz der
soll mich lie ben,
soll mich lie ben
al
le
zeit,
nur mein Schatz der
soll mich lie ben,
soll mich lie ben
al
le
zeit,
nur mein Schatz der
soll mich lie ben,
soll mich lie ben
al
le
zeit,
legg. R.H. non legato
367
P269. Bruckner, Os justi (1879), end.
et
non sup
plan
ta
bun
tur
gres sus
jus.
et
non sup
plan
ta
bun
tur
gres sus
jus.
et
non sup
plan
ta
bun
tur
gres sus
jus.
et
non sup
plan
ta
bun
tur
gres sus
jus.
Choral
Al
le
lu
ja,
al
le
lu
ja.
Al
le
lu
ja,
al
le
lu
ja.
Al
le
lu
ja,
al
le
lu
ja.
Al
le
lu
ja,
al
le
lu
ja.
P270. Faur, Requiem (1877), Pie Jesu, end. ( 1977 by C. F. Peters) Corporation.
Used by permission.)
368
P271. Liszt, Matrimonium (1884), beginning.

Lento
S. II
Choir
T.
B.
Org.
dolcissimo
Solo
S. II
Sa
cra
T.
Sa
cra men tum
hoc
ma
gnum
est.
Sa
cra men tum
hoc
ma
gnum
est.
B.
Org.
S. II
men
tum hoc
ma
gnum est.
T.
B.
Org.
dolcissimo
P272. Bruckner, Ave Maria (1856), beginning.

Andante
ve Ma
ri
a,
gra
ti
ple
na,
Do
mi nus
ve Ma
ri
a,
gra
ti
ple
na,
Do
mi nus
ve Ma
ri
a,
gra
ti
ple
na,
Do
mi nus
P273. Liszt, Missa Choralis (185965), Benedictus, end.

Two solo voices
ho
san
na!
369
370
P274. Bruckner, Te Deum (1884), beginning.

Allegro
S.
Te
De
um lau
da
mus, te
Te
De
um lau
da
mus, te
Te
De
um lau
da
mus, te
Te
De
um lau
da
mus, te
A.
T.
B.
Feierlich, mit Kraft
S.
Do
mi num
con
fi
te
mur.
Do
mi num
con
fi
te
mur.
Do
mi num
con
fi
te
mur.
Do
mi num
con
fi
te
mur.
A.
T.
B.
P274. (continued)
S.
Te ae ter num
Pa trem o
mnis
ter
ra
ve
ne
ra
Te ae ter num
Pa trem o
mnis
ter
ra
ve
ne
ra
Te ae ter num
Pa trem o
mnis
ter
ra
ve
ne
ra
Te ae ter num
Pa trem o
mnis
ter
ra
ve
ne
ra
A.
T.
B.
Solo
ausdrucksvoll
S.
tur.
A.
tur.
T.
tur.
B.
tur.
Ti
bi
371
372
P275. Faur, Requiem (1877), Sanctus, m. 43. (1977 by C. F. Peters Corporation.

T.
Ho san
na
in
ex
cel
sis,
Ho san
na
in
ex
cel
sis,
I
B. II
sempre
P276. Bruckner, Mass in E minor (1866), Et resurrexit, beginning.

Allegro
Et
re
sur
Et
re
sur
cresc.
Et
re
sur
re
xit
ter
ti
Et
re
sur
re
xit
ter
ti
re
xit
ter
ti
di
re
xit
ter
ti
di
373
374
P276. (continued)
di
e,
se
cun
dum
Scri
di
e,
se
cun
dum
Scri
e,
se
cun
dum
Scri
e,
se
cun
dum
Scri
P277. Liszt, Anima Christi (1874), beginning.

Andante non troppo lento
T. I
A
ni ma
Chri
sti,
san
cti
fi
ca
me,
ni ma
Chri
sti,
san
cti
fi
ca
me,
ni ma
Chri
sti,
san
cti
fi
ca
me,
ni ma
Chri
sti,
san
cti
fi
ca
me,
T. II
B. I
B. II
T. I
cor
pus
Chri
sti,
sal
va
me,
cor
pus
Chri
sti,
sal
va
me,
cor
pus
Chri
sti,
sal
va
me,
cor
pus
Chri
sti,
sal
va
me,
T. II
B. I
B. II
375
P278. Liszt, Mass in C minor (1848), Dona nobis, mm. 1114.
do
na
no
bis
pa
cem,
P279. Liszt, St. Elisabeth (1862), II/5, Elisabeths prayer for Hungary (postlude).
lan
des
Au
en!
cresc.
376
P280. Gounod, St. Cecilia Mass (1855), Et resurrexit, beginning.

cresc. molto
Et
re
sur
re
xit,
re
sur re
xit
re
sur
re
xit,
re
sur re
xit
Et
cresc. molto
re
sur
re
xit,
re
sur re
xit
Et
re
sur
re
xit,
re
sur re
xit
cresc. molto
Et
cresc. molto
cresc. molto
ter
ti a
di
se
cun
dum Scri ptu
ras,
ter
ti a
di
se
cun
dum Scri ptu
ras,
ter
ti a
di
se
cun
dum Scri ptu
ras,
ter
ti a
di
se
cun
dum Scri ptu
ras,
377
P281. Michael Haydn, Missa Sancti Aloysii (1777), Gloria, beginning.

Allegro ma non troppo
Glo
ri
in
ex cel
sis
De
P282. Michael Haydn, Missa Sancti Hieronymi (1777), Benedictus, beginning.

Tutti
Be
ve
ne
nit
di
in
ctus qui
no
ve
mi ne Do
nit
qui
mi
ni,
ctus qui
ve
Tutti
Be
ne
di
378
P283. Mahler, Symphony #1 (1888), iv, reh. 26.

3
sempre
P284. Wagner, Parsifal (1881), Prelude, Grail motif, m. 38.
P285. Liszt, Eucharista (1884).
gra
ti
a,
et
fu
tu
rae
gra
ti
a,
et
fu
tu
rae
gra
ti
a,
et
fu
tu
rae
P286. Liszt, Via Crucis (1879), beginning.

Andante maestoso
379
380
P287. Liszt, Dante Symphony (1856), Magnificat, beginning.

Listesso tempo
dolce
Ma
gni
fi
cat
div. a 3
div. a 3
me
Do
mi
num.
ni
ma
P288. Liszt, Mass in C minor (1848), Gloria, beginning.

Allegro alla breve
Glo
ri a
in
ex
cel sis
De
o.
Glo
ri a
in
ex
cel sis
De
o.
Glo
ri a
in
ex
cel sis
De
o.
Glo
ri a
in
ex
cel sis
De
o.
P289. Liszt, St. Elisabeth (1862), Crusaders theme, I/3, m. 19.
Ins
heil ge Land,
ins
Pal men land,
Ins
heil ge Land,
ins
Pal men land,
P290. Liszt, Salve regina (1885).

ma
ter
mi
se
381
382
P291. Gounod, St. Cecilia Mass (1855), Kyrie, beginning.

Moderato, quasi Andantino
P292. Berlioz, Symphonie fantastique (183032), i, end.

Religiosamente
The whole orchestra as soft as possible
Picc.
Fl.
Ob.
Cl.
Bsn.
Hn.
Sponge-headed drum-sticks
Timp.
Vn. I
Vn. II
div.
Va.
Vc.
Cb.
P292. (continued)
Picc.
Fl.
Ob.
Cl.
Bsn.
Hn.
Timp.
Vn. I
Vn. II
Va.
Vc.
Cb.
383
384
P293. Brahms, Alto Rhapsody (1869), end.
qui
cke
sein
Herz!
qui
cke
sein
Herz!
qui
cke
sein
Herz!
dim.
P294. Brahms, Schicksalslied (1871), mm. 2325.

espress.
3
3
P295. Tchaikovsky, Romeo and Juliet (1869), mm. 51724.

8va
(8va)
P296. Puccini, Gianni Schicchi (1918), O mio babbino caro, end.

rit.
Lauretta
Bab bo, pie t,
pie
t!
(piangendo)
bab bo, pie t,
pie
t! . . .
rall.
P297. Gounod, St. Cecilia Mass (1855), Benedictus.
qui ve
nit
in
no mi ne
Do
mi
ni:
qui ve
nit
in
no mi ne
Do
mi
ni:
qui ve
nit
in
no mi ne
Do
mi
ni:
qui ve
nit
in
no mi ne
Do
mi
ni:
qui ve
nit
in
no mi ne
Do
mi
ni:
qui ve
nit
in
no mi ne
Do
mi
ni:
385
386
P298. Gounod, Messe aux Orphonistes (1853), Sanctus, beginning.

Andante maestoso
San
ctus,
San
ctus,
San
ctus
Do
mi
nus
San
ctus,
San
ctus,
San
ctus,
San
ctus
Do
mi
nus
San
ctus,
San
ctus,
San
ctus,
San
ctus
Do
mi
nus
San
ctus,
San
ctus,
San
ctus,
San
ctus
Do
mi
nus
San
ctus,
San
ctus,
San
ctus,
San
ctus
Do
mi
nus
San
ctus,
P299. Liszt, Chapelle de Guillaume Tell (1838), end.
cresc.
387
388
P300. Faur, Requiem (1877), Pie Jesu, end. ( 1977 by C.F. Peters Corporation.
poco rit.
sem
pi
ter
nam
sempre
re
qui
poco rit.
P301. Liszt, Sposalizio (183861), end.

Adagio
P302. Brahms, Schicksalslied (1871), mm. 6469.

3
dolce
em.
Solo
P303. Liszt, Hungarian Coronation Mass (1869), Sanctus, end.
san
na
san
na
san
na
san
na
in
ex
cel
Solo
verhallend
sis
ho
san
ho
san
na.
na.
P304. Mahler, Symphony #5 (1902), i, mm. 1014.

3
389
390
P305. Chopin, Nocturne in C minor, op. 27 #1 (1835), end.

Adagio
P306. Berlioz, Requiem (1837), Introit.

unis.
lu
ce
at
e
unis.
lu
ce
at
e
unis.
lu
ce
at
e
8va
poco cresc.
cresc.
is,
cresc.
at
is,
is,
cresc.
is,
(8va)
lu
ce
at
391
392
P307. Berlioz, Requiem (1837), end.

unis.
men,
men,
men,
3
3
men,
men,
men,
men,
men,
men,
P307. (continued)
men,
men,
men,
perdendo
men,
a
perdendo
men,
a
perdendo
men,
perdendo
393
394
P307. (continued)
men.
men.
men.
P308. Liszt, Marche funbre (1882), end.
P309. Liszt, Organ Mass (1879), Credo, end.
ritenuto
P310. Liszt, Dante Symphony (1856), end.
hal le
lu
ja!
395
396
P311. Liszt, St. Cecilia (184574), final line.

Moderato solenne, ma non Lento
riten.
du
haut
des
cieux.
P312. Liszt, Pater Noster (1879), end.
nem. Sed
li
be ra
nos
ma
lo.
men.
P313. Liszt, Herr, wie lange (1858).
wohl
an
mir
ge
than.
wohl
an
mir
ge
than.
wohl
an
mir
ge
than.
8va
397
398
P314. Liszt, Missa solemnis (1858), Sanctus, end.
ho
ho
cel
sis
ho
san
cel
sis
ho
san
cel
sis
ho
san
cel
sis
ho
san
perdendosi
P314. (continued)
san
san
na!
na!
na!
na!
na!
na!
8va
P315. Wagner, Lohengrin (1848), Prelude to Act 1, end.

8va
8va
399
400
P316. Gounod, Messe solennelle #4 in G minor (1888), end.
cem,
do
na
no
bis,
do
na
cem,
do
na
no
bis,
do
na
cem,
do
na
no
bis,
do
na
cem,
do
pa
cem.
pa
cem.
pa
cem.
pa
cem.
na
no
bis
P317. Gounod, Messe brve in C major (1877), Gloria, end.
De
us,
Rex
coe le
stis,
De us
Pa ter o mni
po
tens.
De
us,
Rex
coe le
stis,
De us
Pa ter o mni
po
tens.
stis, De us, De us
Pa ter o mni
po
tens.
us, Rex coe le
P318. Gounod, Requiem (1893), Pie Jesu, end.
men.
men.
men.
men.
401
402
P319. Bruckner, Psalm 150 (1892), end.
Ha
le
lu
Ha
le
lu
Ha
le
lu
Ha
le
lu
8va
ja!
Hal
ja!
Hal
ja!
Hal
ja!
Hal
8va
P319. (continued)
le
lu
le
lu
le
lu
le
lu
ja!
ja!
ja!
ja!
8va
403
404
P320. Faur, Messe basse (1881), end.

sempre
pa
cem,
do
no
bis,
do
na
na
no
bis,
do
na
sempre
no
bis,
no
bis,
do
no
bis,
na
sempre
do
na
pa
do
na
pa
cem,
cem,
do
na
pa
cem.
do
na
pa
cem.

P321. Puccini, Messa di Gloria (1880), Et incarnatus est, end.
cresc.
et
ho
mo
fa
ctus
est.
mo
fa
ctus
est.
ho
mo
fa
ctus
est.
ho
mo
fa
ctus
est.
ho
mo
fa
ctus
est.
cresc.
et
ho
cresc.
et
cresc.
et
cresc.
et
cresc.
P322. Beethoven, Missa Solemnis (1823), Dona, mm. 2631.
S.
cem, do
na
no
bis pa
cem,
na
no
bis
pa
cem,
na
no
bis
pa
cem,
na
no
bis
pa
cem,
A.
cem,
do
T.
cem,
do
B.
cem, do
405
406
P323. Liszt, Adagio for organ (1867), end.
P324. Berlioz, Requiem (1837), Sanctus, beginning.

Andante sostenuto
San
ctus, san
ctus,
san
ctus, san
ctus

P325. Liszt, Requiem (1868), Pie Jesu, end.
T. I
re
qui
em,
do
na
is
re
qui
em,
do
na
is
re
qui
em,
do
na
is
re
qui
em,
do
na
is
T. II
B. I
B. II
Org.
T. I
re
qui
em.
men.
re
qui
em.
men.
re
qui
em.
men.
re
qui
em.
men.
T. II
B. I
B. II
Org.
407
408
P326. Liszt, Christus (186672), Resurrexit, m. 357.
Ho
san
na
Ho
san
na
Ho
san
na
Ho
san
na
Ho
san
na
Ho
san
na
Ho
san
na
Ho
san
na
P327. Gounod, St. Cecilia Mass (1855), Gloria, end.
men,
men,
men,
men,
Adagio
men,
men.
men,
men.
men,
men.
men,
men.
409
410
P328. Gounod, Faust (1859), IV/19, Apotheosis, m. 9.
Christ
est res sus
ci
t!
Christ vient de re na
tre!
Christ
est res sus
ci
t!
tre!
Christ
est res sus
ci
t!
tre!
P329. Liszt, Requiem (1868), Libera me.

dolce
Re
qui em ae
ter
nam
do
na
is,
Do
mi ne:
ter
nam
do
na
is,
Do
mi ne:
ter
nam
do
na
is,
Do
mi ne:
qui em ae
ter
nam
do
na
is,
Do
mi ne:
et
lux per
pe
tu a
lu
ce
at
is.
et
lux per
pe
tu a
lu
ce
at
is.
et
lux per
pe
tu a
lu
ce
at
is.
et
lux per
pe
tu a
lu
ce
at
is.
dolce
Re
qui em ae
dolce
Re
qui em ae
dolce
Re
411
412
P330. Liszt, St. Cecilia (184574), end.

8va
8va
413
P331. Liszt, Missa Choralis (185965), Kyrie.

crescendo
son,
le
son,
le
crescendo
son,
e
crescendo
le
son,
le
son,
e
crescendo
le
son,
le
son,
le
son,
crescendo
son,
son,
le
son!
son,
le
son!
son,
le
son!
le
son!
le
414
P332. Liszt, Missa Choralis (185965), Christe.

G.P.
men,
men.
men.
men.
men.
G.P.
men,
G.P.
men,
G.P.
men,
G.P.
P333. Liszt, Christus (186672), The Beatitudes.

pi ritenuto
Be
ti,
Be
ti, Be
unis.
rum,
re
gnum coe lo
rum,
re
gnum coe lo
rum.
rum,
re
gnum coe lo
unis.
rum,
re
gnum coe lo
rum.
rum,
re
gnum coe lo
rum,
re
gnum coe lo
rum.
rum,
re
gnum
coe
lo
rum.
415
P334. Liszt, Herr, wie lange (1858).
wohl
an
mir
ge
than.
wohl
an
mir
ge
than.
wohl
an
mir
ge
than.
8va
P335. Liszt, St. Elisabeth (1862), Introduction, 23 from end.

poco riten.
416
P336. Liszt, Mein Gott (1861).
mein
Gott,
P337. Saint-Sans, Mass, op. 4 (1856), Quoniam, beginning.

Poco allegro
Rcit.
(pi tosto moderato)
Quo
sanc
ni am
tu
so
lus
417
418
P338. Faur, Requiem (1877), In paradisum. ( 1977 by C. F. Peters Corporation.

Andante moderato
dolce
S.
pa
In
C.
T.
B.
sim.
dolce
4
S.
di
sum
7
S.
de
du
cant
An
ge
li:
ra
419
P338. (continued)
sempre
10
S.
in
tu
ad
ven
ty
res,
tu
13
S.
sci
16
pi ant
te
Mar
sempre dolce
S.
et
per du
cant
te
su
420
P338. (continued)
19
S.
in
ci
vi
ta tem
san
ctam
Je
ru
sa
C.
T.
Je
B.
Je
22
cresc.
S.
lem,
Je
ru
sa
lem,
Je
C.
cresc.
T.
ru
sa
lem,
Je
ru
sa
Je
ru
sa
cresc.
B.
ru
sa
lem,
P338. (continued)
25
S.
ru
sa
lem,
Je
C.
Je
ru
T.
lem,
Je
ru
lem,
Je
ru
B.
28
S.
ru
sa
lem.
sa
lem.
C.
T.
sa
lem.
sa
lem.
B.
421
422
P338. (continued)
31
dolce
S.
Cho
rus
An
ge
lo
rum
34
S.
te
su sci
pi
at,
et
cum
37
S.
La
za
ro
quon
dam
pau
pe
423
P338. (continued)
40
S.
re,
43
et
cum
La
za
ro
cresc.
S.
quon
dam
pau
pe re
ae
ter
nam
cresc.
46
S.
ha
be
as
re
qui
C.
re
qui
re
qui
re
qui
T.
B.
424
P338. (continued)
49
S.
em,
ae
C.
em,
T.
em,
B.
em,
52
S.
ter
nam
ha
be
C.
ae
ter
nam
ha
be
ae
ter
nam
ha
be
ae
ter
nam
ha
be
T.
B.
P338. (continued)
55
S.
as
re
as
re
as
re
as
re
C.
T.
B.
58
S.
qui
em.
qui
em.
qui
em.
qui
em.
C.
T.
B.
425
426
P339. Liszt, Missa Choralis (185965), Kyrie, beginning.

Andante
Ky
Ky
ri
le
ri
son,
P340. Liszt, Missa Choralis, Christe, beginning.

Un poco pi moderato
dolce
Chri
ste
le
son,
ste
le
son,
ste
le
son,
ste
le
son,
dolce
Chri
dolce
dolce espressivo
Chri
Chri
P341. Liszt, St. Elisabeth (1862), leitmotif at beginning.

Andante moderato
dolcissimo
le
P342. Liszt, Am Grabe Richard Wagners (1883), end.
perdendo
P343. Wagner, Parsifal (1881), I, end.
427
428
P344. Wagner, Die Walkre (1856), III/3, Brnnhildes sleep, end.

(Er wendet sich langsam zum Gehen.)
8va
dolce
(8va)
pi
(8va)
sempre pi
(Er wendet sich nochmals mit dem Haupt un blickt zurck.)
(8va)
(8va)
P344. (continued)
(8va)
(Er verschwindet durch das Feuer.)
(8va)
pi
(Vorhang fllt.)
(8va)
429
430
P345. Liszt, Les Morts (1860).

Heu - reux les morts
qui meurent dans le Seigneur!

8va
legatissimo
sempre
tenuto
P346. Liszt, Faust Symphony (1861), i, third Faust theme.

Grandioso, poco meno mosso
marcato
P347. Liszt, St. Cecilia (184574), verse 3.
Sain
te
est
la
pa
ci
tron
ne
le
des
in
spi
res.
P348. Liszt, Christus (186672), Hirtengesang an der Krippe, beginning.

tranquillo
ten.
dim.
rall.
smorz.
431
P349. Liszt, Anglus! Prire aux anges gardiens (1882), m. 120.
dim.
Coro
Solo
P350. Liszt, Hungarian Coronation Mass (1869), Hosanna.
cel
sis
ho
san
na
in
ex cel sis
cel
sis
ho
san
na
in
ex cel sis
cel
sis
ho
san
na
in
ex cel sis
cel
sis
ho
san
na
in
ex cel sis
cel
sis
ho
san na
in
ex
cel
sis
ho
cel
sis ho
san
na
ho
san na
in
ex
cel
sis
ho
cel
sis ho
san
na
ho
san na
in
ex
cel
sis
ho
cel
sis ho
san
na
ho
san na
in
ex
cel
sis
ho
432
Coro
Solo
P350. (continued)
ho
san
na
in
ex
cel
ho
san
na
in
ex
cel
ho
san
na
in
ex
cel
ho
san
na
in
ex
cel
san
na
ho
san
na
in
ex
cel
sis
ho
san
na
ho
san
na
in
ex
cel
sis
ho
san
na
ho
san
na
in
ex
cel
sis
san
na
ho
san
na
in
ex
cel
sis
P351. Liszt, Es rufet Gott uns mahnend (1845), beginning.

Marziale
ten.
ten.
P352. Liszt, Die Himmel erzhlen (1860), initial orchestral tutti.
433
434
P353. Gounod, St. Cecilia Mass (1855), Et vitam venturi, end.
Et
vi
tam
ven
tu
ri
sae
cu
li,
et
Et
vi
tam
ven
tu
ri
sae
cu
li,
et
Et
vi
tam
ven
tu
ri
sae
cu
li,
et
Et
vi
tam
ven
tu
ri
sae
cu
li,
et
vi
tam
ven
tu
ri
sae
cu
li.
vi
tam
ven
tu
ri
sae
cu
li.
vi
tam
ven
tu
ri
sae
cu
li.
vi
tam
ven
tu
ri
sae
cu
li.
P353. (continued)
cresc.
men,
men,
A
cresc.
men,
men,
A
cresc.
men,
men,
A
cresc.
men,
men,
cresc.
dim.
men.
dim.
men.
dim.
men.
dim.
men.
dim.
435
436
P354. Faur, Une Sainte en son aurole (1894), beginning.

Allegretto con moto
dolce
Sainte en son au r
le,
ne cha te
laine en
ne
sa
P355. Suk, Asrael (1906), op. 27, 13mm. from end.

I
sempre legato
I
Fl. II
a 2 perdendosi
Cl. I
in A II
sempre legato
div.
Vn. I
div.
Vn. II
div.
Vla
I
II
Vc.
Solo
III
IV
437
438
P356. Bruckner, Te Deum (1884), In te, Domine, speravi, mm. 5564.

poco a poco cresc.
te
Do
mi
ne
spe
poco a poco cresc.
Do
mi
dar,
ne,
non
Do
con
fun
mi
dar,
poco a poco cresc.
ter
num,
non
con
fun
dar in
ae
ter
num,
non
con
poco a poco cresc.
cresc. sempre
ra
vi,
spe
ra
ne,
vi,
Do
non con
fun
spe
ra
mi
ne,
dar,
non con
marc.
fun
dar
in
ae
ter
num,
in
ae
ter
cresc.
non
fun
con
dar
439
P356. (continued)
vi:
fun dar in ae ter
in
ae
ter
num,
non
num,
num, non
dim.
non
con
fun
dar
con
fun
in
440
P357. Gounod, St. Cecilia Mass (1855), final Amens.
cem.
men,
men,
cem.
men,
men,
cem.
men,
men,
cem.
men,
men,
cresc. molto
dim.
cresc. molto
men.
dim.
cresc. molto
men.
dim.
cresc. molto
men.
dim.
men.
cresc. molto
dim.

P358. Liszt, Faust Symphony (1861), i, misterioso.
Meno mosso, misterioso e molto tranquillo
6
6
dolce
6
6
6
P359. Liszt, O Sacrum Convivium (1885).
et
fu tu
rae
glo
ri ae
no
bis pi
gnus
et
fu tu
rae
glo
ri ae
no
bis pi
gnus
da
tur
da
tur
dim.
441
442
P360. Liszt, Sposalizio (183861), m. 120.
8va
poco a poco riten. e smorz.
P361. Liszt, St. Elisabeth (1862), Miracle of the Roses.
P362. Liszt, St. Cecilia (184574), first verse.

a tempo
dolce
P363. Liszt, St. Elisabeth (1862), II/5, Elisabeths death prayer, m. 42.
poco rit.
ja,
a tempo
rall.
ich kom me bald!
P364. Liszt, St. Elisabeth (1862), Elisabeths prayer for her homeland.
lan
des
Au
en!
cresc.
443
444
P365. Liszt, Ossa arida (1879), end.
T.
B.
Au
di
des
Herrn
te
ver
bum,
ver
Wort,
des
Hern
Sei
gneur,
T.
B.
T.
B.
le
sempre
sempre
ver
be
du
445
P365. (continued)
T.
B.
bum
Do
mi
ni,
ver
bum
Do
T.
B.
Wort,
des
Herrn
T.
B.
le
ver
be
du
446
P365. (continued)
T.
B.
mi
ni!
T.
B.
Wort!
T.
B.
Sei
gneur!
un poco ritenuto
un poco ritenuto
P366. Liszt, Ordo from Septem Sacramenta (1884).
sempre
447
P367. Liszt, Invocation from Harmonies potiques et religieuses (1848), mm. 5259.
grandioso
con forza
con forza
P368. Parish-Alvars, Serenade, op. 83 (1846), mm. 3031.

con forza
P369. Parish-Alvars, Serenade, op. 83 (1846), m. 66.
448
P370. Parish-Alvars, The Farewell, op. 68 (Romance #20) (1846).

3
8va
legato
P371. Parish-Alvars, Grand Study in Imitation of the Mandolin (1846), m. 74.
B
les arpges
P372. Parish-Alvars, Fantasia, op. 35 (1838), 6 before Andantino.
con forza
17
449
P373. Parish-Alvars, Grande Fantaisie et variations de bravoure, op. 57 (1843), m. 14.
legato
P374. Parish-Alvars, Tema con variazioni, WoO PA1 (1834), m. 78.
450
P375. Parish-Alvars, Grand Fantasia on Rossinis Mose, op. 58 (1843), mm. 3132.
ben marcato il canto
8va
loco
8va
P376. Parish-Alvars, Grand Fantasia on I Capuleti e i Montecchi by Bellini and

Semiramide by Rossini (posthumous; 1850), 11 after Listesso tempo.
8va
P377. Parish-Alvars, Grand Fantasia on I Capuleti e i Montecchi by Bellini and

Semiramide by Rossini (posthumous; 1850), m. 19.
8va
25
451
P378. Parish-Alvars, Grand Fantasia on Rossinis Mose, op. 58 (1843), m. 33.

loco
8va
loco
8va
P379. Parish-Alvars, Fantasia, op. 35 (1838), 51 after Allegro con fuoco.

(G )
19
(D ) (B )
glissando
19
glissando
P380. Parish-Alvars, Scenes from My Youth, op. 75 (1845), Gipsies March, mm. 5961.
8va
cresc.
452
P381. Parish-Alvars, Fantasia on Themes from Webers Oberon, op. 59 (1842).
carezzando
gliss.
F
35
8va
loco
37
P382. Parish-Alvars, Grand Fantasia on Rossinis Mose, op. 58 (1843), 5 after a Tempo.
8va
sostenuto
cresc.
(8va)
loco
glissando
P383. Parish-Alvars, La Danse des fes (1844), 26 after Allegro.

8va
loco
sdrucciolando
E G
P384. Parish-Alvars, Grand Study in Imitation of the Mandolin (1846), end.

8va
8va
sdrucciolando
453
454
P385. Parish-Alvars, Serenade, op. 83 (1846), end.
31
8va
sdrucciolando
30
(E )
(8va)
32
(A )
P386. Reinecke, Harp Concerto (1885), i, 3 after reh. C.

8va
455
P387. Rimsky-Korsakov, La Grande Pque russe (1888), 10 after reh. D (harp and clarinet only).
solo
15
15
cresc.
15
15
P388. Thalberg, Nocturne, op. 16 #1 (1836), mm. 3435.

8va
cresc.
loco
456
P389. Thalberg, Fantasy on Il Trovatore, op. 77 (1862), beginning.

Andante
8va
8va
leggerissimo
(8va)
8va
(8va)
6
6
8va
P390. Thalberg, Andante Final de Lucia di Lamermoor, op. 43 (1842), end.

8va
8va
precipitato
8va
P391. Thalberg, Fantasy on Don Juan, op. 42 (1842), mm. 3940.
cresc.
457
458
P392. Thalberg, Fantasy on Oberon, op. 37 (1840), 39 after cantabile.

leggiero
10
13
P393. Chopin, Nocturne, op. 9 #3 (1832), end.

8va
dim.
Adagio
legatissimo
rall.
smorz.
8va
rall.
P394. Chopin, Etude, op. 10 #5 (1832), end.
8va
cresc.
(8va)
8va
P395. Chopin, Introduction and Rondo, op. 16 (1833), end.

8va
smorzando
(8va)
459
460
P396. Chopin, Etude, op. 25 #5 (1837), end.
P398. Chopin, Rondo, op. 73 (1828), end.

8va
8va
(8va)
sempre
(8va)
8va
461
462
P399. Liszt, Transcendental Etude #1 (1840), end.

Non troppo presto
legatissimo
8va
8va
cresc.
(cresc. sempre)
8va
poco rallentando

8va
rinf.
dim.
18
12
12
12
12
12
cresc. molto
36
8va
6
18
6
36
36
463
464

8va
34
8va
25
8va
(8va)
8va
sempre pi
(8va)
dolcissimo
smorz.
465
P402. Liszt, Ballade #1 (1849), m. 45.

8va
leggierissimo
(8va)
smorz.
ritardando
P403. Liszt, Ballade #2 (autograph ending) (1853), end.

8va
(con 8va
bassa)
8va
466
P404. Liszt, Consolation #3 (1850), mm. 2223.
P405. Liszt, Consolation #3 (1850), end.

8va
(8va)
rit.
perdendosi
P406. Liszt, Rigoletto (concert paraphrase) (1855), m. 47.

8va
a tempo
il canto ben marcato ed espressivo

dolce
(8va)
467
468
P407. Liszt, Rigoletto (concert paraphrase) (1855), end.

8va
8va
8va
accelerando
cresc.
a tempo
3
3
3
8va
P408. Faur, Pices brves, op. 84 (18691902) #7, Allgresse, beginning.

Allegro giocoso
leggiero
469
470
P409. Faur, Nocturne, op. 33 #2 (1875), end.

Allegro moderato
8va
8va
8va
8va
8va

P410. Faur, Barcarolle, op. 44 (1886), mm. 6668.
a tempo
P411. Lyadov, Etude, op. 37 (1895), beginning.

Con moto
5
dolce
P412. Cui, Prelude in A major, op. 64 #17 (1903), mm. 1618.

poco accel.
rit. molto
a tempo
471
472
P413. Franck, Piano Trio in F minor, op. 1 #1 (1842), Finale, mm. 2536.
P414. Debussy, Feux dartifice, from Prludes, book 2 #12 (1913), mm. 1718.
8va
glissando
8va
P415. Ravel, Jeux deau (1901), m. 48.

8va
8va
long
10
10
(8va)
glissando
473
474
P416. Ravel, Gaspard de la nuit (1908), i, Ondine, mm. 7475.
sempre
glissando
au Mouvement
(Un peu plus lent quau dbut)
8va
6
glissando
Notes
Introduction
1 Jacques Chailley, Formation et transformation du langage musical, vol. 1, Intervalles et chelles
(Paris: Centre de documentation universitaire, 1955), 111. See also Percy Scholes, rev.
Judith Nagley, Scale, in The New Oxford Companion to Music, ed. Denis Arnold, 2 vols.,
(New York: Oxford University Press, 1983): 2:1622; Lajos Brdos, Natural Tonal Systems,
in Studia memoriae Belae Bartk sacra, ed. Benjamin Rajeczky, 3rd ed., 20746 (New York:
Boosey and Hawkes, 1959).
2 Stanley Sadie, ed., Pentatonic, in The New Grove Dictionary of Music and Musicians, ed.
Stanley Sadie (London: Macmillan, 1980), 14:354. In the revised edition, I was able to
redress the deficiencies of the prior edition; my entry alludes to many of the results of this
book (Jeremy Day-OConnell, Pentatonic, in The New Grove Dictionary of Music and
Musicians, 2nd ed., ed. Stanley Sadie and John Tyrrell, 19:31517 [London: Macmillan,
2001]).
3 These assumptions are made more explicit by David Beveridge: For Dvork, as for
Moussorgsky, Debussy, and other composers of diverse lineage in the late nineteenth century, pentatonicism with its related techniques opened up new creative possibilities
(Sophisticated Primitivism: The Significance of Pentatonicism in Dvorks American
Quartet, Current Musicology 24 [1977]: 35). Most egregiously, the rosters of representative
composers in New Grove and Beveridge are typical in their omission of Liszt, one of the
most enterprising pentatonicists of the entire century.
4 Jacques Chailley cites a dozen or so pentatonic passages from Chopin, Mendelssohn,
Liszt, Moussorgsky, Rimsky-Korsakov, and Faur, and more from Dvork, Debussy, Ravel,
and a handful of twentieth-century composers (Formation et transformation, 11128). He is
wrong, however, to have singled out Chopins black-key Etude, op. 10 #5, as the vanguard of this pentatonic renaissance, and he fails to recognize the substantial category
of the religious pentatonic.
5 Ibid., 128.
6 Bruno Nettl, The Study of Ethnomusicology: Twenty-Nine Issues and Concepts (Urbana:
University of Illinois Press, 1983), 42.
7 Sin-Yan Shen, Chinese Music and Orchestration (Chicago: Chinese Music Society, 1991),
3; Francis Collinson, Scotland, II. Folk Music, in The New Grove Dictionary of Music and
Musicians, ed. Stanley Sadie and John Tyrrell (London: Macmillan, 1980), 17:70.
8 Tra n Van Khe, Is the Pentatonic Universal? A Few Reflections on Pentatonicism, World
of Music 19, nos. 12 (1977): 83.
9 Chang-Yang Kuo, The Pentatonic Characteristics of Chinese Folk Melodies, in
Proceedings of the Second Asian Pacific Music Conference, 25 November2 December 1976, Taipei,
Republic of China, ed. Dong Whan Lee, 1821 (Seoul: Cultural and Social Centre for the
Asian and Pacific Region, 1977); William Malm, Six Hidden Views of Japanese Music
476
notes to pages 27
(Berkeley: University of California Press, 1986), 39; Martin Hatch, Slendro, in The New
Harvard Dictionary of Music, ed. Don Randel, 753 (Cambridge, MA: Belknap Press, 1986).
Bence Szabolcsi has consequently advanced the notion of pentatonic styles, represented
throughout the world by six large musical regions (A History of Melody [London: Barrie
and Rockliff, 1965]).
10 Such nomenclature is routinely adopted with respect to other more strongly five-note
traditions as well, for instance the Javanese.
11 Strictly speaking, diatonic and chromatic refer to genera, which is to say, interval
structures, whereas the corresponding terms heptatonic and dodecaphonic refer to
note count per se. By contrast, the term pentatonic must serve both functions.
12 The minor pentatonic appears to be important in the music of early twentieth-century
composers such as Bartk and Stravinsky. Bartk and Kodly discovered its substantial use
in native Hungarian music. See Bla Bartk, Bla Bartk Studies in Ethnomusicology, ed.
Benjamin Suchoff (Lincoln: University of Nebraska Press, 1997); and Zoltan Kodly,
Pentatonicism in Hungarian Folk Music, trans. Stephen Erdely, Ethnomusicology 14,
no. 2 (May 1970 [1917]), 22842.
13 Respectively, John Clough and Jack Douthett, Maximally Even Sets, Journal of Music
Theory 35, nos. 12 (Spring/Fall 1991): 163; David Huron, Interval-Class Content in
Equally Tempered Pitch-Class Sets: Common Scales Exhibit Optimum Tonal
Consonance, Music Perception 11, no. 3 (Spring 1994): 300; and Scholes, Scale (1983):
1622. Leonard Bernstein, without support, further declared this particular collection
humanitys favorite pentatonic scale (The Unanswered Question [Cambridge, MA:
Harvard University Press, 1976]: 29).
14 Some of these have been summarized in Carol Krumhansl, Cognitive Foundations of
Musical Pitch (New York: Oxford University Press, 1990), 27576.
15 Carl Dahlhaus, Studies on the Origin of Harmonic Tonality, trans. Robert O. Gjerdingen
(Princeton, NJ: Princeton University Press, 1990), 172. This condition is equivalent to that
of well-formedness, formulated by Norman Carey and David Clampitt, Regions: A
Theory of Tonal Spaces in Early Medieval Treatises, Journal of Music Theory 40, no. 1
(Spring 1996): 133. Eytan Agmons coherence, a similar but weaker condition, is also
satisfied (Coherent Tone-Systems: A Study in the Theory of Diatonicism, Journal of Music
Theory 40, no. 1 [Spring 1996]: 43).
16 Clough and Douthett, Maximally Even.
17 Huron, Interval-Class Content.
18 Robert Gauldin, The Cycle-7 Complex: Relations of Diatonic Set Theory to the
Evolution of Ancient Tonal Systems, Music Theory Spectrum 5 (1983): 3955.
19 Paul Zweifel, Generalized Diatonic and Pentatonic Scales, Perspectives of New Music
34, no. 1 (Winter 1996): 142.
20 See Robert Innis, ed., Semiotics: An Introductory Anthology (Bloomington: Indiana
University Press, 1985), and especially Ferdinand de Saussure, The Linguistic Sign,
2446, and Charles Peirce, Logic as Semiotic: The Theory of Signs, 123; Wilson Coker,
Music and Meaning: A Theoretical Introduction to Musical Aesthetics (New York: Free Press,
1972), 1; and Raymond Monelle, Linguistics and Semantics in Music (Philadelphia:
Harwood Academic Publishers, 1992). Charles Morris is quoted in Coker, Music and
Meaning, 1.
21 Gennaro Chierchia and Sally McConnell-Ginet, Meaning and Grammar: An Introduction
to Semantics, 2nd ed. (Cambridge, MA: MIT Press, 2000), 5.
22 Coker, Music and Meaning, 31.
notes to pages 1315
477
Chapter One
1 Walter Kaufmann, The Ragas of North India (Bloomington: Indiana University Press,
1968), 3, 404.
2 Harold S. Powers et al., Mode, in The New Grove Dictionary of Music and Musicians, 2nd
ed., ed. Stanley Sadie and John Tyrrell (London: Macmillan, 2001), 16:776.
3 The most recent such studies include John Clough, Nora Engebretsen, and Jonathan
Kochavi, Scales, Sets, and Interval Cycles: A Taxonomy, Music Theory Spectrum 21, no. 1
(1999): 74104; Ren van Egmond and David Butler, Diatonic Connotations of PitchClass Sets, Music Perception 15 (Fall 1997): 129; Eytan Agmon, Coherent Tone-Systems:
A Study in the Theory of Diatonicism, Journal of Music Theory 40, no. 1 (Spring 1996):
3959; Norman Carey and David Clampitt, Regions: A Theory of Tonal Spaces in Early
Medieval Treatises, Journal of Music Theory 40, no. 1 (Spring 1996): 11347; David Huron,
Interval-Class Content in Equally Tempered Pitch-Class Sets: Common Scales Exhibit
Optimum Tonal Consonance, Music Perception 11, no. 3 (Spring 1994), 289305; George
Hajdu, Low Energy and Equal Spacing: The Multifactorial Evolution of Tuning Systems,
Interface 22, no. 4 (November 1993): 31933; Jay Rahn, Coordination of Interval Sizes in
Seven-Tone Collections, Journal of Music Theory 35, nos. 12 (Spring/Fall 1991): 3360;
John Clough and Jack Douthett, Maximally Even Sets, Journal of Music Theory 35, nos.
12 (Spring/Fall 1991): 93173.
4 I paraphrase the title of William Kinderman and Harald Krebs, eds., The Second Practice
of Nineteenth-Century Tonality (Lincoln: University of Nebraska Press, 1996).
5 A good overview of hexachordal thinking, particularly as regards the significance of its
solmization syllables, is given in Lionel Pike, Hexachords in Late-Renaissance Music
(Aldershot, UK: Ashgate, 1998).
6 Equivalently, hexachords have the function of representing the range within which
coincide the surrounding intervals of fifth-related tones. Carl Dahlhaus, Studies on the
Origin of Harmonic Tonality, trans. Robert O. Gjerdingen (Princeton, NJ: Princeton
University Press, 1990), 172.
7 See compositions in the Fitzwilliam Virginal Book (#51, #101, #118, #215) and
Burtons Missa Ut, re, mi, fa, sol, la. Pike mentions other pieces as well in Hexachords,
192210.
8 Johann Joseph Fux, for one, insisted upon the hexachord, and the system formed the
basis of Haydns choirboy education under Fuxs successor Georg Reutter (not under Fux
himself, pace Joel Lester, Compositional Theory in the Eighteenth Century [Cambridge, MA:
Harvard University Press, 1992], 171). Walter Schenkman has described vestiges of the
hexachordal orientation in Baroque music in The Influence of Hexachordal Thinking
in the Organization of Bachs Fugue Subjects, Bach: The Quarterly Journal of the
Riemenschneider Bach Institute 7, no. 3 (July 1976): 716.
9 Daniel Harrison surveys this issue in Harmonic Function in Chromatic Music: A Renewed
Dualist Theory and an Account of Its Precedents (Chicago: University of Chicago Press, 1994),
73126.
10 Jean-Phillipe Rameau, Gnration harmonique (Paris: Prault fils, 1737), 65, example VI.
11 Ibid., 66.
12 Johann David Heinichen, Der Generalbass in der Komposition (Hildesheim and New York:
G. Olms, 1969 [1728]), 745. Christoph Schrters octave is similarly disposed, as is
Francesco Gasparinis. In contrast, Mattheson gives the straightforward 18 version that
has become the standard rule of the octaveunsurprisingly, considering his outspoken
opposition to hexachords. See F. T. Arnold, The Art of Accompaniment from a Thorough-Bass
(London: Oxford University Press, 1931).
478
notes to pages 1518
13 Moritz Hauptmann, The Nature of Harmony and Metre, trans. and ed. W. E. Heathcote
(London: Swan Sonnenschein, 1893 [1853]), 3438.
14 Richard Schwartz, An Annotated English Translation of Harmonielehre of Rudolf Louis
and Ludwig Thuille (PhD diss., Washington University, 1982), 47.
15 John Curwen, The Teachers Manual of the Tonic Sol-Fa Method, ed. Leslie Hewitt
(Clarabricken, Ireland: Boethius Press, 1986 [1875]), 114.
16 John Curwen, Standard Course of Lessons and Exercises in the Tonic-Sol-Fa Method of
Teaching Music (London: Tonic Sol-Fa Agency, 1880), reproduced in Bernarr Rainbow,
Tonic Sol-Fa, in The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley
Sadie and John Tyrrell (London: Macmillan, 2001), 25:606. The Kodly pedagogy
employs these same signals.
17 Simon Sechter, The Correct Order of Fundamental Harmonies, trans. C. C. Mller (New
York: Pond, 1880 [1853]), 22.
18 Schwartz, Translation of Harmonielehre, 194.
19 F.-J. Ftis, Trait complet de la thorie et de la pratique de lharmonie, 4th ed. (Paris: Brandus,
1849), 2.
20 See, respectively, Robert Gauldin, Harmonic Practice in Tonal Music (New York: Norton,
1997), 34 (also Edward Aldwell and Carl Schachter, Harmony and Voice Leading, 2nd ed.
[New York: Harcourt Brace Jovanovich, 1989], 9); Yizhak Sadai, Harmony in Its Systematic
and Phenomenological Aspects, trans. J. Davis and M. Shlesinger (Jerusalem: Yanetz, 1980), 3;
and William Mitchell, Elementary Harmony, 3rd ed. (Englewood Cliffs, NJ: Prentice-Hall,
1965), 6. Although all writers agree on the stepwise dependency of active tones upon stable tones, the precise characterization of that dependency varies. Sadai, paraphrased in
example 1.4, offers the simplest model, which is confirmed by Fred Lerdahls algorithm
for calculating melodic attraction. Sadai, Harmony, 4; Lerdahl, Tonal Pitch Space (New
York: Oxford University Press, 2001), 163. William Drabkin differs only in his additional
inclusion of an upward tendency for 2. Degree, in The New Grove Dictionary of Music and
Musicians, 2nd ed., ed. Stanley Sadie and John Tyrrell (London: Macmillan, 2001), 7:138.
Gauldin (Harmonic Practice, 35) and Aldwell and Schachter (Harmony, 9) further complexify the model with an upward-tending 4 and the inclusion of motion from 5 to 8; this
latter motion will be taken up presently. Steve Larson also characterizes melodic tendencies in terms of a triumvirate of forces: gravity, magnetism, and inertia in ScaleDegree Function: A Theory of Expressive Meaning and Its Application to Aural-Skills
Pedagogy, Journal of Music Theory Pedagogy 7 (1993): 6984.
21 Heinrich Schenker, Free Composition, trans. Ernst Oster (New York: Schirmer, 1979
[1935]), 30. See also his Counterpoint, trans. John Rothgeb and Jrgen Thym (New York:
Schirmer, 1987 [1910]): part 1, p. 94; part 2, p. 58.
22 Riemann continues, Leaps are not, indeed, excluded in melody . . . but they entail
subsequent complete or at least, partial, filling up of the gaps by means of single-step progressions; see his Harmony Simplified, or The Theory of the Tonal Functions of Chords, trans. H.
Bewerunge (London: Augener, 1896 [1893]), 18. See also Robert Wason, Viennese
Harmonic Theory from Albrechtsberger to Schenker and Schoenberg (Ann Arbor, MI: UMI
Research Press, 1985), 70.
23 Paul Hindemith, The Craft of Musical Composition, trans. Arthur Mendel (New York:
Associated Music Publishers, 1942), 188.
24 Allen Forte, Tonal Harmony in Concept and Practice, 2nd ed. (New York: Holt, Rinehart,
and Winston, 1974), 12.
25 Such tonal gravity clearly underlies the melodic descent of Schenkers three Urlinien,
the necessity of which, however, has been questioned by David Neumeyer in The
Ascending Urlinie, Journal of Music Theory 31, no. 2 (Fall 1987): 274303.
notes to pages 1832
479
26 Victor Zuckerkandl, Sound and Symbol, trans. Willard Trask (New York: Pantheon,
1956), 98.
27 The gravitational metaphor, as applied to stepwise dynamics, thus resolves a difficulty
observed by Carol Krumhansl, that of depicting temporal ordering in visual-spatial models of pitch-space. Cognitive Foundations of Musical Pitch (New York: Oxford University
Press, 1990), 111.
28 Lerdahls complete space contains an additional level comprising only 1 and 5; this
fifth level is omitted in his discussions of melody. See his Tonal Pitch Space, 47.
29 It will be noticed that I use subdominant to refer to a family of chords: ii, IV, and
their mixture versions. (I eschew the term pre-dominant as a chordal designation in
order to avoid confusion in the many instances in which I describe plagal progressions,
i.e., pre-tonic uses of these chords.)
30 67, both with and without the registral shift, may contain structural significance.
Neumeyer, Ascending Urlinie.
31 V. Kofi Agawu, Playing with Signs: A Semiotic Interpretation of Classic Music (Princeton, NJ:
Princeton University Press, 1991), 23.
32 Deryck Cooke, The Language of Music (New York: Oxford University Press, 1959): 154.
This oft-cited work offers many such interpretations of scale degrees and their combinations, but it lacks the sort of explanatory grounding provided in my chapters 2 and 3.
33 This coda does not appear in the first complete draft of the symphony (which ends
some twenty measures earlier), and in fact, the corresponding theme of religious consolation does not appear in the earliest versions of the program. Liszts widely circulated
piano transcription of 1833 and an undated program leaflet (no later than 1834) are the
first surviving indications of this Religiosamente, which was most likely added for a performance of December 1832. See editor Nicholas Temperleys critical notes to Hector Berlioz,
Symphonie fantastique, vol. 16 of New Edition of the Complete Works (Kassel: Barenreiter, 1972),
204, ix. This historically significant cadence was preceded, though just barely, in Berliozs
own oeuvre by two minor works: his Rob Roy (composed 1831, performed 1833, rejected
and unpublished in the composers lifetime) and his song Hlne (composed 1829, published 1830) contain two other early 68 cadences (see P226 and P231).
34 A. B. Marx, Theory and Practice of Musical Composition, trans. and ed. Herrman S. Saroni
(New York: Mason Brothers, 1852 [1837]), 29091. The inner voices of the cadences in
table 1.1 likewise all display classical voice leading, with the single exception of the fivevoice Handel anthem HWV 251a.
35 The list in table 1.2 could be lengthened greatly with the inclusion of twentiethcentury and popular musics.
36 Whatever else may be happening in a plagal cadence, one can be sure that the 65
connection is being made. Harrison, Harmonic Function, 91.
37 With respect to the behavior of 6, hexatonic space (1234568) is also a viable
model. The 68 step, after all, embodies the chief distinction of both spaces, as the pentatonics 35 already exists in the realm of triadic space. It is important to note, however,
as have Dahlhaus (Harmonic Tonality, 172) and others, that pentatonic space alone constitutes a system per se, owing to the hexatonics self-contradictory disposition of step
sizes. See my Introduction.
38 The improbability of the succession 68 is attested to by Donald Tovey, writing on its
appearance in the main theme of the first movement of Tchaikovskys Symphony #5:
Great harmonic distinction is given to this theme by its first note. Those who misremember it as B [i.e., 5] will learn a useful lesson in style when they come to notice that
this note is C and not B. Essays in Musical Analysis, vol. 1, Symphonies and Other Orchestral
Works, new ed. (New York: Oxford University Press, 1981), 514.
480
notes to pages 3242
39 This distinctive harmonization of the Dresden Amen reflects Mahlers peculiar sensitivity to the quasi-Gregorian theme. See chapter 3.
40 The ossia in example 1.24 is my transcription from Scott Joplin, The Entertainer
(Biograph BCD101, 1987). Samuel A. Floyd Jr. and Marsha J. Reisser have proposed an
African origin for ragtime pentatonicism. The Sources and Resources of Classic Ragtime
Music, Black Music Research Journal (1984): 51.
41 Echoes of non-classical 6 resound throughout the twentieth century, for instance in
sentimental popular songs like Richard Rodgers Blue Moon, with its final 68 cadence.
The nineteenth-century pedigree, however, is often overshadowed by more direct influences from folk and popular musics. See my Afterword.
42 The term is Deborah Steins, whose discussion of the subdominant, however, fails to
consider the possibility of 68. The Expansion of the Subdominant in the Late
Nineteenth Century, Journal of Music Theory 27, no. 2 (Fall 1983): 166.
6
43 The less common ii(5)
I / 21 does contain melodic motion to the tonic, albeit parallel motion; more often the upward resolution, 23 will occur.
44 This resolution [78] could itself imply a harmonic progression VI; for this reason
the leading note may be thought of as the most characteristic melodic scale degree.
Stanley Sadie, Leading Note, in The New Grove Dictionary of Music and Musicians, 2nd ed.,
ed. Sadie and John Tyrrell, 14:418 (London: Macmillan, 2001). Admittedly, even 78 tolerates a seemingly mixed chord such as vii43 or viio43 (as discussed in the Dvork below),
but in general, cadential 78 presupposes dominant-tonic motion.
45 Leonard B. Meyer, Style and Music: Theory, History, and Ideology (Philadelphia:
University of Pennsylvania Press, 1989), 140.
46 For another salient, unharmonized 68, see the end of the Sanctus of Liszts
Hungarian Coronation Mass (P303).
47 See also Rimsky-Korsakov, Fairy Tale, in Sadko (P255).
48 The notion of a structural plagal cadence is, of course, patently heterodox. Arnold
Schoenberg, for instance, writes, Plagal cadences . . . are only a means of stylistic expression and are structurally of no importance. Structural Functions of Harmony (London:
Williams & Norgate, 1954), 14. This widespread view, though justified in the vast majority
of cases, surely needs further qualification with respect to the late nineteenth-century
repertoire.
49 Leonard B. Meyer, Explaining Music: Essays and Explorations (Berkeley: University of
California Press, 1973), 117.
50 According to Kofi Agawu, such ambiguity exists only in the mind of the lazy analyst.
In my view, this position arises from a needlessly strong definition of analysis.
Ambiguity in Tonal Music: A Preliminary Study, in Theory, Analysis, and Meaning in
Music, ed. Anthony Pople, 86107 (Cambridge: Cambridge University Press, 1994).
51 Felix Salzer and Carl Schachter, Counterpoint in Composition (New York: Columbia
University Press, 1989), 398; and Curt Sachs, The Road to Major, Musical Quarterly 29,
no. 3 (July 1943): 386.
52 Bruno Nettl, An Ethnomusicologist Contemplates Universals in Musical Sound and
Musical Culture, in The Origins of Music, ed. Nils L. Wallin, Bjrn Merker, and Steven
Brown (Cambridge, MA: MIT Press, 2000), 468.
53 Alexander Ringer, Melody, in The New Grove Dictionary of Music and Musicians, 2nd
54 Clifford Alper refers to the descending minor third as the universal chant of childhood, though with no further discussion or citation. Early Childhood Music Education,
in The Early Childhood Curriculum: A Review of Current Research, ed. Carol Seefeldt (New
York: Teachers College Press, 1992), 247. For the use of the minor third among sports
notes to pages 4250
481
crowds, see Cherill Heaton, Air Ball: Spontaneous Large-Group Precision Chanting,
Popular Music and Society 16, no. 1 (Spring 1992): 8183.
55 Meyer (Style and Music, 167) describes nineteenth-century music as characterized by
acontextualism, in which inheritance was to be replaced by inherence.
Chapter Two
1 Lawrence Kramer, Classical Music and Postmodern Knowledge (Berkeley: University of
California Press, 1995), 34. Edward Said speaks similarly of exteriority in his Orientalism
(New York: Vintage Books, 1979), 20.
2 See, for instance, Jonathan Bellman, Introduction, in The Exotic in Western Music, ed.
Bellman (Boston: Northeastern University Press, 1998), xii.
3 This observation is made by Ralph P. Locke in Constructing the Oriental Other:
Saint-Sanss Samson et Dalila, Cambridge Opera Journal 3, no. 3 (November 1991): 268.
4 Jonathan Bellman, The Style Hongrois in the Music of Western Europe (Boston: Northeastern
University Press, 1993), 65. Or, as Miriam Whaples puts it, the stylistic paradise of the
eighteenth century prevented the longing for greener musical grass that would later lure
composers of the stylistically progressive nineteenth and twentieth centuries. Exoticism
in Dramatic Music, 16001800 (PhD diss., Indiana University, 1958), 264.
5 Whaples, Exoticism in Dramatic Music, 264. More precisely, as Mary Hunter has
shown, it was the female exotic who inspired dramatic and musical sympathy, the musical
exoticisms reserved for the general barbarity of the exotic male. Mary Hunter, The Alla
Turca Style in the Late Eighteenth Century: Race and Gender in the Symphony and the
Seraglio, in The Exotic in Western Music, ed. Jonathan Bellman, 4373 (Boston:
Northeastern University Press, 1998). Such barbarity, however, was generally comic, or
parodistic. Carl Dahlhaus, Nineteenth-Century Music, trans. J. Bradford Robinson
(Berkeley: University of California Press, 1989), 304.
6 See Hunter, The Alla Turca Style; Bellman, The Style Hongrois, 1345; Whaples,
Exoticism in Dramatic Music, chapter 2, Turkish Music and Turkish Music ; and
Bence Szabolcsi, Exoticisms in Mozart, Music and Letters 37, no. 4 (October 1956),
32332.
7 Bellman, The Style Hongrois, 12.
8 Bellman, Introduction, in The Exotic in Western Music, x.
9 Respectively, Szabolcsi, Exoticisms, 327; Susan McClary, Georges Bizet: Carmen (New
York: Cambridge University Press, 1992), 55; Derek B. Scott, Orientalism and Musical
Style, Musical Quarterly 82, no. 2 (Summer 1998): 327; Bellman, The Style Hongrois, 41.
Scott (Orientalism, 327) provides one of the most extensive lists of Orientalist devices,
many of which can be applied indiscriminately as markers of cultural difference. . . .
10 Matteo Ricci, China in the Sixteenth Century: The Journals of Matthew Ricci, 15831610,
trans. Louis J. Gallagher (New York: Random House, 1953 [1615]), 335.
11 Ibid., 22.
12 Elle est maintenant si imparfaite, qu peine en mrite-t-elle le nom. Jean-Baptiste
Du Halde, Description . . . . de lempire de la Chine et de la Tartarie chinoise, 4 vols. (Paris: Le
Mercier, 1735), 3:265.
13 Mais en chantant ils ne haussent et ne baissent jamais leur voix dun demi ton, mais
seulement dune tierce, dune quinte, ou dune octave. . . . Ibid.
14 Pour mettre le Lecteur porte de juger des divers Accens musicaux des
Peuples . . . Jean Jacques Rousseau, Dictionnaire de musique (New York: Johnson Reprint,
482
notes to pages 5053
1969 [1768]), 314. Du Haldes section on music also reappeared nearly unaltered in Abb
Prevt, Histoire gnrale des voyages . . . (Paris: Didot, 1749), 22:37985.
15 Ils veulent quil ny ait que cinq Tons dans leur Lu. . . . Jean-Philippe Rameau, Code
de musique pratique (New York: Broude Brothers, 1965 [1760]), 191.
16 See Jim Levy, Joseph Amiot and Enlightenment Speculation on the Origin of
Pythagorean Tuning in China, Theoria 4 (1989): 6388.
17 Amiots translation is lost. See ibid., 64.
18 Lun dentreux le donne dans cet ordre . . . ordre des plus vicieux quon puisse
imaginer. Mais un autre Auteur le donne dans celui-ci, o manquent seulement deux
notes pour saccorder avec notre gamme, aux rapports prs des tierces, qui sy trouvent
faux par les deux Tons majeurs de suite. . . . Rameau, Code, 19192. Notice in these numbers the powers of 3; 13683 is no doubt a misprint for 19683 39.
19 une Orgue de Barbarie, apporte du Cap de Bonne-esprance par M. Dupleix, dont
il a eu la bont de me faire prsent, & sur laquelle peuvent sexcuter tous les airs chinois
copis en Musique dans le IIIe Tome de R. P. du Halde . . . ce qui prouve assez que ce
dernier Lu rgne depuis long temps dans la Chine. Ibid., 192.
20 Pierre Joseph Roussier, Mmoire sur la musique des anciens (New York: Broude Brothers,
1966 [1770]), ixx.
21 Ibid., 14.
22 Levy, Joseph Amiot, 70.
23 Le vice de ce dernier systme des Chinois, & limperfection de leur gamme, dont les
lacunes semblent toujours attendre dautres sons, font assez voir que ces deux singuliers
systmes ne sont chacun en particulier, que comme des dbris dun systme complet, que
jattribute aux Egyptiens. Roussier, Mmoire, 33.
24 Joseph Marie Amiot, Mmoires concernant lhistoire . . . des Chinois, vol. 6, De la musique
des Chinois tant anciens que modernes (Paris: Nyon, 1780), 163. A summary of Amiots treatise also appeared in the Musikalischer Almanach fr Deutschland (Leipzig, 1784), 23374.
25 les Lettrs vulgaires. Amiot, Mmoires, 6:161.
26 Je puis dire quils mont fort ennuy, je souhaite quils ne fassent pas le mme effet
sur ceux qui se donneront la peine de les dchifrer. En voici quelques autres que je donne
nots seulements notre manire. [] De tous ce que jai dit jusquici, je conclus, et on
le conclura sans doute avec moi, que les Chinois sont normment peu avancs dans un
art qui de nos jours a t porte [port?] dans son plus haut point de perfection dans notre
France en particulier. Ibid., 6:146.
27 Ibid., 6:18485.
28 Charles Burney, A General History of Music, critical and historical notes by Frank
Mercer, 2 vols. (New York: Dover, 1957 [177689]), 1:46.
29 A similar notion may have inspired an observation made by Henry Timberlake regarding certain Native American melodies, which are extremely pretty, and very like the
Scotch. Henry Timberlake, Memoirs, 17561765, ed. Samuel Cole Williams (Marietta, GA:
Continental Book Co., 1948 [1765]), 83.
30 Burney, History of Music, 1:46.
31 Ibid., 1:51.
32 Ibid., 1:425.
33 Cet air Chinois, ainsi que plusieurs autres morceaux de Musique Chinoise, nest compos que de cinq notes, et na pour lmens que ce que les Chinois appelent les cinq tons, et
qui sont ici sol la si re mi, dans lesquels il ny a ni fa, ni ut. Benjamin de Laborde, Essai sur
la musique ancienne et moderne (New York: AMS Press, 1978 [1780]), vol. 1, book 1, p. 146.
34 Hector Berlioz, The Art of Music and Other Essays, trans. from A travers Chants and ed.
Elizabeth Csicsery-Rnay (Bloomington: Indiana University Press, 1994), 246.
notes to pages 5354
483
35 Berliozs involvement with Scottish pentatonicism (well before the quoted episode) is
noted below.
36 F.-J. Ftis, Music Explained to the World, ed. Bernarr Rainbow (Clarabricken, Ireland:
Boethius Press, 1985 [1844]), 24. See also idem, Trait complet de la thorie et de la pratique
de lharmonie, 4th ed. (Paris: Brandus, 1849), 248.
37 Le phnomne le plus singulier. F.-J. Ftis, Histoire gnrale de la musique (Paris:
Firmin Didot, 1869), 1:78.
38 . . . mconnu la ncessit de ce mme intervalle du demi-ton, sans lequel il ny a pas
dart musical possible, pas dmotion sentimentale veille par la mlodie, pas de modulation,
aucun moyen dviter le retour incessant des mmes formes et, par suite, la monotonie. Ibid.
39 Engel himself implies that the term is his invention, and the Oxford English
Dictionary concurs. Carl Engel, The Music of the Most Ancient Nations (London: Reeves,
1909 [1864]), 15. The scale first appears as an entry in Continental music dictionaries
soon after: Mendels 1874 Musikalisches Conversations Lexikon lists the Fnf-Tonleiter oder
fnfstufige Tonleiter and, like Engel, associates it with such ancient civilizations as the
Assyrians, Chaldeans and Egyptians, as well as the Chinese and Celts. Riemann invokes
this terminology until the 7th ed. of his Musik-Lexikon (Leipzig: Max Hesse, 1909), in
which he adopts a Germanization of Engels term, Fnfstufige (pentatonische)
Tonleitern. Meanwhile, however, Schuberths Musikalisches Conversations-Lexikon (Leipzig:
Schuberth, 1892) reveals the novelty of both terms: they are not only absent as entries but
even as descriptors within the entry Tonleiter, which in fact illustrates a pentatonic scale,
naming it only with respect to its associated nationalities (Chinese, Indian, New Zealand,
and Scottish). The earliest mention of pentatonicism I have found in French dictionaries
is as late as Brenets 1926 Dictionnaire pratique et historique de la musique (Paris: Armand
Colin), s.v. Gamme (La g. pentaphonique ou le g. de cinq sons . . .).
40 Engel, Most Ancient Nations : 12475.
41 Ibid., 134.
42 Could this sense of authenticity have motivated Weckerlin to correct Lullys nonpentatonic Turkish scene (ex. 2.1, above)?
43 Joseph Yasser claims that pentatonicism has its roots deep down in the subconscious
human mind at a certain stage of musical development, and probably represents one of
the organic forms of musical perception and musical thought in general. A Theory of
Evolving Tonality (New York: American Library of Musicology, 1932), 40. According to
Yassers and others views, musical systems naturally evolve through the accumulation of
new notes. Thus, certain infrapentatonic formulasfor instance the minor third dyad, or
the three-note Celtic beginningrepresent the first music, with the pentatonic, the
diatonic, and the chromatic following in historical succession. Brailoiu and Sachs attribute a deep psychic significance to the simplest of these scales, imagining their ontogenic
origin in a sort of universal collective unconscious, what Szabolcsi has called a musical
primary thought of mankind. See Constantin Brailoiu, Concerning a Russian Melody,
in Problems of Ethnomusicology, trans. and ed. A. L. Lloyd, (New York: Cambridge University
Press, 1984), 25983; Curt Sachs, The Rise of Music in the Ancient World, East and West (New
York: Norton, 1943); and Bence Szabolcsi, Five-Tone Scales and Civilization, Acta
Musicologica 15, nos. 14 (1943): 24. Our children continue to repeat melodic embryos
that we did not teach them but which, like them, the inhabitants of Oceania, the Eskimos,
and the black races know. . . . They defy space. Brailoiu, Problems of Ethnomusicology, 129.
44 Alexander Ellis, On the Musical Scales of Various Nations, Journal of the Society of Arts
33, no. 688 (March 27, 1885): 526.
45 Hugo Riemann, Catechism of Musical History, translator unknown (London: Augener,
1892 [1888]), 5960.
484
notes to pages 5563
46 Eine Stellung oder Reihe von fnff Saiten. . . . Johann Gottfried Walther,
Musikalisches Lexicon (Kassel: Brenreiter, 1953 [1732]), 471.
47 Burney, History of Music, 1:49.
48 See Rameaus unremarkable Les Paladins, III/2 (Air pour les Pagodes) and III/4
(Entre des Chinois).
49 The fate of the f lay next with Hindemith, who retained the note, even capitalizing
on its tonal disruptiveness, in the Symphonic Metamorphoses on Themes of Carl Maria von
Weber.
50 Kii-Ming Lo, In Search for a Chinese Melody: Tracing the Source of Webers Musik zu
Turandot, Op. 37, in Tradition and Its Future in Music: Report of SIMS 1990 Osaka, ed.
International Musicological Society (Tokyo: Mita Press, 1991), 515.
51 Carl Maria von Weber, Writings on Music, trans. Martin Cooper and ed. John Warrack
(New York: Cambridge University Press, 1981), 171.
52 The connection was first pointed out by Ralph P. Locke, Cutthroats and Casbah
Dancers, Muezzins and Timeless Sands: Musical Images of the Middle East, in The Exotic
in Western Music, ed. Jonathan Bellman (Boston: Northeastern University Press, 1998), 109.
53 GAMMES / Des Montes et des Descentes / Deux Gammes Chinoises, suivies / dune mlodie
analogue / Le tout ddi mon ami / M. Jobart Millionnaire / (Toujours de la Blague) /
Rossini, 1867. Quoted in Gioacchino Rossini, Mlodies franaises: French Songs for Voice and
Piano, English translations by Robert Hess (Melville, NY: Belwin Mills, 1981), iv.
54 Although Rossini writes of deux gammes chinoises, he refers simply to the wholetone scale in its ascending and descending forms.
55 Earlier, less ambitious Expositions occurred in London (1851) and Paris (1855).
Elaine Brody, ParisThe Musical Kaleidescope, 18701925 (New York: George Braziller,
1987), 78ff.
56 Rome nest plus dans Rome, le Caire nest plus en Egypte, ni lle de Java dans les
Indes orientales. Tout cela est venu au Champ de Mars, sur lEsplanade des Invalides et
au Trocadro. Julien Tiersot, Musiques pittoresques: Promenades musicales lExposition de
1889 (Paris: Fischbacher, 1889), 1.
57 Glenn Watkins, Pyramids at the Louvre: Music, Culture, and Collage from Stravinsky to the
Postmodernists (Cambridge, MA: Belknap Press, 1994), 19, 21.
58 Quoted in ibid., 60.
59 Letter to Pierre Lous (January 22, 1895). Debussy Letters, ed. Franois Lesure, trans.
and ed. Roger Nichols (Cambridge, MA: Harvard University Press, 1987), 76.
60 Article in the Socit Internationale de Musique (February 15, 1913). Translated in Debussy
on Music: The Critical Writings of the Great French Composer Claude Debussy, trans. Richard
Langham Smith, ed. Franois Lesure and Richard Langham Smith (Ithaca, NY: Cornell
61 Which is not to deny the considerable importance of exotic subjects in Debussys oeuvrenot least in the cover art that he helped choose for his editions. Brody, Paris, 63.
62 Mervyn Cooke, The East in the West: Evocations of the Gamelan in Western Music,
in The Exotic in Western Music, ed. Jonathan Bellman (Boston: Northeastern University
Press, 1998), 260.
63 Constantin Brailoiu, Pentatony in Debussys Music, in Studia memoriae Belae Bartk
sacra, ed. Benjamin Rajeczky, 377417 (New York: Boosey and Hawkes, 1959).
64 The aria was replaced in the operas 1734 revision.
65 Note as well the mutual support of the siciliano rhythms and the proto-pentatonic
neighbor notes.
66 One of the most popular rustic instruments to be cultivated by educated (often
noble) Europeans in the eighteenth century was the musette, a simple bagpipe whose
notes to pages 6383
485
range described a ninth from 5 to 6a heptatonic instrument, but one that necessarily
brought 65 into relief.
67 John Hawkins, A General History of the Science and Practice of Music, 2 vols. (New York: Dover,
1963 [1853; 1776]), 1:3n. Tartini actually describes the octave (in the usual Italian solfeggio) as ut, re, mi, fa, sol, re, mi, fa. Enrico Fubini, ed., Music and Culture in Eighteenth-Century
Europe: A Sourcebook, trans. Wolfgang Fries, Lisa Gasbarrone, and Michael Louis Leone, translation ed. Bonnie J. Blackburn (Chicago: University of Chicago Press, 1994), 145.
68 See chapter 1.
69 Josef Pschl, Jagdmusik: Kontinuitt und Entwicklung in der europischen Geschichte
(Tutzing: Hans Schneider, 1997), 24546.
70 Alexander Ringer, The Chasse as a Musical Topic of the 18th Century, Journal of the
American Musicological Society 6, no. 2 (Summer 1953): 159.
71 This theme appears elsewhere in the piece (m. 51) with the inclusion of the horns
seventh harmonic, 7, in an inner voice.
72 Max Peter Baumann, Switzerland, II. Folk Music, in The New Grove Dictionary of Music
and Musicians, ed. Stanley Sadie (London: Macmillan, 1980), 18:421.
73 The melody is cited in the same article, Musique, that contained Du Haldes air.
Rousseau, Dictionnaire, 314. In this case, however, the domestication of the ranz in P67 cannot be blamed on Rousseau, who faithfully transmitted the Lydian f, pace Grtry.
74 In literature on Rossinis opera, reference is often made to a ranz des vaches, but one
rarely knows which ranz is meant, the borrowed one or the composed ones.
75 The flexible harmonic language of Janequin, for instance, even allowed for calling
thirds below the local tonic; see his La Chasse (Secunda pars, from m. 115).
76 Don Randel, Emerging Triadic Tonality in the Fifteenth Century, Musical Quarterly
57, no. 2 (January 1971): 7386.
77 One notable exception is Berios Cries of London.
78 Athanasius Kircher, Musurgia Universalis, 2 vols. (Hildesheim and New York: G. Olms,
1970 [1650]), 1:xiv. See also Matthew Head, Birdsong and the Origins of Music, Journal
of the Royal Musical Association 122, no. 1 (1997): esp. 1314; Edward A. Armstrong,
A Study of Bird Song, 2nd ed. (New York: Dover, 1973); Hawkins, A General History, 1:2.
79 This piece was at one time attributed to Haydn. Other cuckoos include Lemlin, Der
Gutzgauch; Dacquin, Rondeau, Le Coucou; Kerll, Capriccio sopra il Cucu; Handel,
Organ Concerto #13 in F, ii; Bach, Keyboard Sonata, BWV 963, v, Thema allimitatio gallina cuccu; Saint-Sans, Carnival of the Animals, #9, Le Coucou au fond des bois.
80 Dahlhaus, Nineteenth-Century Music, 307.
81 Head, Birdsong, 20.
82 Transcribed from British Broadcasting Corporation, Sound Effects Library
(Princeton, NJ: Films for the Humanities and Sciences, 1991), disc 3, track 10.
83 The cuckoo clock represents a similar merging of calling genres. For instance,
Janequins Le Chant des oyseaux is intended as a reveil.
84 Wye Jamison Allanbrook, Rhythmic Gesture in Mozart (Chicago: University of Chicago
Press, 1983).
85 Quoted in ibid., 65.
86 Cuban montuno playing also features a sixth degree emphasis, which is no doubt
explainable in the same way. Rebecca Maulen, Salsa Guidebook for Piano and Ensemble
(Petaluma, CA: Sher Music, 1993), 132.
87 Charles Rosen, The Romantic Generation (Cambridge, MA: Harvard University Press,
1995), 116.
88 See also the farewell horn fifths in Beethovens Piano Sonata, op. 81a, Les Adieux.
89 See also the discussion in chapter 1, C2, pp. 3233.
486
notes to pages 8488
90 See. for example, Francis Collinson, Scotland, II. Folk Music, in The New Grove
Dictionary of Music and Musicians, ed. Stanley Sadie (London: Macmillan, 1980), 17:70.
91 Burney, History of Music, 1:48. Later British writers (Crawfurd, Raffles) would make a
similar comparison between Scottish and Javanese music.
92 Hawkins, A General History, 2:563n.
93 Burney, History of Music, 1:4546. Hawkins, A General History, 2:562n. Thomas Busby, A
Complete Dictionary of Music (London: R. Phillips, 1786). Hawkinss rather vague descriptions of Scottish pentatonicism are made more forceful in the posthumously published
annotations of the 1853 edition.
94 Letter from Burns to George Thomson, November, 1794, quoted in David Johnson,
Music and Society in Lowland Scotland in the Eighteenth Century (London: Oxford University
Press, 1972), 188.
95 Laborde, Essai, 2:419.
96 Gottfried Wilhelm Fink, Erste Wanderung der ltesten Tonkunst als Vorgeschichte der Musik
(Essen: Bdeker, 1831), 78ff.
97 Respectively, Ftis, Trait complet, 248; Ftis, Music Explained, 24. The second of these
scales corresponds to what Ern Lendvai calls the acoustic scale. The Workshop of Bartk
and Kodly (Budapest: Editio Musica, 1983), 394.
98 Much of the information in this paragraph is based on Roger Fiske, Scotland in Music:
A European Enthusiasm (New York: Cambridge University Press, 1983).
99 James Porter, Europe, Traditional Music of, in The New Grove Dictionary of Music and
Musicians, 2nd ed., ed. Stanley Sadie and John Tyrrell (London: Macmillan, 2001), 8:430.
100 See Barry Cooper, Beethovens Folksong Settings: Chronology, Sources, Style (Oxford:
Clarendon Press, 1994); Fiske, Scotland; Johnson, Lowland Scotland; Karl Geiringer, Haydn
and the Folksong of the British Isles, Musical Quarterly 35, no. 2 (April 1949): 179208.
101 Cooper, Beethovens Folksong Settings, 103.
102 Fiske, Scotland, 38. MacPhersons fieldwork, however, may have been underestimated.
John Daverio, Schumanns Ossianic Manner, 19th-Century Music 21, no. 3 (Spring 1998):
252.
103 Johann Gottfried Herder, Extract from a Correspondence on Ossian and the Songs
of Ancient Peoples, trans. Joyce Crick in German Aesthetic and Literary Criticism, vol. 3, ed.
H. B. Nisbet (New York: Cambridge University Press, 1985), 155, 158.
104 Ibid., 3:158, 15556.
105 Ibid., 160.
106 Quoted in R. Larry Todd, Mendelssohns Ossianic Manner, with a New SourceOn
Lenas Gloomy Heath, in Mendelssohn and Schumann: Essays on Their Music and Its Context, ed.
Jon W. Finson and R. Larry Todd (Durham, NC: Duke University Press, 1984), 138.
107 Fiske, Scotland, 44.
108 Todd, Mendelssohns Ossianic Manner, 138.
109 Charles Rosen, Introduction to Jean-Franois Le Sueur, Ossian: Ou les bardes (New
York: Garland, 1979).
110 Daverio, Schumanns Ossianic Manner, 253. See also Todd, Mendelssohns
Ossianic Manner.
111 Fiske, Scotland, 142.
112 Ibid., 13.
113 The specifics of Berliozs program to Rob Roy (P226, P227) are not known, though
the pastoral resonance of this theme is attested to by its reuse in Harold en Italie, i: Harold
aux montagnes.
notes to pages 8992
487
114 Nicholas Temperley, Musical Nationalism in English Romantic Opera, in The Lost
Chord: Essays on Victorian Music, ed. Temperley, 14358 (Bloomington: Indiana University
Press, 1989).
115 Eric Sams has exposed the Wunderhorn collection as largely inauthentic. Notes on a
Magic Horn, Musical Times 115, no. 1577 (July 1974): 55659.
116 A. F. Thibaut, Purity in Music, trans. John Broadhouse (London: Reeves, 1882
[1825]), 38ff.
117 Respectively: Lucia Perkins, Use of the Folk Idiom in Mozarts German Operas,
MM thesis (Memphis State University, 1991), and Daniel Heartz, Mozarts Sense for
Nature, 19th-Century Music 15, no. 2 (Fall 1991): 10715; David Schroeder, Melodic
Source Material and Haydns Creative Process, Musical Quarterly 68, no. 4 (1982):
496515, and David Cushman, Joseph Haydns Melodic Materials (PhD diss., Boston
University, 1973); Kurt Dorfmller, Beethovens Volksliederjagd, in Festschrift fr Horst
Leuchtmann zum 65. Geburtstag, ed. Stephan Hrner and Bernhold Schmid, 10725
(Tutzing: Hans Schneider, 1993); Virginia Hancock, Johannes Brahms:
Volkslied/Kunstlied, in German Lieder in the Nineteenth Century, ed. Rufus Hallmark,
11952 (New York: Schirmer, 1996).
118 Timothy Rice, The Music of Europe: Unity and Diversity, in The Garland
Encyclopedia of World Music, vol. 8, Europe, ed. Timothy Rice, James Porter, and Chris
Goertzen (New York: Garland, 2000), 9.
119 Jan Smaczny, The E-flat Major String Quintet, Op. 97, in Dvork in America,
18921895, ed. John Tibbetts (Portland, OR: Amadeus, 1993), 239. I have chosen not to
dwell on Dvork, since his well-known pentatonicism has been discussed elsewhere. See,
for example, Michael Beckerman, Dvorks Pentatonic Landscape: The Suite in A
Major, in Rethinking Dvork, ed. David Beveridge, 24554 (New York: Oxford University
Press, 1996); and David Beveridge, Sophisticated Primitivism: The Significance of
Pentatonicism in Dvorks American Quartet, Current Musicology 24 (1977): 2536.
120 Barbara Milewski, Chopins Mazurkas and the Myth of the Folk, 19th-Century Music
23, no. 2 (Fall 1999): 11335.
121 Letter to Titus Woyciechowski, Dec. 27, 1828. Chopins Letters, collected by Henryk
Opienski, trans. and ed. E. L. Voynich, (New York: Knopf, 1932), 47. Ashton Jonson
explains the oblique reference to a certain unflattering coat of Chopins, which apparently
provoked great teasing from his friends. A Handbook of Chopins Works, Giving a Detailed
Account of All the Compositions of Chopin, 2nd ed., revised (London: Reeves, 1908), 115.
122 Jan Steszewski, Poland, II. Folk Music, in The New Grove Dictionary of Music and
Musicians, ed. Stanley Sadie (London: Macmillan, 1980), 15:32.
123 Mark Devoto, moreover, has identified an emphasis on 6 as characteristic of nineteenthcentury Russian music. The Russian Submediant in the Nineteenth Century, Current
Musicology 59 (1995): 4876.
124 Richard Taruskin, Defining Russia Musically: Historical and Hermeneutical Essays
(Princeton, NJ: Princeton University Press, 1997), 3. Volga music, which was a chief inspiration for Russian composers, is strongly pentatonic, as are other several other local traditions. See Gerald Seaman, History of Russian Music, vol. 1, From Its Origins to Dargomyzhsky
(New York: Praeger, 1967), 2.
125 Quoted in Vladimir Stasov, Selected Essays on Music, trans. Florence Jonas (London:
Barrie and Rockliff, 1968), 146.
126 Jim Samson, Music in Transition: A Study of Tonal Expansion and Atonality (London:
Dent, 1977).
127 Gerald Abraham, Studies in Russian Music (Freeport, NY: Books for Library Press,
1936), 12. This example is also notable for its exploration of the pentatonic scales tonal
488
notes to pages 92106
weakness: it is difficult to know whether the themes cadence is half or full or, similarly,
whether the mode is the common major pentatonic or the Mixolydian pentatonic.
128 Locke, Cutthroats, 107.
129 Dahlhaus, Nineteenth-Century Music, 304.
Chapter Three
1 Carl Dahlhaus, Nineteenth-Century Music, trans. J. Bradford Robinson (Berkeley:
University of California Press, 1989), 179. Examples of the religious pentatonic have been
observed in Liszt; see Mrta Grabcz, Morphologie des oeuvres pour piano de Liszt: Influence du
programme sur lvolution des formes instrumentales (Paris: Kim, 1996); Serge Gut, Franz Liszt:
Les lments du langage musical (Paris: Klincksieck, 1975). Grabczs study is a largely theoretical endeavor (rooted in Peircian semiotics) that takes the existence of the semantic categories for granted. I will bring to light more examplesprimarily by Liszt, but by many
other composers as welland, more importantly, I will elucidate their common aesthetic
and historical sources.
2 Immanuel Kant, Foundations of the Metaphysics of Morals and What is Enlightenment? trans.
Lewis White Beck (New York: Liberal Arts Press, 1959), 85.
3 Kant, himself avowedly agnostic concerning Gods role in human history, formulated
what amounted to an essentially secular and pragmatic ethics, an exemplar of the humanistic reduction of Christianity to morality that Voltaire also endorsed. See Carter Lindberg,
European Christianity Confronts the Modern Age, in Christianity: A Social and Cultural
History, 2nd ed., ed. Howard Clark Kee et al. (Upper Saddle River, NJ: Simon and Schuster,
1998), 354. German Enlightenment theologians worked to present a socio-ethical interpretation of Christianity. They depicted Jesus as the great teacher of wisdom and virtue, the
forerunner of the Enlightenment, who broke the bonds of error (not sin!) (p. 353).
4 Vilhelm Grnbech, Religious Currents in the Nineteenth Century, trans. P. M. Mitchell and
W. P. Paden (Lawrence: University of Kansas Press, 1964), 97.
5 Conrad Donakowski, A Muse for the Masses: Ritual and Music in an Age of Democratic
Revolution, 17701870 (Chicago: University of Chicago Press, 1977), 112.
6 In France, the turmoil of the age of Napoleon at once destabilized the local churches
and engendered a renewed desire for ecclesiastical centralization, the so-called ultramontanism exemplified by Joseph de Maistres polemic: In Europe there is no religion
without Christendom. There is no Christendom without Catholicism. There is no
Catholicism without the pope. Quoted in Lindberg, European Christianity, 364.
7 Terry Tastard, Theology and Spirituality in the 19th and 20th Centuries, in Companion
Encyclopaedia of Theology, ed. Peter Byrne and Leslie Houlden (New York: Routledge,
1995), 602.
8 Donakowski, A Muse for the Masses, 137.
9 Quoted in Bruce MacIntyre, The Viennese Concerted Mass of the Early Classic Period (Ann
Arbor, MI: UMI Research Press, 1986), 54.
10 Karl Gustav Fellerer, The History of Catholic Church Music, trans. Francis Brunner
(Baltimore: Helicon, 1961), 161.
11 The anonymous critic quoted in MacIntyre may have been Joseph Richter (The
Viennese Mass, 53n128). Compare Liszts strong opinion on the matter: Do you hear, at
the solemn moment when the priest raises the sacred host, do you hear the wretched
organist execute variations on Di piacer mi balza il cor or Fra Diavolo? O shame! O scandal! Quoted in Paul Merrick, Revolution and Religion in the Music of Liszt (New York:
Cambridge University Press, 1987), 221.
489
12 MacIntyre, The Viennese Mass, 52.

13 Parlons maintenant des corrections des Graduels et des Antiphonaires, qui se sont si
souvent renouveles depuis le XVIIe sicle jusqu nos jours, et grce auxquelles, presque
partout en France, notre plain-chant a t si compltement dfigur et mutil, quil arrive
fort souvent quune personne habitue aux chants dglise de tel diocse ne les reconnat
plus si elle vient passer dans un diocse voisin. Joseph dOrtigue, Intoduction ltude
compare des tonalits du chant grgorien et de la musique moderne (Paris: L. Potier, 1853),
17172.
14 Cited in E. T. A. Hoffmann, E. T. A. Hoffmanns Musical Writings, trans. Martyn Clarke,
ed. David Charlton (New York: Cambridge University Press, 1989), 352.
15 E. T. A Hoffmann, Old and New Church Music, (AMZ, 1814), quoted in Hoffmann,
Hoffmanns Musical Writings, 357.
16 Ibid., 370.
17 Alexandre Choron, Summary of the History of Music, in A Dictionary of
Musicians . . ., ed. John Sainsbury (London: Sainsbury, 1825 [1811]), lxv.
18 Donakowski, A Muse for the Masses, 149. DOrtigues 1853 Dictionnaire liturgique, historique et thorique de plain-chant (Paris: Migne) came on the heels of Lambillottes revolutionary edition of the St. Gall MS two years earlier (in De lUnit dans les chants liturgiques
[Paris: Vve. Poussielgue-Rusand, 1851]).
19 A. F. Thibaut, Purity in Music, trans. John Broadhouse (London: Reeves, 1882 [1825]),
8. Between Thibauts work and that of Witt, another notable German, Kaspar Ett, published an edition of the chant in his Cantica sacra (Munich, 1827).
20 For convenience I cite the Liber Usualis (henceforth LU) throughout this section.
Benedictines of Solesmes, Liber Usualis (Tournai: Descle, 1956). I do so despite the
potential anachronism: the LU was published only in 1894. Nevertheless, it represents the
culminating work of the chant revival described in the previous section. Where possible I
have confirmed my results against contemporary sources: Catholic Church, Processionale
romanum . . . (Brussels: Huberti-Francisci tSerstevens, 1805); Cantus Gregorianus . . .
(Brescia: Weber, 1807); Graduale romanum . . . (Lige: Spe-Zelis, 1857); Graduale de tempore et de sanctis . . . (Regensberg: Pustet, 1877).
21 Constantin Brailoiu, Concerning a Russian Melody, in Problems of Ethnomusicology,
trans. and ed. A. L. Lloyd (New York: Cambridge University Press, 1984), 25983. Lajos
Brdos similarly identifies this incipit as the psalmodic ternion. Natural Tonal Systems,
in Studia memoriae Belae Bartk sacra, ed. Benjamin Rajeczky (New York: Boosey and
Hawkes, 1959), 223.
22 Michel Huglo, Antiphon, in The New Grove Dictionary of Music and Musicians, ed.
Stanley Sadie, 1:47374 (London: Macmillan, 1980). The bracketed and parenthetical
notes are optional, depending on the requirements of the particular text. For the psalm
tones, see the LU, 12122.
23 Jacques Chailley, Formation et transformation du langage musical, vol. 1, Intervalles et
chelles (Paris: Centre de Documenation Universitaire, 1955), 116.
24 Finn Egeland Hansen, The Grammar of Gregorian Tonality: An Investigation Based on the
Repertory in Codex H 159, Montpellier, trans. Shirley Larsen, 2 vols. (Copenhagen: Dan Fog,
1979), 1:30. According to Egeland Hansens analysis, pentatonic structure exists in a great
many of the melodies found in the Montpellier Codex. See also Gustave Reese, Music in
the Middle Ages (New York: Norton, 1940), 160.
25 Choron, Summary of the History of Music, xxxv.
26 In the interest of clarity I have quoted mostly individual lines, with preference given
to complete phrases. The pentatonic effect will, of course, be considerably weaker in the
context of the full polyphonic texture.
490
27 The point has been made elsewhere, with varying degrees of prudence. Viret refers to
the substrat pentatonique, Chailley, to the residue pentatonique, of plainchant.
Egeland Hansens is a particularly meticulous examination. Jacques Viret, La Modalit grgorienne: Un langage pour quel message? (Lyons: ditions coeur joie, 1996), 52; Chailley,
Formation et transformation, 116; Egeland Hansen, Gregorian Tonality, 1:30146. John
Shepherd has interpreted medieval pentatonicism as a social text, the articulation of an
ideal feudal structure. Music as Social Text (Cambridge, UK: Polity Press, 1991), 107.
28 Harold S. Powers et al., Mode, in The New Grove Dictionary of Music and Musicians, 2nd
29 Ici lchelle des sons est bien notre gamme moderne dut majeur, mais la tournure
de la mlodie est fort diffrente, on peut sen assurer par lexamen des fig. 11 et 12.
Alexandre Choron and Adrien de La Fage, Nouveau Manuel complet de musique vocale et
instrumentale (Paris: Roret, 183839), part 2, vol. 3, p. 177. They observe in a footnote,
The leading note of the dominant is avoided above all. (In Chorons fig. 11, a bass clef
is surely intended for the left hand, yielding imitation at the fifth.)
30 Il est presque impossible dexpliquer dune manire satisfaisante la modalit du
plain-chant. Ibid., part 2, vol. 3, p. 182.
31 Kirnberger had even made a case for preserving the church modes in modern composition, but it seems that he was in the minority. See Joel Lester, The Persistence of
Modal Theory, chapter 8 in Between Modes and Keys: German Theory, 15921802
(Stuyvesant, NY: Pendragon, 1989).
32 La musique religieuse comprend dabord le plain chant . . . drivant du systme
musical des peuples anciens, diffrant essentiellement de la musique moderne, aujourdhui dfigur par une excution dtestable et mpris parce quon nen comprend plus
les beauts. F. Danjou, Introduction, Revue de la musique religieuse, populaire et classique
(1845, no. 1): 8.
33 E. de Coussemaker, Histoire de lharmonie au moyen ge (Paris: Didron, 1852), 9597. One
of his examples is a fourteenth-century chanson, o la tonalit dut majeur est parfaitement determine.
34 F. Danjou, Ltat actuel du chant dans les glises de France et des moyens den
amliorer lexcution, Revue de la musique religieuse, populaire et classique (1845, no. 2): 49.
35 Doit-on chanter les louanges de Dieu sur le mme ton quon emploie pour les passions humaines? . . . Des ecclsiastiques respectables et des prlats ont pris parti pour la
musique mondaine contre la musique catholique. F. Danjou, Introduction, 11.
36 P. Couturier, Dcadence et restauration de la musique religieuse (Paris: E. Repos, 1862).
Quoted in Donakowski, A Muse for the Masses, 150.
37 Il est inexcusable daltrer un plain-chant au point den dtruire entirement le caractre modal et de le faire passer sans plus de faon ltat de mlodie moderne. Adrien
de La Fage, Cours complet de plain-chant (Paris: Gaume frres, 1855), 534.
38 La premire est fonde sur ce principe, que les intervalles qui composent la gamme,
au nombre de huit, diatoniques et naturels, nont aucune relation ncessaire les uns avec
les autres, ni aucune affinit ou attraction entre eux. Do il rsulte que chaque degr
pouvant tre le terme de la succession, emporte virtuellement lide de repos et dun sens
complet. Telle est la constitution des systmes de musique religieuse et particulirement
du chant grgorien. . . . La seconde est constitue de manire que les degrs, les mmes
que ceux de la tonalit du plain-chant, peuvent chacun donner naissance deux nouveaux intervalles, lun par la proprit du dise, lautre par la proprit du bmol; ce qui
porte douze le nombre des sons compris dans lchelle; ce qui porte galement douze
le nombre de gammes ou de tons appartenant notre tonalit. Le mode de succession
entre les intervalles est dtermin par diverses affinits et attractions qui leur sont
491
propres, et qui, si nous pouvons ainsi parler, les incitent, celui-ci descendre sur le degr
infrieur, celui-l slever au degr suprieur, un troisime persister en lui-mme
comme sur un point de repos. . . . Do il suit que chaque degr isol ne renfermant pas
en lui-mme un sens complet, loin de pouvoir tre arbitrairement le terme de la succession, il ne saurait tre regard autrement que comme lment de cette succession.
DOrtigue, Introduction, 1921.
39 Nous dirons que, par lemploi frquent de la note sensible, par la modulation qui
revient sur les principales priodes, par la cadence qui termine cette modulation, ce
Credo appartient la tonalit moderne. . . . Nous ajouterons que ce Credo nest pas dans
le premier mode du plain-chant, mais dans le ton du r mineur. Ibid., 17879.
40 Cest une habitude vicieuse, qui ne doit pas tre tolre. La Fage, Cours complet, 217.
41 En quelques endroits on ne descend que dun semi-diaton au-dessous de la teneur et
lon chant [Example] cest une imitation dplace de la musique moderne qui ne devrait
point tre soufferte, puisquelle introduit un degr absolument tranger lchelle du
mode antique et amne, comme nous le verrons, bientt dautres altrations. Ibid., 310.
42 Louis Niedermeyer and Joseph dOrtigue, Gregorian Accompaniment, trans. Wallace
Goodrich (New York: Novello, 1905 [1857]), 52n1.
43 Hoffmann, Old and New, 373.
44 Il advint que ce diabolus in musica, que cette chose qui, nous le rptons dessein,
faisait horreur la nature, faisait violence lorganisation, et que lart rejetait hors de sa
sphre; il advint que cet lment subversif, destructif de la tonalit ancienne, fut la base, le
fondement, la clef de vote de la tonalit moderne. . . . Do il suit que, labsence de llment du triton tant la condition ncessaire et essentielle de la tonalit ancienne, et la
prsence de ce mme triton tant la condition ncessaire et essentielle de la tonalit moderne, il y a entre ces deux tonalits incompatibilit radicale. DOrtigue, Introduction, 16364.
45 See Thomas Christensen, Ftis and Emerging Tonal Consciousness, in Music Theory
in the Age of Romanticism, ed. Ian Bent, 3756 (New York: Cambridge University Press,
1996).
46 Laccent expressif, passionn, dramatique, est insparable de lattraction des sons, et
ne peut exister sans elle. F.-J. Ftis, Trait complet de la thorie et de la pratique de lharmonie,
4th ed. (Paris: Brandus, 1849), xlii.
47 Thibaut, Purity, 11.
48 Thibauts contemporary Hoffmann might have objected to such alterations on
acoustical grounds: in a large church, he claimed, Any blurring of sounds by subtle
nuances or short passing-notes would destroy the strength of the vocal line by making it
unclear. Hoffmann, Old and New, 358.
49 Les Belles Lettres recommencrent fleurir dans le Royaume il y a 200. ans, cest-dire, sous le rgne de Franois I. mais le Chant dEglise ne parut point recevoir alors
beaucoup de perfection. Pendant que la barbarie disparoissoit peu peu dans les
Collges, certaines voix difficiles flchir corrompirent dans les Choeurs de plusieurs
Eglises la douceur des Psalmodies Grgoriennes. Ces Chantres de lespce de celui que
Thodulfe Evque dOrlans appelloit au neuvime sicle Vox taurina, sentant qu la fin
de certaines terminaisons psalmodiques il leur toit plus commode de descendre par une
tierce que par dgrs conjoints, changrent les progrs de secondes en tierces; par xemple. [Example] . . . Et comme les demitons leurs paroissoients plus difficiles dans la pratique cause de la rudesse de leur voix, ils firent la mdiation du mme septime mode
le changement qui suit: au lieu de dire comme on avoit fait auparavant dans Dixit
Dominus [Example] . . . ils dirent [Example]. Abb Jean Lebeuf, Trait historique et pratique sur le chant ecclsiastique (Geneva: Minkoff, 1972 [1741]), 1067. In fact, Lebeufs preferred psalmodic cadences correspond to those of later books, including the LU.
492
50 Il y a une autre formule doraison friale qui ne diffre de la prcdente que par une
chute de tierce mineure, pratique sur la dernire syllabe de loraison et sur la dernire
de la conclusion. [Example] On fait aussi, volont, linflexion de tierce au Dominus
vobiscum. Cette seconde formule friale a souvent t altre de la manire suivante, qui
ne mrite nulle approbation. La Fage, Cours complet, 212.
51 Lorsque le Pater se rcite la fin des nocturnes et dans quelques autres cas, on nen
prononce haute voix que les premiers et les derniers mots en faisant sur la dernire syllabe une inflexion de tierce mineure, reproduite dans la conclusion du choeur.
[Example] La seconde conclusion est mauvaise. Ibid., 217.
52 Des quatre inchoations du Magnificat, la troisime nous semble la meilleure; les deux
premires sont tolrables, mais la diaptose place la fin de la quatrime, lui donne un
aspect tout fait ridicule. Ibid., 29798.
53 Le si est videmment une note de passage, quon y a arbitrairement introduite.
N. A. Janssen, Les Vrais Principes du chant grgorien (Malines, Belgium: Hanicq, 1845), 142.
54 Les deux semi-brves sont encore des notes de remplissage: et, par consquent, elles
constituent une faute. Ibid., 141.
55 Ibid., 163.
56 On voit donc que cest dnaturer compltement les successions de cette espce que
de donner toutes les notes la mme valeur; car dans lexemple dont il sagit le chant
repose sur ces notes: [Example]; les autres nen sont que lornement. F.-J. Ftis, Des
Origines du plain-chant ou chant ecclsiastique, Cinquime article, Revue de la musique
religieuse, populaire et classique 7 (July 1846): 233.
57 On y verra que la simplicit du chant primitif, si bien conue par le compositeur, en
raison de ltendue de lhymne et de la quantit des paroles, a t gte par une multitude de notes parasites, qui rendent le chant languissant et monotone dans cette dition. . . . Par exemple, qui ne sera dsagrablement affect en voyant remplacer cette
forme si simple et si noble: [Example] par cette redondance de notes? [Example] Tout le
Gloria des ditions franaises est rempli dabsurdits du mme genre; quelquefois mme
il ny a aucun rapport entre la forme du chant ancien et celle du moderne. Je prendrai
pour exemple ce passage: [Example] que les diteurs ont chang en celui-ci. . . .
F.-J. Ftis, Des Origines du plain-chant ou chant ecclsiastique, Septime article, Revue
de la musique religieuse, populaire et classique (December 1846): 41820.
58 En liant deux notes sur la premire syllabe du premier alleluia, et deux autres sur la
troisime syllabe, ils tent la grce naturelle de ce passage. . . . A lgard du second
alleluia, il nest personne qui ne soit en tat de voir que toutes ces notes lies par intervalles de secondes donnent une forme plate, en comparaison de celle du chant original.
Il en est de mme du troisime alleluia, qui est un modle dlgance dans le chant
ancien, et dont la forme est fastidieuse dans les ditions franaises. F.-J. Ftis, Des
Origines du plain-chant ou chant ecclsiastique, Sixime article, Revue de la musique
religieuse, populaire et classique (September 1846): 317.
59 Ftis, Des Origines . . ., Septime article, 421.
60 The connection between pentatonicism and chant, however, would be made later in
the century, apparently first in Hugo Riemann, Fnfstufige Tonleitern, in Musik-Lexikon,
1st ed., 279 (Leipzig: Verlag des Bibliographischen Instituts, 1882).
61 I have not attempted to establish concrete links between theorists and composers;
such an endeavor would be both precarious and, I feel, ultimately unnecessary. It should
nevertheless be mentioned in this regard that Liszt expressed enthusiasm toward
DOrtigues work, and that Berlioz was likewise impressed enough with the ideas of his
friend and colleague (albeit not without reservation) to devote an article in the Journal
des dbats to the subject. See Merrick Revolution and Religion, 9193; and Hector Berlioz,
493
On Church Music by Joseph dOrtigue, in The Art of Music and Other Essays, trans. and ed.
Elizabeth Csicsery-Rnay, 17275 (Bloomington: Indiana University Press, 1994).
62 Richard Brettell and Caroline Brettell, Painters and Peasants in the Nineteenth Century
(Geneva: Skira, 1983), 101.
63 Ibid., 75.
64 Thibaut, Purity, 3738.
65 Hoffmann, Old and New, 373.
66 Quoted in Donakowski, A Muse for the Masses, 144.
67 En effet, le plain-chant est la mlodie de tous, intelligible pour tous, en mme temps
quil exprime fidlement et avec plus de puissance que tous les autres chants, la longue
prire de lEglise militante et les graves penses des coeurs loigns de leur patrie. My
translation from passage quoted in Merrick, Revolution and Religion: 90.
68 F.-J. Ftis, Esquisse de lhistoire de lharmonie, trans. and ed. Mary Arlin (Stuyvesant, NY:
Pendragon, 1994 [1840]), 33.
69 From Fetiss Trait de lharmonie, quoted by the editor in Ftis, Esquisse, xiii.
70 Arthur Schopenhauer, The World as Will and Idea, trans. Jill Berman, ed. David Berman
(London: Dent, 1995), 11920.
71 Ibid., 147.
72 This despite the non-isomorphism: while pentatonicism is, by definition, a subsystem
of diatonicism, the constructed meanings of each system relate not as comparable entities
but, ultimately, as opposites.
73 Lide de la succession se perd et sabsorbe chacque degr dans lide de linfini,
puisque la succession amne sur chaque accord le sentiment de la plnitude, de la dure et
de lunit abstraite. Joseph dOrtigue, Philosophie de la musique, in Dictionnaire
liturgique, historique et thorique de plain-chant, ed. DOrtigue (Paris: Migne, 1853), col. 1184.
74 . . . une musique langoureuse et sensuelle . . . les chansons amoureuses et . . . les
danses lascives. []Au contraire, chez les rudes et srieuses populations issues de la race
jaune ou mongolique, la musique, grave et monotone, trange et dure pour des
Europens, est le produit dun systme de tonalit o le demi-ton disparat trs souvent,
et dont la gamme incomplte ne se compose que de cinq sons placs des intervalles
dun ton lun de lautre, avec les lacunes l o sont les demi-tons de la gamme appele
diatonique. Ftis, Trait complet, xxixxii.
75 See also chapter 2. The musical characterization of Carmen, famously, employs chromaticism as both exotic and seductive. See Susan McClary, Georges Bizet: Carmen (New
York: Cambridge University Press, 1992), 5158.
76 These observations are not meant to call into question the vast majority of religious
pieces in the nineteenth century that do feature prominent leading tones and tritones.
The present explanations address chiefly the exceptions, rather than the customs, of musical practice. The religious pentatonic, in the end, is but one kind of religious expression.
77 The quotation, conveyed by a student of Liszt, is cited in Merrick, Revolution and Religion,
28687. Merrick has documented many instances of the M2m3 cell in Liszt, what he calls
Liszts cross motif. See chapter 14, Liszts Cross Motif and the Piano Sonata in B Minor,
in Revolution and Religion. Merricks religious interpretation of the Grandioso theme of Liszts
Sonata in B minor, however, is in my opinion undermined by the rhythm (and to some
extent, the harmony) of the theme, which suggests not the Gregorian incipit, but a transposed repetition of a single major-second motive: 56 | 12.
78 Leonard B. Meyer, Style and Music: Theory, History, and Ideology (Philadelphia:
University of Pennsylvania Press, 1989), 288.
79 Jansen, Les Vrais Principes, 163. Franz Xaver Haberl, Magister Choralis: Theoretischpraktische Anweisung zum Verstndnis und Vortrag des authentischen rmischen Choralgesanges,
494
12th ed. (New York: Pustet, 1900 [1865]), 128. See also Catholic Church, Processionale
romanum, 6. Janssens tone for the absolution differs from the later LU, which gives the
cadence as bc (LU, 132).
80 Structurally, this passage displays a vestige of classical protocol in the underlying 65,
as discussed in chapter 1.
81 Both of these functions involve iconic (i.e., depictive) processes, though the latter
mode is less direct in its signification, presupposing as it does the more or less arbitrary
notions of melodic ascent and of tonal gravity, as well as the (less arbitrary) correlation
of chromaticism with tension.
82 Another example of the Picardy sixth (P325) will be mentioned below with regard to
bass 68.
83 It is perhaps not too much of a stretch to also mention in this context that most famous
series of plagal cadences at the climax of Wagners Tristan und Isolde. Here the erotic has
been elevated to the spiritual, through a curious convergence of chromaticism, plagal harmony (with prominent appogiatura sixths), and Isoldes striking 61 (if not 68).
84 Niedermeyer and DOrtigue, Gregorian Accompaniment, 1416.
85 Ibid., 62, 77.
86 Grabcz (Morphologie) includes pentatonic religioso themes within her catalogue of
Liszts isotopies smantiques.
87 One almost wonders if the Faur In paradisum owes something to this passage, with
its soothing, repeated 65 appoggiaturas and empty downbeats.
88 Constantin Floros, Die Faust-Symphonie von Franz Liszt, in Franz Liszt, ed. Heinz-Klaus
Metzger and Rainer Riehn (Munich: Edition Text und Kritik, 1980), 70. Other writers
include Dahlhaus, Longyear/Covington, Redepenning, Monson, Walter, and Kramer.
Chapter Four
1 Serge Gut, Franz Liszt: Les lments du langage musical (Paris: Klincksieck, 1975), 77.
2 Roslyn Rensch, Harps and Harpists (London: Duckworth, 1989), 158. See also W. H.
Grattan Flood, The Story of the Harp (New York: Scribners Sons, 1905), 156; Hans Joachim
Zingel, Harp Music in the Nineteenth Century, trans. Mark Palkovic (Bloomington: Indiana
3 Samuel Pratt, Affairs of the Harp (New York: Charles Colin, 1964), 20.
4 Quoted in ibid., 26. Elsewhere Beethoven complained that the piano is still the most
unrefined of all instruments, since one sometimes thinks that one is hearing only a harp.
Zingel, Harp Music, 26.
5 Pratt, Affairs, 21, 44. Nevertheless, we have no evidence that Haydn wrote for the great
harpist Jan Krtitel Krumpholz (Jean-Baptiste Krumpholtz), who was active at Esterhazy
between 1773 and 1776. H. C. Robbins Landon and David Wyn Jones, Haydn: His Life and
Music (Bloomington: Indiana University Press, 1988), 96.
6 William G. Atwood, The Parisian Worlds of Frdric Chopin (New Haven, CT: Yale
7 See also Parish-Alvars, Fantasia on Themes from Webers Oberon, op. 59, m. 6; Grand Fantasia
on Donizettis Lucrezia Borgia, op. 78, end; and Grand Fantasia on Rossinis Mose, op. 58.
8 To execute an extended arpeggio of a simple three-note pattern, the harpist faces competing limitations: using all eight digits, as is generally preferred, minimizes the number
of changes, or placements, of each hand, though using only six spares the fingers from
adjusting to a different intervallic pattern in each placement. I am grateful to Heather
Hoffmeister for her explication of fingering issues.
495
9 In its present state, the harp leaves much to be desired. Nicholas Charles Bochsa,
Nouvelle Mthode de harpe, trans. and ed. Patricia John (Houston: Pantile Press, 1993
[1814]), 7.
10 Ibid., 18.
11 Hector Berlioz, Trait dinstrumentation et dorchestration, nouvelle d. (Paris: Lemoine,
1860?), 75.
12 Even with the advent of the pianos double escapement (also by rard) in 1821,
pianists could never hope to produce as quick a reiteration of a single pitch.
13 On ne saurait croire les ressources que les grands Harpistes savent maintenant tirer de
ces doubles notes quils ont nommes synonimes. Mr. Parish Alvars le virtuose le plus extraordinaire peut tre quon ait jamais entendu sur cet instrument, execute des traits et des
arpges qui linspection paraissent absolument impossible et dont toute la difficult,
cependant, ne consiste que dans lemploi ingnieux des pdales. Il fait, par exemple, avec
une rapidit extraordinaire des traits comme le suivant: [Example] [] On concevra combien un trait pareil est facile, en considerant que lartiste na qua glisser trois doigts du haut
en bas sur les cordes de la Harpe, sans doigt, et aussi vite quil veut, puisquau moyen des
synonimes lintrument [sic] se trouve accord exclusivement en suites de tierces mineures
produisant laccord de septime diminue, et quau lieu davoir pour gamme [Example] il a:
[Example]. Berlioz, Trait, 82. English translation based on Berliozs Orchestration Treatise: A
Translation and Commentary, trans. and commentary by Hugh Macdonald (Cambridge and
New York: Cambridge University Press, 2002), 7778.
14 Respectively, Alphonse Hasselmans, La Harpe et sa technique, in Encyclopdie de la
musique et dictionnaire du Conservatoire, ed. Albert Lavignac, part 2 (Paris: Delagrave, 1927),
3:1937; Parish-Alvars, quoted in Floraleda Sacchi, Elias Parish Alvars: Life, Music,
Documents, trans. Howard Weiner and Maria Rosa Solarino (Dornach: Odilia, 1999), 189;
Carlos Salzedo, Modern Study of the Harp (Milwaukee: G. Schirmer, 1948), 5; Gertrude
Robinson, Advanced Lessons for the Harp (New York: Carl Fischer, 1913), 26; Engelbert
Humperdinck, Instrumentationslehre, ed. Hans-Josef Irmen (Cologne: Verlag der
Arbeitsgemeinschaft fr rheinische Musikgeschichte, 1981 [1892]), 135; Robert Russell
Bennett, Instrumentally Speaking (Melville, NY: Belwin-Mills, 1975), 49.
15 Cecil Forsyth, Orchestration (London: Macmillan, 1914), 468.
16 Nicholas Charles Bochsa, Bochsas Explanations of His New Harp Effects (London:
DAlmaine, 1832), 74.
17 Hasselmans, La Harpe, 3:1940.
18 Hector Berlioz, The Memoirs of Hector Berlioz, trans. and ed. David Cairns (London:
Gollancz, 1969), 304.
19 Ibid., 347.
20 Sacchi, Parish Alvars: 12. Parish-Alvars is also mentioned briefly in Schumanns
Tagebcher. Robert Schumann, Tagebcher, ed. Gerd Nauhaus (Leipzig: V.E.B. Deutscher
Verlag fr Musik, 197187), 2:200, 259; 3:207, 337. Moya Wright includes Paganini among
the list of the harpists famous fans, though I have not seen this corroborated elsewhere.
Elias Parish-Alvars. The Legend and the Legacy, World Harp Congress Review 7, no. 1 (Fall
1999): 26.
21 Zingel, Harp Music, 64.
22 Quoted in Rensch, Harps and Harpists, 196.
23 See Sacchi, Parish Alvars, 1922.
24 Isabelle Blance-Zank, The Three-Hand Texture: Origins and Use, Journal of the
American Liszt Society 38 (JulyDecember 1995): 99121.
25 See also Parish-Alvars Grand Fantasia on Lucia di Lammermoor, op. 79, for a still more
unusual downward glissando, dc b ag fe .

496
26 Parish-Alvars ascending added-sixth arpeggios always appear as a roulade, with 65,

rather than as a straight ascent. This may also indicate his observation of the habits of classical 6.
27 P380 represents a middle ground between arpeggio and glissando, an added-sixth set
fingered as a seven-note scale.
28 David Huron, Interval-Class Content in Equally Tempered Pitch-Class Sets: Common
Scales Exhibit Optimum Tonal Consonance, Music Perception 11, no. 3 (Spring 1994): 300.
29 For the given tuning, the only possible triadic glissandi are this triad and its parallel
minor.
30 See Liszts first Mephisto Waltz, 1 measure before rehearsal Hh, and his Dante Symphony,
i, m. 393.
31 Franois Auguste Gevaert, Nouveau trait dinstrumentation (Paris: Lemoine, 1885).
Gevaerts earlier treatise was called Trait gnral dinstrumentation (Lige: Gand, 1863).
32 See Sacchi, Parish Alvars: 189. The method is, admittedly, fragmentary.
33 See also Ebenezer Prout, The Orchestra, vol. 1, Technique of the Instruments (London:
Augener, 1897); Ch. M. Widor, Technique de lorchestre moderne (Paris: Lemoine, 1925
[1904]); Henri Kling, Modern Orchestration and Instrumentation, trans. Gustav Saenger (New
York, C. Fischer, 1905); Forsyth, Orchestration; and Hasselmans, La Harpe. RimskyKorsakov did write glissandi on many unusual sets, including the pentatonic (see P387),
though his orchestration treatise mentions enharmonic glissandi only on chords of the
seventh and ninth. Nicolay Rimsky-Korsakov, Principles of Orchestration, trans. Edward
Agate, ed. Maximilian Steinberg (New York: Kalmus, 1912), 29. Kling included an addedsixth glissando without comment (p. 51). The major added-sixth chord described by
Rameau, of course, is a different harmony altogether, even if the same sonority.
34 Further complicating the question is the incompleteness of biographical information
for Parish-Alvars: though he had composed (and, presumably, performed) up to opus 35
before ever publishing, his opp. 126 are lost, and we have only the dates of publication
for the rest. Sacchi, Parish Alvars, 10.
35 Personal communication from B. J. Leiderman, June 28, 2000. Whole-tone glissandi
(impossible on Leidermans keyboard, but effortless on the harp) have also been used in
film in this way. In either case, scalar difference is clearly the chief semantic mechanism
of transport, though the precise effect of each is quite different: the consonance of the
pentatonic glissando connotes the benign while the dissonance of the whole-tone glissando connotes the mysterious or even the ominous.
Chapter Five
1 This passage calls to mind another remarkable ending, one at the opposite end of the
rhetorical spectrum: the climax of Tristan (in B major) features a similar rising triplet motif
and, more to the point, an emphasis on the sixths above E-major and B-major triads.
2 Constantin Brailoiu cites several instances of such mutations in Debussy, though none
convince me, and two are plainly wrong. Brailoius excerpt from Soupir ends in midphrase, omitting notes that weaken his point. His excerpt from La Cathdrale engloutie,
meanwhile, contains a misprint; in fact, Debussys original does not include the purported
mutation. Pentatony in Debussys Music, in Studia memoriae Belae Bartk sacra, ed.
Benjamin Rajeczky (New York: Boosey and Hawkes, 1959), 41113.
3 David Kopp, Pentatonic Organization in Two Piano Pieces of Debussy, Journal of Music
Theory 41, no. 2 (Fall 1997): 26187. A simpler, though less theoretically elegant derivation of the major scale is as a pair of pentatonic scales separated by a major second.
497
4 Both scales had been used by Debussy prior to his attending the 1889 Paris Exposition.
Richard Mueller argues that Debussy was thus prepared to hear (and remember) certain
elements of those Javanese performances. Javanese Influence on Debussys Fantaisie and
Beyond, 19th-Century Music 10, no. 2 (1986): 15786.
5 One of those common tones, b, does not occur in the octatonic melody itself but was
present in the fully octatonic texture of the prior measures.
6 Kopp, Pentatonic Organization.
7 Richmond Browne, Tonal Implications of the Diatonic Set, In Theory Only 5, nos. 67
(JulyAugust 1981): 321.
Afterword
1 Randall Wheaton, The Diatonic Potential of the Strange Sets: Theoretical Tenets and
Structural Meaning in Gustav Mahlers Der Abschied, (PhD diss., Yale University, 1988).
2 Ern Lendvai, The Workshop of Bartk and Kodly (Budapest: Editio Musica, 1983), 15.
3 Bla Bartk, Bla Bartk Essays, ed. Benjamin Suchoff (London: Faber and Faber, 1976),
364, 342.
4 Gordon Cyr, Intervallic Structural Elements in Ivess Fourth Symphony, Perspectives of
New Music 9, no. 2; 10, no. 1 (1971): 291303; Jamary Oliveira, Black Key versus White
Key: A Villa-Lobos Device, Latin American Music Review 5, no. 1 (SpringSummer 1984):
3347; Daniel Harrison, Bitonality, Pentatonicism, and Diatonicism in a Work by
Milhaud, in Music Theory in Concept and Practice, ed. James M. Baker, David W. Beach, and
Jonathan W. Bernard, 393408 (Rochester, NY: University of Rochester Press, 1997);
Richard W. Bass, Sets, Scales, and Symmetrics: The Pitch-Structural Basis of George
Crumbs Macrokosmos I and II, Music Theory Spectrum 13, no. 1 (Spring 1991): 120. Whitekey/black-key partitions of the 12-tone aggregate can be heard in Ivess song Majority as
well as in Ligetis Atmosphres.
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Index
References containing musical examples are printed in boldface type. Titles of musical works
appearing in the Catalogue are accompanied by their corresponding P numbers in square
brackets, since the reader will sometimes find these works identified by number, rather than
by title, in the text itself. The reader may also find useful the Chronological Index of
Cataloged Examples, pp. 197203.
absolute music, sacralization of, 133

acoustic scale, 183, 486n97; in Scottish
music, 84
added-ninth arpeggio, 152
added-sixth chord, 25, 27, 141, 154, 156,
16465, 165, 166, 16869, 496n33. See
also arpeggio, added-sixth; glissando,
added-sixth
Air ball!, 42, 71
Allgemeiner Ccilienverein, 108
Alper, Clifford, 480n54
alphorn, 68. See also horn calls; ranz des
vaches; shepherd in music
alterity, 48, 481n1
Amen, 29, 13334. See also Dresden
Amen
America, aboriginal music of, 1, 482n29
Amiot, Joseph Marie, 51, 52, 53, 57
ancient music, European views of, 5054
Anonymous, Nova, nova, 73; Sumer is
icumen in, 75; Tidings true, 73
anthropology, incipient in the
eighteenth century, 4954, 55
Antoinette, Marie, 146
Appenzeller ranz, 68, 71
Arab music, 129
Arab-themed opera, 58, 95
Arcadelt, Jacob, Ave Maria, 29
Argento, Dominick, To Be Sung upon the
Water, 187
Arnim, Achim von, 90
arpeggiation, 1921
arpeggio, 494n8; added-sixth, 25, 147,
152, 156, 496n26, 496n27;
enharmonic, 151, 152
Asian music, 9, 54, 55, 57. See also specific
regions
assimilation, 58
augmented-seventh chord, 14647
authenticity, 54, 87, 108, 483n42
Bach, J. C., Keyboard Concerto, op. 13
#4, 85
Bach, J. S., B-minor Mass, 29; WellTempered Clavier I, #21, 1920
bagpipe, 63, 484n66
Balakirev, Mily, 92; Islamey: Oriental
Fantasy [P260], 92, 361; Overture on
Three Russian Themes [P259], 92,
360
Barber, Samuel, Knoxville: Summer of
1915, 186
Bartk, Bla, 183, 476n12
Baumann, Max, 68
Beethoven, Ludwig van, 80, 85, 90, 98,
146, 494n4
An die ferne Geliebte, 62
Deutsche, WoO 13 #5 [P182], 81, 315
cossaise, WoO 83, #1 [P184], 80, 315
Eroica Symphony, 23
Lndlerische Tnze, 81
Missa Solemnis [P322], 13536, 405
515
516
index
Beethoven, Ludwig van (continued)

Piano Sonata, op. 79, 22
Piano Sonata, op. 81a Les Adieux,
485n88
The Pulse of an Irishman, 8687
String Quartet, op. 59 #2 [P43], 62, 235
Symphony #6, i, 25
Symphony #6, ii [P132, P159], 75, 78,
285, 302
Variations on a Swiss Song, WoO64, 146
Bellman, Jonathan, 48, 49
bells, 7677. See also doorbell
Berio, Luciano, Cries of London, 485n77
Berlioz, Hector, 53, 92, 150, 152, 15556,
492n61
Harold en Italie, 486n113
Irlande, op. 2 #2, Hlne [P230,
P231], 30, 88, 340, 341, 479n33
Irlande, op. 2 #7, LOrigine de la
harpe [P232], 88, 341
Requiem [P306, P307, P324], 30, 135,
136, 391, 39294, 406
Rob Roy [P226, P227], 30, 88, 338, 339,
479n33, 486n113
Symphonie fantastique [P72, P292],
2831, 38, 71, 76, 82, 133, 248,
38283, 479n33
Waverley [P233], 88, 342
Beveridge, David, 475n3
Binchois, Gilles, Adieu mamour, 41
birdsong, 98. See also calls, bird
Bizet, Georges, Carmen, 493n75; Djamileh
[P23], 60, 95, 97, 221; Rve de la
bien aime [P142], 76, 292
black keys, 8, 55, 60, 84, 145, 156, 157,
497n4
Bochsa, Nicholas Charles, 15051, 152,
155; La Valse du feu, 151
Boieldieu, Franois-Adrien, La Dame
blanche [P80, P81, P218, P225, P239],
71, 72, 88, 254, 255, 332, 337, 346
Borodin, Alexander, 92; Prince Igor
[P243, P244], 92, 93, 349, 350;
Symphony #1 [P247], 92, 353;
Symphony #2 [P245, P246], 92, 351,
352
Bourgault-Ducoudray, L. A., 59
Brahms, Johannes, 37, 49, 90
Alto Rhapsody [P293], 30, 134, 384

Darthulas Grabesgesang, op. 42 #3
[P223], 88, 33536
Der Abend [P108], 74, 271
Gesang aus Fingal, op. 17 #4 [P237],
88, 345
Liebeslieder Waltzes, op. 52 #3, O die
Frauen [P188], 82, 316
Liebeslieder Waltzes, op. 52 #6 Ein
kleiner, hbscher Vogel [P144], 76,
29394
Liebeslieder Waltzes, op. 52 #13,
Vgelein durchrauscht die Luft
[P129], 75, 282
Liebeslieder Waltzes, op. 52 #15,
Nachtigall, sie singt so schn
[P124], 75, 279
Neues Liebeslieder, op. 65 #8, Weiche
Grser [P201], 83, 32223
Schicksalslied [P110, P294, P302], 30,
3435, 74, 134, 135, 272, 384, 388
Symphony #2, 22
Wiegenlied [P104], 74, 195, 270
Zigeunerlieder #3 Wisst Ihr, wann mein
Kindchen [P95], 73, 264
Zigeunerlieder #5, Brauner Bursche
fhrt zum Tanze [P267], 96, 365
Zigeunerlieder #9, Weit und breit
[P268], 96, 366
Brailiou, Constantin, 483n43, 496n2
Brentano, Clemens, 90
Britten, Benjamin, Prince of the Pagodas,
184
Bruckner, Anton, 17
Ave Maria [P272], 130, 369
Mass in E minor [P276], 130, 37374
Os justi [P269], 131, 367
Psalm 150 [P319], 135, 4023
Te Deum [P274, P356], 130, 138,
14041, 37071, 43839
Burmese music, 54
Burney, Charles, 5253, 57, 84
Burns, Robert, 84, 88
Busby, Thomas, 84
calls, 8, 9, 42, 6479; bird, 7576, 159
(see also cuckoo). See also horn calls
canto fratto, 106
index
Capuana, Alessandro, 106
Car Talk (NPR), 157
Chabrier, Emmanuel
Ballade des gros dindons [P181], 80,
314
Ivresses! [P180], 80, 314
Pices pittoresques, Menuet pompeux
[P179], 80, 314
Ronde gauloise [P102], 73, 268
Toutes les Fleurs [P206], 83, 326
Chailley, Jacques, 2, 109, 475n4, 490n27
chant. See liturgical chant
chant sur le livre, 106
Chausson, Ernest, Ballade [P163], 78,
304; Les Papillons [P138], 76, 289;
Rveil [P130], 75, 283
Cherubini, Luigi, Ali-Baba [P6], 58, 212
childrens music, 42, 54, 78, 480n54.
See also lullaby
Chinese music, borrowed by Western
composers, 5758; European views of,
4954, 57, 5859; heptatonic scale in,
52; Lydian scale in, 53; as not
pentatonic, 52, 53; pentatonic scale in,
2, 50, 51, 52, 53; similarity to Scottish,
52, 54, 84; theory of, 5152
chinoiserie, 98, 183. See also Chinese music
Chipp, Edmund Thomas, Twilight Fancies
#2 [P167], 78, 307; Twilight Fancies #3
[P211], 83, 328
Chopin, Frdric, 25, 80, 9192, 156,
487n121
Ballade in A major [P169], 7879,
309
Ballade in F minor [P170], 78, 309
Berceuse [P120], 74, 276
3 cossaises, op. 72 #3 [P185P187],
80, 316
Etude, op. 10 #5 [P394], 156, 459,
475n4
Etude, op. 25 #5 [P396], 156, 460
Etude, op. 25 #8, 30, 31
Introduction and Rondo, op. 16
[P395], 156, 459
Krakowiak [P242], 91, 348
Mazurka, op. 50 #3 [P45], 62, 235
Nocturne, op. 9 #1 [P62], 68, 244
Nocturne, op. 9 #3 [P393], 156, 458
517
Nocturne, op. 27 #1 [P305], 30, 135,

390
Nocturne, op. 32 #2, 32
Nocturne, op. 37 #2 [P44], 62, 235
Nocturne, op. 62 #2 [P397], 156, 460
Prelude in D major, 23
Prelude in F major, 2527
Rondo, op. 73 [P398], 156, 461
Waltz, op. 18 [P176], 2526, 80, 313
Waltz, op. 34 #1 [P183], 80, 315
Choron, Alexandre-tienne, 108, 110,
113, 115, 116
chromatic scale, 11718, 124, 494n81
church music. See sacred music
Clapton, Eric, 183
Clarke, Stephen, 84
Coleridge-Taylor, Samuel, A Tale of Old
Japan [P34], 60, 228
consonance, 8, 9, 147, 152, 154, 158
Cooke, Deryck, 24
Cooke, Mervyn, 60
Copland, Aaron, 181
Corelli, Arcangelo, Christmas Concerto,
126
Cornelius, Peter
Abendgefhl [P109], 74, 272
Am Morgen [P165], 78, 306
Simeon [P162], 78, 303
Vorabend [P100], 73, 82, 267
Wiegenlied [P121], 74, 277
corps sonore (Rameau), 50
Corri, Domenico, 85; The Travellers [P3],
57, 208
Council of Trent, 106
Coussemaker, E. de, 117
Couturier, P., 117
Crawfurd, John, 486n91
cries. See calls
Croubelis, Simoni dall, Symphony in D,
Dans le got asiatique, 5556
Crumb, George, 183
cuckoo, 75, 78, 485n79, 485n83. See also
calls, bird
Cui, Csar, Prelude in A major, op. 64
#17 [P412], 156, 471
Curwen, John, 16
Czech folk music, 91
Czerny, Carl, 152
518
index
Dahlhaus, Carl, 76
dance music, 80, 88
Danjou, F., 117
dArrezzo, Guido, 14
Daverio, John, 88
David, Flicien
Au Couvent [P208], 83, 327
Aux Filles dgypte [P19], 60, 219
veillez-vous [P92], 73, 263
La Perle du Brsil [P106], 74, 270
Lalla-Roukh [P20, P21], 60, 96, 220
Le Pcheur sa nacelle [P111], 74, 273
Debussy, Claude, 2, 5960, 60, 15960,
16081, 183, 484n61, 497n4
Feux dartifice [P414], 157, 473
Khamma, 168
La Cathdrale engloutie, 496n2
La Fille aux cheveux de lin, 16063, 164,
166
La Mer, 16467, 167
Le Martyre de Saint Sbastien, 158
Les Collines dAnacapri, 167
Pagodes, 60, 158, 167, 17181
Printemps, 158
Rondes de printemps, 16871
Six pigraphes antiques, 158
Soupir, 496n2
Voiles, 16869
Delibes, Lo, Bonjour, Suzon! [P207],
83, 326; glogue [P73], 71, 249
desire, transcended, 12829
Des Knaben Wunderhorn (Arnim), 90,
487n115
diatonic scale, 1. See also major scale;
pentatonic scale, and diatonic
DIndy, Vincent. See Indy, Vincent d
Dittersdorf, Karl Ditters von, 106
dominant eleventh chord, 39, 160
Donizetti, Gaetano, La favorite, 104
doorbell, 78
Dorian scale, 84
DOrtigue, Joseph, 107, 108, 116,
11719, 129, 137, 492n61
dream music, 98, 157
Dresden Amen, 132, 480n39
drone, 63, 91, 130
Du Halde, Jean-Baptiste, 50, 51, 52, 57,
58, 485n73
Dumont, Henri, 118

Dupleix, M., 51
Drrnberger, J. N. A., 17
Dvork, Antonn, 1, 9, 40, 91, 181,
487n119; Symphony #9 [P210], 3840,
83, 327
cole Niedermeyer, 108
cole Royale de Chant et de
Dclamation, 108
cossaises, 80
Egeland Hansen, Finn, 110, 489n24
Egyptian music, ancient, 52
Ellis, Alexander, 54
Engel, Carl, 54, 483n38
English folksong, 8889, 90
Enlightenment, 51, 105, 121
rard, Sbastien, 145, 147, 14849, 152,
495n12
Ethiopian music, 54
Ett, Kaspar, 489n19
Exhibition. See Paris Exposition
exoticism, 1, 47, 49, 54, 91, 98, 481n5,
484n61, 493n75; as cultural critique,
59; as cultural hegemony, 59; defined,
48; history, 4849; musical devices, 47,
49, 57, 60, 91, 481n9; non-musical
means in opera, 4849; and
pastoralism, 9298; in visual arts, 48
Exposition. See Paris Exposition
Extra! Extra!, 42
farewell, 73
Faur, Gabriel
Barcarolle, op. 44 [P410], 27, 156, 471
En Sourdine [P123], 75, 278
Messe basse [P320], 135, 404
Nocturne, op. 33 #2 [P409], 156, 470
Pices brves, op. 84 #7, Allgresse
[P408], 156, 469
Requiem [P270, P275, P300, P338],
30, 99105, 130, 135, 138, 367, 372,
388, 41825, 494n87
Une Sainte en son aurole [P354],
138, 436
Ftis, F.-J., 17, 5354, 84, 119, 12223,
12728, 129
Field, John, 152
index
film and television music, 157
Fink, G. W., 84
6,
8, 164, 485n66. See also 6,
classical
5
behavior
3,
4, 8, 31, 130; as call, 8, 66, 74, 75
5
38, 134
5,
flashback music, 157
Floros, Constantin, 138
folk music, collections of, 90; influence
on Western art-music, 9092; as
superior to cultivated music, 8788,
126
163
4,
Franck, Csar, Piano Trio in F minor,
op. 1 #1 [P413], 156, 472
Franz, Robert, Schlummerlied [P115,
P119], 74, 274, 276
Fux, Johann Joseph, 116, 477n8
Fuxian counterpoint, 40
Gade, Niels, Comala [P51, P220], 30, 65,
88, 238, 333; Symphony #1 [P77], 71,
251
gagaku, 2
Gasparini, Francesco, 477n12
Gay, John, 85
Geminiani, Francesco, 85
Gershwin, Nice Work If You Can Get
It, 189
Gevaert, F. A., 155
Glinka, Mikhail, 92; A Life for the Tsar
[P248P250, P264], 92, 354, 355, 356,
363
glissando, 496n35; added-sixth, 152, 155;
black-key, 156; enharmonic, 14951,
152, 15557, 495n25, 496n33;
pentatonic, 92, 142, 152, 155, 157, 159
(see also pentatonicism, pentatonic
scale used as scale)
Godefroid, Flix, Etudes mlodiques, Les
Arpges, 146
Goethe, Johann Wolfgang von, 87
gothicism, 88, 1056, 108, 116. See also
liturgical chant, restoration of
Gounod, Charles
Choral [P154], 77, 300
Faust [P328], 137, 410
Les Champs [P97], 73, 265
519
Les Naades [P98], 30, 73, 266

Messe aux Orphonistes [P298], 135, 386
Messe brve in C major [P317], 30, 135,
401
Messe solennelle #4 in G minor [P316],
30, 135, 400
Mireille [P64, P74, P103], 70, 71, 73,
245, 249, 269
Requiem [P318], 30, 135, 401
St. Cecilia Mass [P280, P291, P297,
P327, P353, P357], 130, 133, 135,
137, 138, 376, 382, 385, 409, 43435,
440
Grabcz, Mrta, 488n1, 494n86
Greece (ancient), and European selfunderstanding, 88, 105; music, 55;
music theory, 9, 50, 52
Gregorian incipit, 108, 113, 130, 132,
133, 493n77
Grtry, Andr-Ernest-Modeste, 68;
Guillaume Tell [P67], 71, 246, 485n73
Grieg, Edvard, Bell-Ringing [P152], 30,
77, 299; Peer Gynt Suite [P75], 71, 250;
Vaaren (Spring) [P145], 76, 294
Guranger, Dom Prosper, 126
Gut, Serge, 145
Gypsy music. See style hongrois
Hahn, Reynaldo, Dune Prison [P156],
77, 300; LHeure exquise [P168], 78,
308; Paysage [P94, P209], 73, 83,
264, 327
Halde, Jean-Baptiste Du. See Du Halde,
Jean-Baptiste
Handel, G. F.
anthems, 29
Il pastor fido [P40], 61, 234
LAllegro, il penseroso, ed il moderato
[P128], 75, 282
Messiah (various choruses), 29
Messiah, Pastoral Symphony [P49], 63,
126, 236
The Triumph of Time and Truth [P48],
63, 236
Water Music, 65
harp, arpeggios, 14647, 150, 151;
chromatic notes, 146, 148, 149, 150;
double-action, 145, 14849;
520
index
harp, arpeggios (continued)

enharmonicism, 14647, 149, 150, 152,
154; 19th-century repertoire, 146; not
a chromatic instrument, 146, 149; in
orchestration treatises, 15556; pedal
action, 8, 146; pentatonicism related to
other 19th-century pentatonicism, 156,
158; rivalry with piano, 146, 148, 149,
494n4; scordatura, 155; single- and
double-action compared, 148, 152,
154; single-action, 148, 151; special
effects, 149, 150, 152, 154; technical
constraints, 147, 152, 494n8
Harrison, George, 183
Hasselmans, Alphonse, 151
Hauptmann, Moritz, 15
Hawkins, John, 64, 84
Haydn, Joseph, 66, 85, 90, 106, 107, 146,
477n8, 485n79, 494n5
Die Jahreszeitzen [P52, P82, P166], 65,
66, 71, 78, 238, 256, 307
Does Haughty Gaul, 86
Missa brevis in F, 29
Missa brevis in G, 29
String Quartet, op. 50 #6, 25
Symphony #73, La Chasse [P53], 66,
239
Symphony #88 [P173], 80, 311
Symphony #104 [P174], 80, 311
Willys Rare, 86
Haydn, Michael, 130; Missa Sancti Aloysii
[P281], 131, 377; Missa Sancti
Hieronymi [P282], 130, 377
Heinichen, Johann David, 15; Pastorale
per la Notte della Nativitate Christi [P47],
63, 236
Helmholtz, Hermann von, 54
Hendrix, Jimi, Purple Haze, 190
heptatonic scale. See diatonic scale
Herder, Johann Gottfried, 8788, 90, 92,
105
hexachord (medieval), 1415, 64,
477n12, 477n5, 477n6, 477n8
hexachordal theme, 8, 57, 63, 68
hexatonic scale, 63, 479n37
Hindemith, Paul, Symphonic
Metamorphoses on Themes of Carl Maria
von Weber, 484n49
Hoffmann, E. T. A., 107, 116, 118, 126,

491n48
homophone. See harp, enharmonicism
Honegger, Arthur, Pastorale dt, 188
horn calls, 6468; horn fifths, 66, 68,
485n88; hunting (topic), 68; as
Romantic, 68, 82; stylized, 68, 78,
485n71; underlying scales essential
pentatonicism, 8, 68; vocalized, 71, 73.
See also alphorn
Huglo, Michel, 108
Hummel, Johann Nepomuk, 85
Hungarian music, 476n12. See also style
hongrois
Hunter, Mary, 481n5
Huron, David, 152
Impressionism, 54, 60, 92, 145, 158
Indian music, 53, 54
Indy, Vincent d, Jour dt la montagne
[P147], 76, 297; Symphony on a French
Mountain Air [P241], 90, 347
Institution de Musique Classique et
Religieuse, 108
interruption structure, pentatonic, 38,
163
intonation. See calls; liturgical chant
Irish music, 53, 84, 86
irony. See pentatonicism, ironic usage
Ives, Charles, 183; Majority, 497n4
Janequin, Clment, La Chasse, 485n75;
Le Chant des oyseaux, 485n83
Janssen, N. A., 122, 494n79
japonaiserie, 98
Javanese music, 54, 168, 476n10;
Debussy on, 5960
Joplin, Scott, Maple Leaf Rag, 32, 34
Kalkbrenner, Friedrich, 57, 58;
Hymne des dix mille ans [P5], 58,
21011
Kant, Immanuel, 105, 488n3
Kern, Jerome, Ol Man River, 189
Kircher, Athanasius, 75
Kirnberger, Johann Philipp, 490n31
Klangflche, 76
Kling, Henri, 496n33
index
Knecht, Justin Heinrich, Le Portrait
musical de la Nature [P131], 75, 284
Kodly, Zoltn, 183, 476n12
Kolberg, Oskar, 91
Kopp, David, 167, 171
Kozeluch, Leopold, 85
Krumhansl, Carol, 479n27
Krumpholtz, Jean-Baptiste, 494n5
Kurth, Ernst, 128
La Fage, Adrien de, 115, 116, 117, 118,
12122
Laborde, Benjamin de, 53, 57, 84
Lachner, Franz, Das Waldvglein
[P87], 71, 260
Lambillotte, Louis, 489n18
Landini cadence, 4041
1;
5
3
Lndler cadence. See 3
Larson, Steve, 478n20
Latin rock, 183
Le Sueur, Jean-Franois, Ossian [P238],
88, 345
leading tone, 4, 15, 16, 40, 118, 119,
12728, 162, 480n44; absence of as
metaphor for the divine, 129. See also
as plagal leading tone; 7
6,
Lebeuf, Jean, 119
Leiderman, B. J., 157
Lerdahl, Fred, 21
Lessing, Gotthold Ephraim, 105
Liber Usualis, 108, 109, 11012, 113,
489n20
Ligeti, Gyrgy, Atmosphres, 497n4
Liszt, Franz, 49, 71, 92, 126, 13233, 138,
145, 152, 155, 156, 475n3, 479n33,
488n11, 492n61
Adagio for organ [P323], 13536, 406
Albumblatt in Walzerform [P190], 80, 317
Am Grabe Richard Wagners [P342], 138,
427
Anglus! Prire aux anges gardiens
[P349], 127, 138, 431
Anima Christi [P277], 130, 374
Au Lac de Wallenstadt [P202], 83,
324
Ballade #1 [P402], 156, 465
Ballade #2 (autograph ending)
[P403], 156, 465
521
Chapelle de Guillaume Tell [P299], 135,

387
Christus [P326, P333, P348], 12627,
137, 138, 408, 414, 430
Consolation #3 [P404, P405], 156, 466
Consolation #4, 13536
Dante Symphony [P287, P310], 133,
135, 380, 395
Die Himmel erzhlen [P352], 138,
433
glogue [P204], 83, 325
Es rufet Gott uns mahnend [P351],
138, 433
Eucharista [P285], 133, 378
Fantaisie romantique sur deux mlodies
suisses [P54, P69], 66, 71, 239, 247
Faust Symphony [P346, P358], 138, 430,
441
Herr, wie lange [P313, P334], 30,
135, 137, 397, 415
Hungarian Coronation Mass [P303,
P350], 30, 135, 138, 389, 43132,
480n46
Invocation from Harmonies potiques
et religieuses [P367], 138, 142, 447
Les Morts [P345], 138, 430
Les Prludes [P205], 83, 325
Marche funbre [P308], 30, 135, 394
Mass in C minor [P278, P288], 130,
133, 375, 381
Matrimonium [P271], 130, 368
Mein Gott [P336], 137, 416
Missa Choralis [P273, P331, P332,
P339, P340], 130, 137, 138, 369,
413, 414, 426
Missa solemnis [P314], 30, 135, 39899
O Sacrum Convivium [P359], 138, 441
Ordo from Septem Sacramenta [P366],
138, 142, 446
Organ Mass [P309], 30, 135, 395
Ossa arida [P365], 138, 142, 44446
Pastorale [P203], 83, 325
Pater Noster [P312], 135, 397
Requiem [P325, P329], 36, 38, 136,
137, 407, 411, 494n82
Rigoletto (concert paraphrase) [P406,
P407], 156, 467, 468
Salve regina [P290], 133, 381
522
index
Liszt, Franz (continued)

Scne aux champs (transcription of
Berlioz), 7677
Sonata in B minor, 493n77
Sposalizio [P301, P360], 30, 135, 138,
141, 171, 388, 442
St. Cecilia [P311, P330, P347, P362],
30, 135, 137, 138, 141, 396, 412,
430, 443
St. Elisabeth [P279, P289, P335, P341,
P361, P363, P364], 130, 133, 137,
138, 14142, 375, 381, 415, 426, 442,
443
Transcendental Etude #1 [P399], 156, 462
Via Crucis [P286], 133, 379
Von der Wiege bis zum Grabe [P116], 74,
274
Weihnachtsbaum [P42], 62, 234
liturgical chant, 9, 99, 105, 10813;
allusions to, 133, 134; corruptions in,
1067, 108, 11724; intonation
formulas, 1089; quoted in sacred
music, 130, 133, 138; restoration of,
1078, 11624, 137; as the peoples
music, 126; theories of, 9, 11624, 129.
See also Liber Usualis
Locke, Ralph, 92, 481n3, 484n52
Loewe, Carl
Alpins Klage [P221], 88, 334
Das Muttergottesbild im Teiche
[P161], 78, 303
Die Mutter an der Wiege [P113], 74,
273
Die Oasis [P16], 60, 218
Der Mohrenfrst auf der Messe
[P17], 60, 218
Lied der Knigin Elisabeth [P228],
88, 340
Thomas der Reimer [P148, P224],
78, 88, 297, 337
Vogelgesang [P136], 76, 288
Louis, Rudolf, 16, 17
lullaby, 7374, 98
Lully, Jean-Baptiste, 4748; Le Bourgeois
Gentilhomme (arr. Weckerlin, 1883)
[P1], 4748, 205, 483n42
Luther, Martin, Ein feste Burg, 11920,

132
Lyadov, Anatoli, Etude, op. 37 [P411],
156, 471; Mazurka, op. 38 [P261], 92,
361
Lyre of Mercury (Roussier), 51
Lyre of Pythagoras (Roussier), 51
Macfarren, George, 89
MacPherson, James, 87, 486n102
Mahler, Gustav, 480n39
Das Lied von der Erde, 27, 165, 183
Der Abschied, 27, 165
Ich bin der Welt [P198], 83, 321
Kindertotenlieder [P122], 74, 277
Lieder eines fahrenden Gesellen [P195],
30, 83, 319
Symphony #1 [P283], 3233, 13032,
378
Symphony #4 [P146, P212], 76, 83,
29596, 328
Symphony #5 [P304], 3435, 135, 389
Um Mitternacht [P149], 77, 298
Maistre, Joseph de, 488n6
major scale, critiques of, 59; history of,
1417, 477n12, 485n67; modal aspects
of, 1314, 1617, 17, 1819, 28,
478n20, 478n25
Marx, A. B., 28, 80
Mascagni, Pietro, Iris [P30P33], 60,
22627
Mass, Victor
Berceuse [P114], 74, 274
Dans les Bois [P126], 75, 281
Eho! [P89], 73, 261
La Chanson du printemps [P143],
76, 293
Le Muletier de Calabre [P90], 73,
262
Massenet, Jules, Bonne Nuit! [P112],
74, 273; Lve-toi [P91], 30, 73,
262
Mattheson, Johann, 477n12
meaning. See signification
medieval revival, 1078. See also gothicism;
liturgical chant, restoration of
Mhul, tienne-Nicolas, Uthal [P78], 71,
252
index
Mendel, Hermann, 483n38
Mendelssohn, Felix, 88, 146, 152
Jagdlied [P88], 71, 260
Symphony #1, 22
Symphony #3 (Scottish) [P217,
P219], 8889, 331, 333
Symphony #5 (Reformation), 132
Merrick, Paul, 493n77
Messager, Andr, Madame Chrysanthme
[P7, P27, P28], 58, 60, 212, 223
Meyer, Leonard, 34, 42, 133, 481n55
Meyerbeer, Giacomo, Dinorah [P56,
P71], 66, 71, 240, 248
Michaelangelo, Creation of Adam, 125
Milhaud, Darius, 183
Miller, James, 84
Millet, Jean-Franois, LAnglus, 125
minor third. See third
mode, 1314, 17, 31, 110, 113, 116, 118,
124. See also pentatonic scale, modes
of; scale
modes (medieval), 102, 110, 113, 116,
118, 119, 490n31
modes (pentatonic). See pentatonic
scale, modes of
Monteverdi, Claudio, Vespers, 29
montuno, 485n86
Moussorgsky, Modest, 92; Pictures at an
Exhibition [P266], 92, 95, 364
Mozart, Leopold, 146; Sinfonia di caccia
[P55, P60], 66, 239, 242; Toy
Symphony, 75
Mozart, W. A., 66, 90, 106, 107; cadences
of, 24
Mass, K. 167, 22, 29
Mass, K. 192, 29, 130
Mass, K. 258, 29
Mass, K. 49, 29
Piano Sonata, K. 281, 24
Piano Sonata, K. 330, 24
The Magic Flute [P50, P101], 22, 63, 73,
82, 195, 237, 267
Mueller, Richard, 497n4
musica ficta, 118
Napoleon Bonaparte, 88
nationalism, 84, 89, 90, 91, 92
Neumeyer, David, 478n25
523
news carols, 7273

Nicolai, Otto, Die lustigen Weiber von
Windsor [P222], 88, 334
Niedermeyer, Louis, 108, 118, 137
Nielsen, Carl, Sleep [P107], 74, 271
noble savage, 9, 127. See also
primitivism
Novalis, 105
octatonic scale, 9, 16869. See also
pentatonic scale, and octatonic
octave equivalence, 19
Offenbach, Jacques, Ba-Ta-Clan [P18],
60, 219
3,
6465
1
opera style in church, 106, 117
Orgue de Barbarie, 51
Orientalism. See exoticism
Ortigue, Joseph d. See DOrtigue,
Joseph
Ossian, 87
Ossianism, 87, 90
overtone series, 8, 50, 64, 68
Paganini, Niccol, 495n20
Page, Jimi, Stairway to Heaven (guitar
solo), 191
Palestrina, Giovanni Pierluigi da, 107,
110, 11415; Missa Papae Marcelli, 29
Paris Exposition, 59, 60, 484n55, 497n4
Parish-Alvars, Elias, 146, 150, 151,
15255, 155, 158, 495n20, 496n34
Fantasia on Themes from Webers
Oberon, op. 59 [P381], 152, 452
Fantasia, op. 35 [P372, P379], 152,
153, 448, 451
Grand Fantasia on I Capuleti e i
Montecchi by Bellini and Semiramide
by Rossini [P376, P377], 152, 15455,
450
Grand Fantasia on Lucia di
Lammermoor, 495n25
Grand Fantasia on Rossinis Mose, op.
58 [P375, P378, P382], 152, 450,
451, 452
Grand Study in Imitation of the Mandolin
[P371, P384], 149, 152, 153, 453,
448
524
index
Parish-Alvars (continued)
Grande Fantaisie et Variations de
Bravoure, op. 57 [P373], 152, 449
La Danse des fes [P383], 154, 453
Scenes from My Youth, op. 75, Gipsies
March [P380], 152, 496n27, 451
Serenade, op. 83 [P368, P369, P385],
147, 152, 447, 454
Tema con variazioni, WoO PA1 [P374],
152, 449
The Farewell, op. 68 (Romance #20)
[P370], 152, 448
passing tones in chant, 12124, 491n48
pastoral-exotic pentatonic, 9, 4798, 159.
See also under pentatonicism
pastoralism, 9, 61, 63, 68, 75, 78, 81, 82,
88, 126; as exoticism, 9298; and
spirituality, 12526, 141. See also
primitivism
Peirce, C. S., 67
pentatonic scale, 23; ambiguity of, 166,
167, 174, 183, 487n127; as ancient, 53,
483n43; apparent skepticism toward,
5154, 57; in Burmese music, 54; in
Chinese music, 2, 50, 51, 52, 53; and
chromatic, 34, 8, 31; in Czech music,
91; and diatonic, 3, 5, 8, 31, 60, 113,
127, 167, 493n72, 496n3; in English
folksong, 88; in Ethiopian music, 54;
in European folksong, 9093; gaps
in, 3, 4, 113, 119, 129; history of term,
9, 483n38; in Hungarian music,
476n12; in Indian music, 54; in Irish
music, 53; in Japanese music, 2; in
Javanese music, 54, 168, 476n10; in
liturgical chant, 9, 10813, 124,
489n24, 490n27, 492n60; modes of, 5,
5051, 51, 110, 174, 183, 476n12,
476n13, 488n127; mutation, 92,
496n2; as natural, 53, 64; and
octatonic, 9, 16871; pentatonic
chord, 159; pentatonic chappe, 102,
141; pentatonic neighbor, 32, 99;
pentatonic organum, 175;
pentatonic passing tone, 32, 62,
13032; in Polish music, 91; in
popular music, 18384; in post-tonal
music, 183; properties of, 5, 7, 133,
16768, 175, 476n15; residue in

medieval and Renaissance music, 109,
110, 113, 116; in Scottish folksong, 52,
84; structural potential, 183 (see also
8,
structural implications); subsets
6
of, 167, 172, 175, 178, 483n43; as
system, 479n37; triads of, 4, 102;
universality, 1, 2, 41, 54, 483n43; and
whole-tone, 9, 16768, 169, 171. See
also pentatonicism
pentatonicism, 45; African sources, 32,
18384, 480n40; Asian sources, 9,
4960; in calls (see calls); in childrens
music, 42, 54, 480n54; circumstantial,
8, 6163 (see also pentatonicism,
incipient); domestic sources, 6098;
European sources, 8492; harp
sources, 154, 155; incipient, 6080;
ironic usage, 8183, 98; medieval
sources, 109, 110, 113, 116; as
multifaceted phenomenon, 8; nonsignifying, 145, 158, 159 (see also
pentatonicism, pentatonic scale used
as scale); opposite of chromaticism,
32, 37, 4243, 92, 95, 99, 12930, 138,
167, 183; pentatonic scale used as
scale, 8, 13842, 156, 16771, 183 (see
also glissando); Russian sources, 92,
487n124; Scottish sources, 8489;
signifying hybrid pastoral-exotic,
9298; signifying purity, 81; signifying
Scottish, 9, 88; signifying the
exotic, 9, 47, 49, 57, 58, 60, 61, 92,
95, 157, 158, 183; signifying the
pastoral, 9, 61, 63, 64, 81, 83, 158,
159, 183, 486n113; signifying the
spiritual, 6, 9, 98, 102, 105, 130, 157,
158, 183, 496n35; as social text,
490n27; as tonal minimalism, 61, 64,
124; in the twentieth century, 181,
480n41; undermines tonality, 172, 175,
181. See also pentatonic scale
Pez, Johann Christoph, Concerto pastorale
[P46], 63, 236
piano. See black keys
Picardy sixth, 3738, 134, 166. See also 6
pitch-space, 21, 3132, 40, 64, 102,
479n27, 479n28, 479n37
index
plagal cadence, 21, 23, 2831, 34, 3840,
42, 133, 134, 136, 159, 160, 479n36,
480n48, 494n83
as plagal
plagal leading tone. See 6,
leading tone
plagal modulation, 34
plainchant. See liturgical chant
plainchant musical, 106
Playford, John, 84
Pleyel, Ignaz, 85
Polish folk music, 91
Pschl, Josef, 6667
Pratt, Samuel, 146
primitive pentatonic, 9, 127, 138, 158. See
also pastoral-exotic pentatonic
primitivism, 54, 63, 82, 106, 124, 138,
158; and conceptions of spirituality,
12427, 135. See also pastoralism
progression triple (Rameau), 5051,
482n18
Puccini, Giacomo, Messa di Gloria
[P321], 30, 3637, 135, 405; O mio
babbino caro [P296], 30, 135, 385;
Turandot [P39], 60, 98, 233
Punto, Giovanni, Rondeau en chasse
[P58], 67, 241
Purcell, Henry, 57; The Fairy Queen, 48;
Te Deum and Jubilate, 29
quartal harmony, 77
Rachmaninoff, Sergei
Before My Window [P215], 83, 330
The Bells [P151], 77, 299
Let Me Rest Here Alone [P197], 83,
320
Melody [P117], 74, 275
Spring [P213], 83, 329
The Lilacs [P214], 83, 330
Raffles, Sir Thomas Stamford, 486n91
raga, 13, 14
Rameau, Jean-Phillippe, 15, 17, 5051,
52, 54, 57, 59, 496n33; Les Paladins,
484n48
Ramsay, Allan, 85
ranz des vaches, 68, 70, 71, 485n73,
485n74
Ravel, Maurice, 158, 159
525
Daphnis et Chlo [P141], 76, 159, 167,

175, 292
Gaspard de la nuit [P416], 156, 474
Jeux deau [P415], 156, 473
LEnfant et les sortilges [P37, P38], 60,
98, 231, 232
Ma Mre loye [P36], 60, 230
Miroirs, v, La Valle des cloches
[P157], 77, 301
Shhrazade [P35], 60, 22930
Reinecke, Carl, Harp Concerto [P386],
152, 454
religion, in Enlightenment thought, 105,
488n3; in Napoleonic France, 488n6;
in Romantic thought, 105, 125, 128.
See also spirituality
religious pentatonic, 6, 9, 98, 1025, 124,
127, 128, 129, 13042, 488n1, 493n76;
as complex signifier, 12427, 12730,
138; and primitivism, 135, 138; in
secular music, 135; structuralist
interpretation, 12930. See also
pentatonicism, signifying the
spiritual
Reutter, Georg, 477n8
Reyer, Ernest, un Berceau [P216],
30, 83, 331; Adieu Suzon [P76], 71,
82, 250
Ricci, Matteo, 50
Richter, Joseph, 488n11
Riemann, Hugo, 17, 54, 478n22, 483n38,
492n60
Rimsky-Korsakov, Nikolai, 92, 496n33; La
Grande Pque russe [P257, P387], 92,
152, 359, 455, 496n33; Sadko
[P252P256, P263, P265], 92, 95, 357,
358, 359, 363, 364, 480n47; Sinfonietta
on Russian Themes [P262], 92, 94, 362
Robinson, Smokey, My Girl, 190
Rodgers, Richard, Blue Moon, 480n41
Rosetti, Antonio, Sinfonia pastoralis
[P125], 75, 280
Rossini, Gioachino, 68, 106, 485n74;
Guillaume Tell [P68, P70, P79], 71, 247,
248, 253; La donna del lago [P57], 66,
241; LAmour Pekin, 5859
Rousseau, Jean-Jacques, 50, 53, 57, 71,
116, 124, 485n73
526
index
Roussier, Abb, 5152, 53, 54, 55

Russia, concert music of, 9295,
487n123; folk music of, 92;
nationalism, 89, 92
Sachs, Curt, 40, 483n43
sacred music, 102, 106, 107, 117, 119,
124
Saint-Sans, Camille
The Carnival of the Animals, #13, The
Swan [P137], 76, 288
La Cloche [P155], 77, 300
La Princesse jaune [P8P15], 58, 60, 98,
21318
Le Lever de la lune [P229], 88, 340
Le Matin, 30
Marche Orient et Occident [P22], 60, 220
Mass, op. 4 [P337], 137, 417
Piano Concerto #5, Egyptian [P29],
30, 60, 22425
Samson et Dalila [P24], 60, 92, 96, 221
Viens [P164], 78, 305
Salzer, Felix, 40
Sams, Eric, 487n115
Samson, Jim, 92
Scacchi, Marco, 106
scale, 1, 1314, 17, 31, 113. See also
mode; individual scales
scale degrees. See individual scale degrees
Schachter, Carl, 40
Schenker, Heinrich, 17, 128, 478n25
Schlegel, Friedrich, 105
Schoenberg, Arnold, 480n48; Ei, du
Ltte [P93], 73, 263
Schopenhauer, Arthur, 128
Schrter, Christoph, 477n12
Schubert, Franz, 27, 49, 80
Antiphon for Palm Sunday, 29
Der Musensohn [P86], 71, 259
Die junge Nonne [P150], 77, 298
Die schne Mllerin, Des Baches
Frhlingslied, D. 919 [P199], 83, 321
German Mass, 29
Gott in der Natur D. 757 [P200], 83,
322
Jgers Abendlied [P85], 71, 259
Lndler, D. 814 #1 [P171], 80, 310
Lndler, D. 814 #4 [P172], 80, 310

Mass #1, 29
Piano Sonata, D. 664, 2526
Piano Trio in B major [P63], 6869,
245
Salve regina, 29
Sonata in A major, D. 959 [P177], 80,
313
Symphony #9, iii [P175], 80, 312
Symphony #9, iv, 65
Trost [P83], 71, 257
Winterreise, 8283, 98
Winterreise, Der Lindenbaum
[P59], 66, 83, 242
Winterreise, Die Krhe [P193], 83,
318
Winterreise, Die Post [P192], 83,
318
Winterreise, Frhlingstraum [P41],
62, 83, 234
Winterreise, Gute Nacht [P191],
3233, 83, 317
Winterreise, Mut! [P194], 83,
319
Winterreise, Rckblick [P84], 71, 82,
258
Schumann, Robert, 495n20
Album fr die Jugend, Gukkuk im
Versteck [P127], 76, 281
Das Hochlandmdchen, op. 55 #1
[P235], 88, 343
Der Nussbaum [P158], 79, 302
Incidental Music to Manfred [P65], 68,
245
John Anderson, op. 145 #4 [P234],
88, 342
Liederkreis, op. 24, Morgens steh ich
auf [P196], 83, 320
Symphony #3 [P160, P178], 78, 80,
303, 313
Unterm Fenster, op. 34 #3 [P236],
88, 344
Scotland, nationalism, 84; in the
Romantic imagination, 9, 8788; and
surrogate national pride, 88. See also
pentatonicism, Scottish sources
Scott, Sir Walter, 88
index
Scottish folksong, 80; Continental views
of, 84; Dorian scale in, 84; English
views of, 84; imitated by foreign
composers, 8689; and pastoralism,
96; pentatonic scale in, 52, 84;
pentatonicism overestimated, 84;
published collections of folk music,
8486; quoted in art music, 8587;
similarity to Chinese, 52, 54, 84;
similarity to Javanese, 486n91;
similarity to Native American, 482n29
Scottish style versus Nordic character,
88
Sechter, Simon, 1617
semantics. See semiosis; signification
semiosis, 67, 24, 134, 488n1, 494n81.
See also signification
semitone, 118; absent from pentatonic
scale, 3, 53, 84, 129; in the medieval
hexachord, 14
53, 160; emergence of, 1415; and 6,
7,
1516; as tendency-tone, 16. See also
leading tone
Shepherd, John, 490n27
shepherd, as divine, 125; in music,
61, 82
signification, 67, 9, 24, 134, 138, 159,
183, 479n32. See also under
pentatonicism
Simon, Paul, Still Crazy After All These
Years, 191
simplicity, 9, 98, 102, 123
6, as appoggiatura over V, 25, 80; in
authentic cadences, 24; classical
behavior, 2123, 24, 2528, 28, 55,
129, 16062, 163, 166, 494n80 (see also
6;
6
5);
in classical modulation, 23;
5
consonant with the tonic, 8, 27, 63, 80,
137; and dance, 2527, 80, 485n86;
extensions of classical behavior, 2528,
2831; history and reception of,
41; non1417; more natural than 7,
classical behavior, 2843, 132, 16062,
8);
as plagal leading
16667 (see also 6
tone, 4, 34, 40, 41, 160, 162; and
18, 21,
Russian music, 487n123; and 7,
23, 24, 34, 38, 40, 128, 130, 479n30;
signifying desire, 24; signifying purity,
527
24; and subdominant harmony, 17,

160; as tendency-tone, 16; and tuning,
17. See also added-sixth chord
8, 102, 129, 130; in the bass, 3436,
68,
13537, 163, 164, 166; cadence, 2831,
34, 3741, 6566, 13335, 13537, 160,
163, 166, 480n41, 480n42, 480n46; as
catharsis, 37; and commontone
progressions, 32; as corruption of
Lndler cadence, 6566; in cuckoo
call, 75; determines plagal closure
unambiguously, 34; as extension of
horn style, 6566; and history of
nineteenth-century tonality, 42; and
5,
19, 28, 3031, 37, 40, 163;
implied 6
as plagal empowerment, 34;
reinterpreted classically, 8687;
signifying spirituality, 29; as a step, 4,
32, 34, 38, 40, 41, 479n37; structural
implications, 3843, 16263;
theoretical aspects, 3134, 37; with
non-classical
iiI, 37, 40. See also 6,
behavior; 6, as plagal leading tone

8, 130, 138; in bells, 77; in birdcall,
65,
75; in horn call, 66, 68, 71; in lullaby,
classical behavior
74. See also 6,
6, 17, 23, 32, 3738, 134, 163, 479n38.

See also Picardy sixth
23
6,
8,
in the bass
viI. See 6
slendro, 2, 60, 168
The Small-Footed Lady, 53
Solesmes project, 108, 126
Solie, Ruth A., 133
solmization, 14, 485n67
speech, intoned. See calls
spirituality, as erotic, 494n83, 102; as
primitive, 12427. See also religion;
religious pentatonic
Spohr, Rosalie, 152
Stein, Deborah, 480n42
stepwise motion, 17, 21, 28, 55, 12124,
478n22. See also third
Strauss, Johann, Jr., 25; Donauweibchen
[P189], 2527, 80, 317
Strauss, Richard, Death and
Transfiguration, 128; Eine Alpensinfonie
[P61, P66], 66, 68, 24344, 246
528
index
Stravinsky, Igor, 476n12; Le Chant du

rossignol, 184
street cries. See calls
Streicher (piano maker), 146
Stump the Chumps, 157
style hongrois, 49
Suk, Josef, Asrael [P355], 138, 437
Sullivan, Arthur, The Mikado [P25, P26],
60, 22223
Sulzer, Johann Georg, 88
synonym. See harp, enharmonicism
Szabolcsi, Bence, 476n9, 483n43
Tartini, Guiseppi, 485n67
Tchaikovsky, Piotr Ilyich
Romeo and Juliet [P295], 30, 3738,
134, 384
Symphony #2 [P258], 92, 360
Symphony #5, 479n38
Symphony #6 [P251], 92, 356
Temperley, Nicholas, 89
tendency-tone, 16, 17, 18, 117, 119, 127,
134, 478n20; and the religious
pentatonic, 12829. See also individual
scale degrees
tetratonic scale, 66, 74, 138, 172, 175
Thalberg, Sigismond, 152, 156
Andante Final de Lucia di Lamermoor,
op. 43 [P390], 156, 457
Fantasy on Don Juan, op. 42 [P391],
156, 457
Fantasy on Il Trovatore, op. 77 [P389],
156, 456
Fantasy on Oberon, op. 37 [P392], 156,
458
Nocturne, op. 16 #1 [P388], 156,
455
that, 13
Thibaut, A. F., 90, 108, 116, 119, 126
third, 29, 40, 42, 71, 108, 12124, 130,
137, 480n54
Thomas, Ambroise, Hamlet [P240], 88,
346
Thomson, George, 85
65, 74
31,
Thuille, Ludwig, 16, 17
Tieck, Ludwig, 107
Tiersot, Julien, 59
tonality, 43, 181, 183; ancient versus

modern, 9, 11619
topic. See signification
Tovey, Donald, 479n38
Trn, Van Khe, 2
triadic diminution. See pentatonicism,
circumstantial
tritone, 3, 15, 11819, 12728
tuning, 2, 17, 50, 53
Trk, Daniel Gottlieb, 116
Turkish music, 47, 50. See also Turkish
style
Turkish style, 49
8,
with iiI
iiI. See 6
universality. See pentatonic scale,
universality
Vaughan Williams, Ralph, 181; The Lark
Ascending, 185; See the Chariot at
Hand, 38
Villa-Lobos, Heitor, 183
Vincent, Franois-Andr, La Leon de
Labourage, 12526
Viret, Jacques, 490n27
Vivaldi, Antonio, bird cadenzas, 75, 98;
Flute Concerto in D major, Il
gardellino, RV 428 [P134], 75, 287;
La primavera [P133], 75, 286; Violin
Concerto in A major, Il cucu, RV 335
[P135], 7576, 287
Vogler, Abb Georg-Joseph, 5455, 57,
60; Pente chordium [P2], 5455, 171,
2067
Volga music, 487n124
Wagner, Richard, 183
Das Rheingold [P96], 73, 265
Die Walkre [P344], 13839,
42829
Lohengrin [P99, P315], 30, 3536, 73,
82, 135, 267, 399
Parsifal [P153, P284, P343], 77, 132,
138, 299, 378, 427
Siegfried [P139], 76, 98, 290
Siegfried-Idyll [P140], 76, 291
Tristan und Isolde, 494n83, 496n1
Walther, Johann Gottfried, 116
index
Weber, Carl Maria von, 49, 54, 57, 60; Der
Freischtz, 80; Incidental music to
Turandot [P4], 5758, 209
Weckerlin, J. B., 4748, 483n42
Whaples, Miriam, 48, 481n4
whole-tone scale, 51, 52, 59, 60, 165, 167,
169, 496n35. See also pentatonic scale,
and whole tone
Witt, Franz Xavier, 108
world music, 2. See also individual

musics; pentatonicism; pentatonic
scale
Yasser, Joseph, 483n43
yodel, 74
Zuckerkandl, Victor, 18
Zum Wecken (horn call), 6667
529
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Pentatonicism from the
Eighteenth Century to Debussy
Jeremy Day-OConnell
Pentatonicism from the Eighteenth Century to Debussy offers the first comprehensive
account of a widely recognized aspect of music history: the increasing use of
pentatonic (black-key scale) techniques in nineteenth-century Western artmusic.
A more extensive and complex trend than has been acknowledged, pentatonicism in nineteenth-century music encompasses hundreds of instances, many of
which predate by decades the more famous examples of Debussy and Dvork.
Pentatonicism from the Eighteenth Century to Debussy weaves together historical
commentary with music theory and analysis in order to explain the sources and
significance of this important, but hitherto only casually understood, phenomenon.
The book introduces several distinct categories of pentatonic practice
pastoral, primitive, exotic, religious, and coloristicwhile also demonstrating
their frequent interaction. It shows how each of these categories derives
from musical, aesthetic, and ideological developments of the eighteenth and
nineteenth centuries. Finally, the book examines pentatonicism in relationship
to changes in the melodic and harmonic sensibility of the time.
In revealing multiple derivations and fluid meanings, the book ultimately distinguishes pentatonicism from the octatonic and whole-tone materials with
which it has been conventionally associated.
Central to the books interest and arguments are the copious discussions of
excerpts from repertoire both familiar and forgotten. The generously illustrated
text concludes with an additional appendix of over 400 examples, an unprecedented resource that demonstrates the individual artistry with which virtually
every major nineteenth-century composer (from Schubert, Chopin, and Berlioz
to Liszt, Wagner, and Mahler) handled the seemingly simple materials of
pentatonicism.
Jeremy Day-OConnell is assistant professor of music at Knox College.
day-o'connell.mech.4
6/6/07
11:27 AM
Page 1
Jeremy Day-OConnell is
Assistant Professor of Music
at Knox College and author of
^
The Rise of 6 in the 19th Century in Music Theory Spectrum (2002).
Pentatonicism
from the
Eighteenth Century
to
Like the pentatonic idiom itself, this book is readily accessible yet surprisingly rich in evocative associations. Music theorists and historians alike will find much of value in this sophisticated exploration of a largely neglected topic.
-William Caplin (McGill University),
author of Classical Form: A Theory of Formal Functions
for the Instrumental Music of Haydn, Mozart, and Beethoven
Jeremy Day-OConnell has produced a richly textured study of the influence of pentatonicism
in the central repertoires of European music. The topic bears on many crucial issues, from
sacred music to the exotic, and it is handled with proper concern both for musical technique
and for signification. This is a book that needed to be written.
Julian Rushton (University of Leeds),
author of Mozart and The Music of Berlioz
From the late Middle Ages onward, mainstream theorists have regarded resolution by semitone as the hallmark of directed motion in music. In this fascinating and deeply researched
book, Jeremy Day-OConnell welcomes us to the anhemitonic counterculture. The catalogue
of musical examples alone (an anthology in all but name) is worth the price of admission.
William Rothstein (City University of New York),
author of Phrase Rhythm in Tonal Music
Cover design by Rob and Lori Reed of

Reed Studios, Inc., incorporating
detail from Jean-Franois Millet,
LAnglus (185859). Paris, Muse
university of rochester press
dOrsay. Used by permission. Jacket
668 Mt. Hope Avenue, Rochester, NY 14620-2731

P.O. Box 9, Woodbridge, Suffolk, IP12 3DF, UK
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ISBN-10: 1-58046-267-7
ISBN-13: 978-1-58046-267-9
Debussy
jeremy day-oconnell
entatonicism from the Eighteenth Century to

Debussy offers the first comprehensive
account of a widely recognized aspect of music
history: the increasing use of pentatonic (blackkey scale) techniques in nineteenth-century
Western art-music.
A more extensive and complex trend than has
been acknowledged, pentatonicism in nineteenth-century music encompasses hundreds of
instances, many of which predate by decades
the more famous examples of Debussy and
Dvork. Pentatonicism from the Eighteenth Century to Debussy weaves together historical commentary with music theory and analysis in order
to explain the sources and significance of this
important, but hitherto only casually understood, phenomenon.
The book introduces several distinct categories of pentatonic practicepastoral, primitive, exotic, religious, and coloristicwhile also
demonstrating their frequent interaction. It
shows how each of these categories derives
from musical, aesthetic, and ideological developments of the eighteenth and nineteenth centuries. Finally, the book examines pentatonicism
in relationship to changes in the melodic and
harmonic sensibility of the time.
In revealing multiple derivations and fluid
meanings, the book ultimately distinguishes
pentatonicism from the octatonic and wholetone materials with which it has been conventionally associated.
Central to the books interest and arguments
are the copious discussions of excerpts from
repertoire both familiar and forgotten. The generously illustrated text concludes with an additional appendix of over 400 examples, an
unprecedented resource that demonstrates the
individual artistry with which virtually every
major nineteenth-century composer (from
Schubert, Chopin, and Berlioz to Liszt, Wagner,
and Mahler) handled the seemingly simple
materials of pentatonicism.

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day-o'connell.mech.

Cover design by Rob and Lori Reed of

university of rochester press

dOrsay. Used by permission. Jacket

668 Mt. Hope Avenue, Rochester, NY 14620-2731

typography and layout by Adam B.

entatonicism from the Eighteenth Century to

Pentatonicism from the

Eastman Studies in Music

Historical Musicology: Sources, Methods,

A complete list of titles in the Eastman Studies in Music Series,

UNIVERSITY OF ROCHESTER PRESS

Copyright 2007 Jeremy Day-OConnell

For Sarah, Micah, and Gabriel

The Rise of 6 in the Nineteenth Century

The Pastoral-Exotic Pentatonic

Part 3: Beyond Signification

The Pentatonic Glissando

Debussy and the Pentatonic Tradition

Afterword: Beyond Debussy

Catalogue of Pentatonic Examples

Chronological Index of Catalogue Examples

Catalogue of Pentatonic Examples

(P283). Mahler, Symphony #1 (1888), iv, reh. 26

(P46). Johann Christoph Pez, Concerto pastorale (1700),

(P169). Chopin, Ballade in A major (1841), beginning

Gospel tone (LU, 114)

( excerpt of P344). Wagner, Die Walkre (1856), III/3,

Flix Godefroid (181897), Etudes mlodiques (posthumous),

Debussy, Khamma (1912), ii, Premire danse, mm. 36

Mode within the continuum of the melodic domain

The major mode according to Zuckerkandl

The statistics of table 3.1 interpreted: A heptatonic

Summary analysis of Debussys Pagodes

Some pentatonic statistics of example 3.11, Gloria

2. Definitions and Disclaimers: Pentatonicism

Example I.1. The pentatonic scale.

Example I.2. The pentatonic scale compared to the major scale.

diatonic or chromatic: in each case the terms allow a broad interpretation

3. Definitions and Disclaimers: Signification

4. Summary and Prospectus

Figure I.2. Musical elements of pentatonicism from the eighteenth century to

Figure I.3. Conceptual elements of pentatonicism from the eighteenth century

The Rise of 6 in the

Example 1.1. Raga Miyan-ki-Mallar.

the rise of 6 in the nineteenth century

SCALE < MODE > TUNE

Figure 1.1. Mode within the continuum of the melodic domain.

1. Older Theories of the Scale

the rise of 6 in the nineteenth century

objection from conservatives: even as late as the eighteenth century, controversy

Example 1.2. From Rameau, Gnration harmonique (1737), p. 65.

the rise of 6 in the nineteenth century

ultimately relax their prohibitions through the introduction of secondary triads,

Figure 1.2. From John Curwen, Standard Course (1880).

the rise of 6 in the nineteenth century

2. A Working Model of the Major Mode

Example 1.4. The essence of the major mode.

the rise of 6 in the nineteenth century

Figure 1.4. The major mode as a tonal terrain.

the rise of 6 in the nineteenth century

Figure 1.5. The tonal terrain, with octave equivalence.

the paradoxical nature of octave equivalence: the scales linear progression is