7
MUSICAL COURIER
February 2, 19 2 2
A Little Primer of Basic Principles by
FRANK PATTERSON
(Copyright, 1922, by The Musical Courier Co.)
MODERNIST
TENTH INSTALLMENT
THE PERFECT
be said, quite generally, of course, that it depends not so much upon the chords used as upon their progression or resolution.
For instance, if we make a harmony of large sevenths (i. e., an inverted semitone), it will be strongly dissonant, but if it resolves quickly, and in such a manner that the meaning of the dissonant note is clearly exposed as melodic, it will not give the impression of modernism. Bach used harmonies as dissonant as any of the modern harmonies without giving the least impression of being futuristic or even especially radical. They are simply the accidents of passing melodies, and the basic harmonies are so clearly enunciated that nothing else is thought of.
Also it must never be forgotten that all modernism is not dissonant. Far from it Some of the most important and valuable of modernistic compositions are made up entirely of consonant harmonies, lacking even the dissonant suspensions and passing notes most usual in ordinary music. Yet there is a strong modern flavor, and this is produced, as already stated, by the manner in which the chords are taken and left. The following example from Fourdrain’s “Carnival” will serve to illustrate this (Example 95a) :
This might either be an enharmonic modulation from E_ major to E 11״jot■־ or .a progression from the dominant of D major or minor to E minor (Example 95b), or_ it might be a simple alteration (Example 95e), or it might be the dominant ninth of G with the root omitted and the seventh raised—(D), F sharp, A, C (sharp), E. Or it might be any of a whole series of altered chords. And if it were written in parts m any of these ways the sound of it would not be modern at all.
But is it any of these things? In the first place the F sharp is evidently a grace note— a sustained grace note. Thus, the chord is not an inverted seventh but a triad twice inverted—a 4-6 chord—and the passage appears as a parallel progression of 4-6 chords.
But there is also an apparent harmonic or key relationship between the notes as shown in the following, where G is considered to be the seventh of a dominant seventh, F sharp a passing note, and C natural a lowered third. (Example 95d.)
Or it might be just A major followed by A minor with all of the other notes just melody notes. (Example 95e.)
Ex.95e

The trouble with all such explanations is that they do not explain—that is to say, they do not help the student to know what he can do and what he cannot do. It is possible to find excuses for almost any good sounding progression (and many bad sounding progressions). And very often a progression which seems so simple that it needs no explaining sounds the worst of all. One of the most significant conceptions that obtains in the whole field of art is the prevailing aphorism that genius may break all the rules. If the rules may be broken, why worry about them? Why bother about key relationships which may explain why this passage sounds good but fails to explain why similar passages sound bad? Both sides of this argument are given in the belief that only thus will the student be convinced of the .,■utility of reasoning from key and chord relationships.
The fact is, that the above passage is purely melodic and rests wholly upon the A major triad. The necessity of the lowered C will be seen by trying the use of C sharp. (Example 95f.)
Ex. 95g
		fi	Nn	¿=ri	Hi
?		y			-—
;x.95f		e h Û if-o'J-	iUA
		r 1S’"1 y »r r-f	
The second chord here is either an ugly diminished chord or, with the A included, a mggestion of a dominant seventh where it is not wanted. Therefore, the C is lowered, md also for the reason, more important perhaps than either of these, that, the two chords leing exactly alike as the composer uses them, the mood is perfectly retained. In an older diom the C sharp would have been lowered in the same voice and probably also the E to
;ompensate it. (Example 9Sg.)	,	_ ,	^	.	., T, ■ .,
Fourdrain raises the upper note and lowers the C sharp to compensate it. It is the
same principle otherwise used.	^	״, c .
Modern composers are using discords m two distinct ways. The first amounts to nothing more than sustained passing notes, or passing notes (appoggiaturas) used simultaneously with notes of the chord, in disregard of the principle of avoidance. The second use is what might be called a voluntary or intentional discord, a discord that is used like a rest-chord, where the parts have not the character of passing, or at least no definite direction. Of such is the following motive from “Salome” (Example 96) :
Ex. 98
!HH		üN	—6	1=
IS3-— ) u It ^	— .	r i	T V	
				
Here we have a doubly altered dominant and a confusion of major and minor ninths—■the D sharp being a major ninth, the D natural a minor ninth. The basic cord is (Example 97a) :
How the A sharp is derived is shown by the following (Example 97b) :	, p
And the final chord will be realized from this example (Example 97c) :	.	.	״ ,	, ,
Note, also, that there is an imitation of the melody in the tenor! (Example 97d.)
Ex. 97b
Ex.97a
		
Ex. 97c		
Tl -f		
		
		
	*P־־	
The whole passage resolves itself into a simple enough progression, the only unusual feature being the use of major and minor ninth at the same time—•D sharp and D natural.
[The author of “The Perfect Modernist” obviously takes a pragmatic view of the question. He admits that there may be no limit to chord alterations, but asserts the probability that excessive alteration is probably of little practical use in this generation. He explains at length what, to him, appears useful, and, as will be seen in the installment that follows, permits himself to criticise that which seems useless. —The Editor.]
[Example 94, variations on a two-bar theme, is here completed.]
n¿ il! J J j	^ «	4H			
ft f rrr 1 / >>: r ■X—	—Jfjii 	,4	W- ^				r-f— 4
\ y . .... 	1		.. I. V			9	L-	r‘r
	• 			yj-Pi J 1	|=d=
3•3־־־—H / w=u■ ־r ■-=w=		4T1¡¿*־ r 1 4 *ï J J	etc.
'17 rrr	f=	1f	f	H=
Contrapuntal .		4		ä		1 J־*!	!			
/ Jf. \ _ J		M—	m.						1		
		3	«	e						w		
I T/K y. ■dk	9L		K		1							tir־
V " K	I r a - —					TT»	F				
!	Li U £	■ p- J		J		u, ^ [־־i J		
' 									
■1• ! a ; !								
\ /	U 	L.					Q	 H								
Dominant seventh of F»				. . 1				
. Canon , ! id! - J H	H /Oh	H-J j II
	F ׳.־־.■—־ -	T f -*= ».: ¿.
\L	1		Hr f ■ r-	
There is here no change of harmony (except the one example in F). The basic harmony is the tonic throughout. Even when the dominant appears it is a passing chord made by the simultaneous use of several melodies. It is just as accidental as any other chord here used. Remember, always, that this major chord may harmonize a diatonic scale, a chromatic scale, or an altered scale, and that several of these scales, or portions of them, may be used simultaneously, forming chords. Just because the chord is recognizable—as a dominant, for instance—it is not, therefore, necessarily a change in the basic harmony.
If you will now stop to consider that the opening bars (at least) of nearly all of the compositions in existence are constructed upon simple tonic and dominant harmonies, and that, even in the arrangement, to say nothing of the melody, no two are exactly alike, you will see what a bewildering variety of possibilities there is from which to select, and the necessity of acquiring a large and instinctive sense of rapid choice and keen judgment.
This can only be done by sketching melodies and experimenting on their arrangement —and, of course, hearing, playing and analyzing, and, particularly, memorizing, much good music.
It would be futile to attempt to list and catalogue the various sorts and kinds of arrangement. They are too numerous and varied, and reach all the way from sustained or repeated chords and arpeggios to real counterpoint. The student must look upon every piece of music that he hears or plays as a source of information; must determine for himself the nature of the basic harmony and alterations of the basic harmony, contrapuntal embellishment and design of accompaniment, meantime constantly sketching and arranging his own melodies.
Above all, fear must be banished! Write what comes to you! Slash through the difficulties with broad strokes! What does it matter if it is wrong? You will learn by your own mistakes. First write, then correct, discard what is not good, re-write. Do not be afraid to discard and reject bad work. Tschaikowsky discarded the entire first draft of his sixth symphony.
But—note this, it is important!—do not give up a work until it is complete. Finish all that you start. Throw it in the waste basket aferwards if you please, but first finish it.
Learning composition is like learning a language, and the old idea of beginning the study of a language with the study of its grammar has long since become obsolete. One teaches adults as one would teach children, with a few simple words and ideas. Composition must start the same way, with a few simple notes of melody and their appropriate harmony and arrangement.
Exercises are not given here because it is so infinitely easier to write harmony to your own melodies than to somebody’s else. It is wise, however, to try to write down by ear (away from the piano) things with which you are familiar, comparing the result with the original, asking yourself why the composer wrote the work as he did. .
There is no reason to be confused by the apparent complexity of things. They are generally very simple—the screams of a thousand people are, after all, just screams. A major chord is a major chord even if it is doubly altered, even if fifty melodies are written simultaneously around it (as was done in the mad days of canon), even if all the instruments are racing up and down in mad scale passages and arpeggios. Remember that there are very few chord-types! The complexity is, necessarily, all in the arrangement.
The question is often asked: How do composers know how such passages sound since they cannot be played on the piano? The answer: Partly by application of a highly developed mental ear, partly by a sort of dead reckoning based on long experience—the same sort that serves the artist when he paints a picture, which, close up, looks like an indeterminate lot of smears, but, at a few yards’ distance, gives a perfect impression of the scene.
Modernism
Ultra-modernism, cubism, futurism, dadaism, intentionism, impressionism, and by whatever other names it may be known, is a manner that it is easier to recognize than to define. It is found in many degrees of advance or retrogression, sanity or the reverse, decadence, degeneracy, or effulgent beauty. When it is beautiful it is the most beautiful of all; when it is ugly it ceases to be music and becomes mere noise. Some of it is comic; whether intended to be so or not it is impossible to guess.
As to what characteristic differentiates modernism from the music of the latest past, or from the music of present day writers who follow the traditions of the past, it may