February 23, 1922	MUSICAL COURIER
A Little Primer of Basic Principles by
FRANK PATTERSON
(Copyright, 1922, by The Musical Courier Co.)
THIRTEENTH INSTALLMENT	־־
the PERFECT MODERNIST
Ex. 118
ary of Music,” article on Wagner: “The innovations in harmony and melody peculiar to Wagner are mainly due to the free use of chromatics. Besides bold chromatic and enharmonic progressions he constantly employs anticipatory changing and passing notes which have a melodic significance only. For purposes of analysis such chromatic notes should be eliminated; the harmonic framework will then stand forth clearly and prove perfectly consistent. To take a couple of examples already quoted, the opening bars of the prelude of ‘Tristan’: If the G sharp in bar two, and the A sharp in bar three, be eliminated from the treble part, the progression appears thus:” (Example 118.)
This, as will be seen, presents an augmented sixth chord resolving to the dominant—a very ordinary progression. But this method of analyzing presents two glaring faults: In the first place it offers no suggestion as to why the augmented sixth may be here introduced; and in the second place it omits any consideration of the very beautiful and useful chord with which the passage opens.
The fact is that there are just two chords here as Wagner wrote them, the first and the last. The last is a dominant seventh; the first is a passing chord of the secondary seventh type, an altered tonic, an embellishment immortalizing a very ordinary melodic and harmonic outline. (Example 119.)
W=f•
iN

Ex. 119
r־p—		——	f-4—						1		r	1 {.■■hi
rM r: il J m ff	J ■	1	,־1		J jh	J è.
«7 j J 	^	d	2.		—J—	3■ Jw	2.
^ .... _ n ^ TI V 						
					
From this sort of consideration the student sees what may be done, what must be done, in the way of embellishment if his compositions are to be worth while. It has a significant and a practical utility that is entirely lacking in a mere statement that the chord is an augmented sixth, however true that statement may be.
That sort of analyzation arises from the theorist’s passion for tabulation, his desire to catalogue every progression and resolution, placing each in its appointed niche, and indicating how it may or may not be used. Bernhard Ziehm carried this system of tabulation to its extreme limit and offered a bewildering mass of material covering every known progression. Yet scarcely were these books on the press before still further progressions were invented by the composers, such endless and unheard of complications in such infinite number that, even if some super-theorist , should succeed in tabulating them, to memorize them would be as impossible a task as to memorize the ideographs of the Chinese alphabet.
The truth is that there is no alphabet in music but the type chords, and if these are used as basic harmonies, alterations of basic harmonies, or progressions between basic harmonies, and if the basic harmonies are used according to the present laws of taste which govern melody and rhythm, the result will be, at least, correct.
A solid foundation is thus offered the student on which to build, without placing in his way any restrictions except those of common sense.
(THE END)
[Up to the present the author of “The Perfect Modernist” has courageously refrained from criticising or commenting upon authors of other harmony books but he could evidently not resist the temptation of a “dig” at the “authorities,” and tells us, in this concluding installment, in what wise and to what extent his theories diverge from traditional methods. It gives the reader a chance to agree or disagree and encourages independent thought, which is well.—The Editor.]
. Apparent radical changes of key were common even before what we now call modernism was thought of. A familiar example of this is found in “Cavalleria Rusticana” • (Example 116.)
Ex. 116
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# ■üîw : \. Tonic Dom.	9 9 Tonic	y-■J * * J Tonic Dom.		Tonic
	k* -f ■	Uh*— g - tì	Ee		*	
( J v LUbd UU:	-LI״■		9	T ־£>"[J	—	[J
What looks like the chord of F is merely the dominant seventh with the root omitted and the third lowered. A somewhat similar passage is found in “Tosca” (Example 117),
Ex. 117 , %	:	J				. y	* hi	
			rr-nm		.1 il m־ . w w .		
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where the impression of a radical transposition is produced by the parts not moving regularly—the E anticipating the chord in the bass and the so-called false relation between this E natural and the E flat above.
This reminds us of the good old days when every dissonance had to be “prepared,” and those who took even the seventh “unprepared” were the ׳ultra-modernists of a few centuries ago.
Enough has now been said to indicate the trend of present-day modernism and futurism and how these effects may be produced. But it must not be supposed that, because the rules appear to be set aside, it is easy to write׳ in modern idioms. It is, on the contrary, much more difficult than to write in the conventional manner. The student is strongly advised to endeavor to discover what is his own natural manner, and not to strive to transcend the limits of it.
Conclusion
A brief outline of basic principles has been given in the foregoing pages. It might have been extended to any length by the addition of further examples, but that would seem to serve no useful purpose and would savor of an attempt at tabulation, which has been studiously avoided. It might also lead the student to believe that knowledge comes from learning the rules. It does not. It comes from practice and from practice only. Advice on this point has already been offered and need not be repeated.
To what extent the point of view here set forth differs from that of other writers may be illustrated by a single example. The following is quoted from Grove’s “Diction-
Reiner's “Roman Triumph.”
Closely upon the heels of this inaugural performance followed the first German opera of the season, Wagner’s “Meistersinger,” under the brilliant direction of Fritz Reiner. At last there is a German conductor (in the sense of schooling, for racially he is Hungarian), who has satisfied the demands of an Italian public. All his predecessors—in opera—have found little favor here. Reiner had the unanimous suffrage of public and press from the very first. By virtue of his commanding knowledge, a forceful personality and a glowing temperament, he draws everything that is possible from the orchestra in the way of expressiveness.
He came here a few weeks ago and “created” the performance from the ground up, so to speak, infusing his ideas and musical conception into every participant on the stage and in the orchestra. The discipline of the whole ensemble was perfect, the difficult choruses magnificent and full of spirit. Reiner celebrated a genuine triumph together with the principals, among whom the Beckmesser, Sig.
Parvis, was the best, being comical without being grotesque, and he uses his fine voice excellently.
Segura-Tallien, as Hans Sachs, was less fortunate; the Eva, Madeleine Bugg, of Paris, fair—pretty figure, good voice. The tenor, Cortis, sang the role of Walter well, but acted with painful inelegance. Mardi did David well, and the rest of the cast was good. Again the stage-setting was beautiful—altogether a wonderful performance, although
for Italian audiences somewhat too long. We feel that someone ought to have the courage to cut those interminable monologues and duets. As it was, the performance—starting late, on account of those incorrigible Italian late-comers— ended at a quarter past one.
As a result of his great success, Reiner has been retained to produce “Tannhäuser,” re-engaged for March, and has been asked to return next season to produce Mozart’s “Figaro” and other works. He has, moreover, been invited to conduct the Augusteo symphony concert of January 15, an unprecedented honor for a Costanzi conductor (a circumstance explained only by local conditions).
Italy to the Fore.
The opening concerts of the Augusteo have been a triumph for Italian music and an Italian conductor, namely Bernardino Molinari. Altering his tactics of former years in
(.Continued on page 8)
ROMAN OPERA SEASON OPENS BRILLIANTLY
IN PRESENCE OF KING AND QUEEN
INTERIOR VIEW OE THE TEATRO COSTANZI, ROME, AS IT IS NOW.
Zandonai Acclaimed as He Conducts Own Work—Fritz Reiner Scores Unusual Success with “Meistersinger”—Molinari Inaugurates New National Policy at Augusteo—De Pachmann Plays
Rome, January 5, 1922.—With King, Queen and the entire royal family in their places, and the “cream” of Roman society occupying the tiers, the winter opera season at the Costanzi opened more brilliantly this year than at any time since the war. But not only from a social point of view, but also for the opera, the performance and the personalities ׳on the stage and at the conductor’s desk were calculated to render the night a memorable one. The opera was, appropriately, one of .the chefs d’oeuvres of modern Italian art, namely, Zandonai’s “Francesca da Rimini,” and the conductor was the composer himself.
This little mountaineer from the Trentino, with his deep and searching eyes, is a wonder. To watch him command the orchestral forces and make them obedient to his will is fascinating to behold, and even more so to listen to; for he obtains effects that are new and unexpected, and in his own hands the lovely opera is a thing of beauty indeed. He received an ovation, of course, and was called out many, many times, together with the singers, who on this night also gave of their best, especially so Gilda Dalla Rizza, who, after a long rest, has come back greatly improved in voice and if! physical strength. Her impersonation of Francesca, while histrionically it might be improved upon, was refined in conception and impassioned in delivery. The acting of Michele Fleta, the Spanish tenor, as Paolo, on the other hand, was affected; while his voice lacks timbre. Gran-ciotto, as the husband, was excellent, both as singer and actor.