AN HARJIONIO ANALYSIS OP THE REQUIEM

BY GIUSEPPI VERDI

Presented by

Gordon Allen Jobnaon

'.ro tult1ll the thesis requirement to!' the degz-ee ot

Jlaater

or

J4wJ1o

Department of Theo17

Director ot Research Dr. Allen Irvine McHose

Eastman Sohool of Music

oE the
Un1Yera1ty of Roeheater
August

19.$4

Ml
q5~ ~

TG~~-1
c o r.J 'I ':t.

PREFACE
The uaual approach to G1usepp1 Verdi is that
Verdi, the king

or

or--

Italian opera campoaersJ Verdi, the

dramatist; Verdi, the melodist; and little wonder it is,

because Verdi was t1:rst and foremost, by his own admission,

an operatic oomposeP.
religious works.

or

his

The purpose ot this thesis has been to

study Verdi ' harmonic

the Regu1em.

Little mention 1s ever made

atyle 1n his greatest religious work,

The oP1g1nal purpose was to study the modul&

tiona and altered chords used throughout the Re9J!te

How

ever, in the oourae ot the analysis, the prevalent uae of

parallel modes became so evident that this d1souaa1on waa

deemed 1noomplete without the 1nolua1onof a

them.

chapt~r

on

Alao, in a few plaoea unuaual usage of altered chorda

seemed to foreshadow the breakdown of nineteenth century

tonality.

The:reto:re, a final short ohaptezt was added to

discuss that

1nte~est1ng

aspeot of the harmonic style 1n

the Requiem.

The analya1s waa made rPom a G.

Schi~r

vocal aoore

and all references to page and measure numbe:rs pertain to 1t

On queat1ona conoel'nin,g orchestration and

acc~acy

or

the

piano adaptation. reference was made to the Stein edition ot

the Eulenburg Miniature Score.
The

~iter

wishes to express grateful acknowledgment

for the guidance, wisdom. and assistance

The cr1tic1ama by Mise

or

Dr. Allen I.

JioHoae.

Elvera Wonderlioh on the construction

11

ot this thesis havo also been deeply ap:prec1a.t$d

M1aa

Max-1lyn Roess-er 1s certainlr to be thanked for her gt-ac1oua

and invaluable help in typing this paper and preparing the

musical examples.

In addition, it is perhaps not inappl!'opri

ate that the writer should record 1n this paper his appreciation for having had the oppozttunity to study at the Eastman
School of Music through the generous provisions of the GI
Bill of Rights.

Last, but certainly not least. this paper

WOllld not have been written without the patie11t, steadfast

and willing assistance

or

111

my wite.

TABLE OF CO!iTL1~TS
?Rl:J1ACE

Page

LIST OF TABLJ.i;S.

11

v
Vi
IllTRODUCTI ON
l

CHAPT.bl1 II.

CHAfTill1. III.

USE OF THE PARALLEL YJAJOR AllD

4
HODULATIOU,
.,
23
ALTJ.:;IlliD CHORDS 57

.. ..
DEV~C~S

Ul'IUSUAL HARliONIC
CHAPT~R

VI.

CONCLUSION

It

90

98

BIBLI OGRAF1IY , ,.

iv

lOl

LIST OF TABLES
llo 1

~eaEte

53

I.

l4'REQU1.J:,lCY OP liOD1JLATIONS

II

LOCATI01i8 AU1l

!ljlODtJL\T!ON.

56

III.

HAP ALT.BRl~D CHORDS Ili UAJOR

70

IV.

AI.ThRED CHORDS Ill I:AJOR.

71

V.

HbLATIVb FREQU.bliCY Oif" ALTBRl.ID CHORDS Il:I l'JIJ\JOR.

72

VI

HARE ALT.t,;.t{ED CHORDS IN :HINOR .,

82

VII.

ALT.bRLD CHORDS IN }1IHOR.

83

VIII HLldtTIVE i?~<"tU.ii;NCY OF ALTLR.CD CHOHDS Ill l1INOH.

84

IX.

:N.h~HGDS 01?

NAHES AND FHEQ.U!SliCY OF ALT.G:R.bD CHORD

STRUCTURES USBD Il\4 BOTH NAJOR A]ID HI!JOR

89

LIST GF GRAPHS

!I&!

Uo*

I.

NUHBEI-t OF l40DULATIONS TO LACH SCAu D~GllliL: ASSu1~J.IUG

ALL ltiODULATIOI'lS Ailli NADl!:

Vi

Ij'ROI~

C HAJOR OR C NIUOR

r:'t.
.:;Jq..

OHAPTER I

INTRODUCTION
Without a doubt, Verdi's greatest non-operatic

wo~k

was the J4a.nzon1 Reg,u1em, eomposed in hia a1xty-t1rat year in

honor or his poet and patriot friend, Alessandro M.anson1t on

as he Yl'l'ote, whom "I regattded so much as a writer and vener

ated as a man--one who was a model

or

virtue and patriot1sm.l

SUrpl'1s1ng 1t was that he should compose a Requiem since some

years earlier he had refused to do so on the grounds that,
There are so many, many funeral maaseal

crease their number by a new on"2

It is useless to in

But write it he did, and

the first pertormanoe was held at the church ot san Marco in

Milan under his direction on May 22t

187~

with a chorus of 120

singers, an orchestra of 100, and leading soloists gathered

from all over Italy.

There was so muoh 1nte:rest in the Regu1em,

that Verdi gave permission tor it to be performed three timea

at the La Scala Tbeate'r where, according to Toye,

the audienoe, untetter-ed by ecolos1ast1oal sur

roundinga, were able to give tull vent to that enthusiasm which has always been the 11feblood or musical per
tormanoea in Italy. The newspaper, l* 911 gives a vivid
account or the evening. On the lett aide or the stage
were the o:rohestra; on the right, the ohorua. The en
trance of the soloists waa received with aoolamat1orus
that redoubled when Verdi himsel.f appeared. Bu.t Verdi,
"severe as ever, taking his place at the desk 1n the mid
dle or the stage 1mmod1ately gaTe the signal to begin
lp. Croweet, Verdi t Man and Mua1o1an (flew Yo1'k a Charles
Scr1bner 1a Sons, 1897), P lS).

2H. Ruttel"8. G1umt1 Verdi (stockholm: The Continental

Book Company), P .
1

and the applause oeased as if by mag1o." During the pertor*!nance the enthusiasm grew unt1l "the applause changed to l'O&:tttt which, though stifled, even b:roke out during
the pe:r-topmanee, so 1wea1stable waa the 1nsp1rat1on or
the mus1o." Attel"warda, amid the wild plaudits of the
assembly, " a 1ilyer crown on an elegant cushion was pre
sented to VeP4i."J
Verdi was a composer who t!'Uly be,longed to his coun
t17.

He WPOte 1n the idiom of his people and was beloved by

them.

Each new work was awaited with anticipation and en-

thusiastically received.
It must be noted,

The same applied to the Reguiem.

howeve~,

that there were those who had mis

g1v1ngs about the Reg.uiem as religious mua1o.

Granted, it is

not muaio which lends 1taelt to the eanetuary, but that should
not stain ita sincerity, workmanship feeling and depth-1n

a word, 1ts g:reatneas.

The Requiem waa composed between h1a aecond and third

periods of wr1t1ng-ju.st prior to hia three greatest operas:

J\ida.- Othello and Falatat:t.

It is, tlu:toughout, in keeping

with the style or his other works and justly ao because to

be

othe~ise

antry.

would have betrayed insincerity or studied ped-

Just. one comment in passingOne cannot help but no

tiee the striking resemblance

Berlioz' Regu1em.

or

the 1Qba m1rum to that in

It seems very likely that Verdi was intlu

enced by his friend 'a treatment of that d.:ramat1e section.

The aeven movements

1.

or

the text

as tollowat

Requ1-. (Introit) et Kyr1e

3p. Toye, G1ua221 Ve:rdi, H1a &rite and WoJ'ika (New York:
Alfred A. Knopf Inc.

i93IT;

165.

Dies 1x-ae

Domine Jeau ( Oftertorium)

Sanctus and Benedlotus
Agnua Dei
Lux aete:rna

Libera me

In ao.me

~eapeots,

the words and division ot movements are a

and, prior to Verdi had been bro-

little different than the standard Requiem Mass.

!!! is a long poem

(hymn)

ken up into several movements.

The Dies

Verdi, however, kept it aa a

single large movement with the words of the first verse.

"Diea !r-ae, dies illa,
Solvet aaeolum in tav1lla:
Teste David oum Sibylla."
being woven thPoughout the text

or

the whole moYement.

In

the next moYement, the sa.,nctua is set to a fugue and, con

trary to common'prooedure, is joined with the Benedict!!!

or which
celebration or the
the woPds

are 1neorpopated in the tu.gue.

In the

Mass, the 1e!! aeterna tollowa the ASnua

without a. pause. Consequently, many oomposera join the

-Dei
two movements and treat them as one, but Verdi lett them
sepa:r-ated.

The text of the

WJlt1 !lt is not part of

the

actual Kaaa for the Dead, but stems from other .funeral pt:tay-

era and gives Verdi the opportunity to sum up the musioal 1deaa

or

the Regu1em and unite them in a prayer for deliverance.

The final fugue in the Libera Me waa originally composed in

honor

or

Rossini at the time of his deathin 1868.

CIIAPTER II
USE OF THE PARALLEL MAJOR AND MINOR kf.ODES

!he frequent interchange of the parallel major and

minor modes is an important aspect ot the harmonic style in

Verdi a Reg.u1am.

Most composers

or

the nineteenth centur7

were governed 1n their ohoioe ot mode by the emotional content

ot the text, using major keya to depict happiness and m!nor

keys tor expressing aol'rOW or griet.

'I'be x-elat1ve, rather

than the parallel .m1nor, waa more commonly uaed.

Vel"di, on

the other hand, used parallel nearly aa often as x-elative

minor.

More.ovar, he freely inte:rchanged the modes within

one setting

or

or

the same text.

the 1801 meaaures 1n the

RW 949

have been

analraed as being in a minor key and 652 1n a major key.

This number can only be regarded as

approx~te

inasmuch as

a major section frequently eontaina so muoh ha.:rm.on1c material

from the puallel m1nor that it is d1tt1oult to determine
whether an entire

measu~e

is either major or minor.

On al

most every page can be .found uses ot entire themes or, as is

most often the case, thematic motives in the parallel majo:r

and minor modes.

There are several chords used moat commonly by Verdi

1n changing mode a

The moat .t':requent is the dominant which

progresses to the

of the opposite mode.

toni~

!b.e minor IV

chord 1a next in frequeno:r, either appearing in a minot- kef

and

progreaaing to a major tonic

more frequently, as an

o~,

altered subdominant tz-iad in a major ker and progressing to

or

the tonic

the par,allel minor aa 1n the tollowing example

or

where a ttlng

the Rex

~mend.,.

1n major' using the minor

subdom1nant ia followed by the theme in the parallel minor.

lihtample l

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a IV7 in Bb major
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7
Sxampl.t 2

page

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8
tlw tollow1ng exU&ple from the SJ2ptuta1a, scored tor baas
solo a.Dd orchesttta with a ohange tJ:toa I major to E minor.,
page 79 1 meae. S

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-.......;..;;}

~I'

....~

~~
1::1.

I --..... "411-.:'\ TT
..

pp

L.;'

fd:: t:::: t:::::~

I.--'11

~~

....--:-;-

10
Anothe~

instance of change ot mode within a phrase

ta found in the tollow1ng example !?om the Qgllfutat1,1, for

baaa eolo and oroheatra.

The example begins ln E major,

changes to the parallel minor on the third count of the tirat

aeuure, and returns in another

to~

and onehalf meaa\U"es

to B major.
haaple

Y.ss
Sol.

page 78, meaa. 6

~~~~--~~~-+~~L-~~--~~~~~+-~~-

ll
An interesting example

or

change ot mode within a

phl-ase 1s found in the Rex ..._t:r._e.m...,.e.,ndi!i i li i i a.,.e acored tor aolo quartet,

ohoru.a and orchestra.

It oons1ata mainly ot thematic develop

ment by the chorus and orcbeat:ra., one voice creating a tonal

1ty, another establ1ah1ng 1t, and the next ohang1ng it.

1'b.e

<!4

theme is stated in P major 1n the first measure ot the example

1n the aolo

mesao~aoprano

part and is imitated 1n the aolo

soprano part in the aeoontl m.eaaur

HoweYer, at the beginning

ot the third meaaw:te _the soprano part goes to an A~ instead

ot an A#, thus creating a tempor8JW1 1mptteaa1on ot P# minor.
The me&&oaoprano entranoe 1n the third meaa'trlre establishes

the feeling ot P# minol' by a leap tl'om P# to

D9.

'!'be orohea

tral b&el part in the fourth m.eaau.Pe, by moving to B, ah1tta

the key to A major

by

oraat1ng a dominant feeling which 1a

established by the soprano part in meaaure tour.

in meaeure tive the th1J'd
and

or

However,

the A majora obord 1a omitted

a leap in the mesaoaoprano part trom A o P 9 ah1tta

; the tonality to A minox- which 1a then establ1ehed by a.n

added 0~ 1n the orchestra part.

1ntrodu.oed on the last note

or

The key or P majo:r 1s then

measure t1ve by the use

o~

Bb instead of B~ in th mezzoaoprano part, 1s established

in the orchestra only to haTe an A~ substituted tor an A~

in the tenor part in the seventh measure, thus shifting

the tonality to P minor.

12

Example 6

page 56, meaa.

13
Ex.ample 6 cont'd

. ""' ., ..
~

\j

'I I

l
U

..1

... ...

1!11,.,

,.

{17,., .. -

v.

f>t-

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u .. ..:.

., r

II

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11'

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,

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I

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::::::;
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,
f
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F:Pequently a mot1Ye 1a atated and repeated 1n major,

but betore 1t 1s lett goes to minor, or

minoP to major.

t:ranave~aly

from

A typ1oal illustration 1e found. in the

following exa:mple from the D1s 1rae scored tor tenor aolo
and o~ohestra.

Here the motive appears conaecu.t1vely 1n the

o:ttchestra and solo tenor pax-ts in

Bh major until a minor

tonic is substituted for the major and then it continues 1n

ab minor.

2.

_.._....____

15

Ohange of Ltode 111 section Leading to Cadence

In the entire Resulem there are only a tew sections

ending 1n minor.

shifts to the

Usually a seotion predominantly in minor-

pa~allel

section leading to it.

major in the cadence or 1n the

It the change to t,he parallel :majot-

ia not on the tinal ehord ot a section, 1t

ooo~

early

enough to tlmlt eotabliah the new tonality betope the

section comes to a oloae aa illustrated 1n examples

In example 8 trom the Res~em

fi

~U1!

a and 9

aoore4 to7!

aolo quartet, ohol'\ls and orohestl'a, a IV ohord 1n the key ot

A minor 1a followed by a major ton1o.

t1nues in A major tor eighteen m.eaaures
the ReulfNI\

Kzrt.

The section then oon

uo

the ooncluaion of

Example 8

14,

page

meaa

.,
~

... 1

.,.,
Jlt ....
II ~

_....

Jl
..,

..., ..

"" _.,

-,...,-...,
J

.......

LJ.

.. ,

""

I
V""f'"
J

'

Vnu~ oru~
V"l'" l.

n_
,

.JL

__!!t':

- $o.f\....
__. __d
l r ...

_l-

,.,

'"'"I"

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I
V

VI I

. .

\ {c - ~ "-":.

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-- - ....&.

LJ

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-r

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r '"R"I

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T'4

'fba mode is again oha.nged troa minor to majo:r in the

aection leading to the cadence in the Dies

aolo quartet, chorus and

key ot

or~hest:ra.

.!!!.

aoored toJ-

Near its eonolua1on, the

ab minor 1a ehanged to Bb major by a descending base

17
line 1n which a

D9

which tollowa a v"J,-.

'11-1

is substituted tor a DP in a I" chord

The aeotlon then ends in B" major atter

eight measm-es.

Bxaraple 9

page 99, meaa. 1

't1

Only once does a major mode change to the parallel

minor to oonolude a section, that instance just preceding the

!.!. deoet SY!!B'!I!

in the Rasu1em

the following example.

f.t

Kv:+a

and illustrated in

The ohange of mode is e.ffeoted 1n

the fourth measure ot the example where a

A major is followed by an A minor ~

VII~

in the key or

"~ .3
!he A minor section

18
concludea after three meuuttee with a deceptive cadence

V7VI.

The.VI chord serves aimultaneoualy aa a deeept1ve

eadence ending the t1rat aeotion and as a I ehord in P major

It deoet Aimeus.

beginning the

page 3. meat. 10

Kltample 10

-...

----- ---

~j.~-cho ,..~ ~ __..-;

, .....

.. ,
.....
T

.A -"I

-,- ..........
"' ... .,

1'- ~~
AI"

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J

......
.Ill

,_,
r

PI'

~)

Jl

.... -.r

....
~

P.~o.
~

-IT

'I

I
J

.......

,.,.1......-~
14" I
n..t
I
... ...-:....-

A:

:r:

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~~

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1'1'11

*' ,

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C1

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I' N'l

I
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f F
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~

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ppp

{" ~ C-- ~t -e-,$~.7{ v -1!11. -~-/.

v -.

t:? __ Et--"""

T
1-

11

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I
I

ppp.

--

----

--

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v-. !'"" pc.-

----

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II

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II

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19
Example 10 cont td.

-7fl.i.T-

---

-------~-~-----------------

1~

" 'llf_t.

i'

I
I

r.""l,ai.4Doo
I , , . I"

1._.

AI.

L/>_

~\J

12

~)

1~1"

i,

--"
-I

tcJ.
II

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11.1

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!-1..-....-.a

ll-

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le.1"~

., I

b.

"A _ll"l.
I

.,

PPP

--~

II.

!.,,

D
I

' ..,

11i

or, JtllO:re

o.rtrtoa

:f

'
r
...

Cadence

Ch.ans of mode may ooour 1n a

mino~

-v

f'

9!!9 !. Jiode .!!

_I_

... -.

l.

...._

II- D
~~ l

"

...
1

'

---

la-tl

.-- I

-i-s

iii--{-
"b.
nn
I
IJI
l
t

C4t

--.

[.t";;, ..
(

l
--

...,

.... ,

_1_

1'1-..att-'-

t~equently,

oadenoe

from maJor to

t!'om m1nor to ma.Jol'l

In the

the text; taoeaa Domine, de morte transire a4 vitam

tor quartet ot aolo1ata and orchestra la presented in

a major

exoept tor the cadence where a minor 'tonic is substituted.

The theme then continues in 0 minor and &tter eight measUJtoe

a major tonic is substituted in the cadence and the theme again

appears 1n major.

20

Occasionally a section predominantly 1n minor changes

to the pa:rallel major in the final cadence as illustrated in
examples U and 12.

In example ll fpom the Libera l4t for

soprano solo and orchestra, the cadence oona1sts ot a Ilk> in

a minor- followed

by a 0 major tonic chord.

In example 12,

alao from the L1be:ra Me, but scored in th1a aection for sop
:ttano solo, ohorua and or-chestra, a 0 major tonic follows a
V <o 1n C
-#7

minor.
page 171. meaa. 10

b'.a.mple ll

W'

I'
_ll

P' I..l

.II_
....
II

a.

II'\.

&.

&.J
I

.F'\.

61'

~
I
L.tl'
I I

n'7C

I A~

I
I

II
-

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II 1./ IJ.rt

1'\. Y

.1

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f
r

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II

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.,

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II.

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a
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II.,

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a.

r.-

7-

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Ill.

IC.J
.J

r"\

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II

II

21
page 210, m&as. lO

EXample 12

- - - - - - - - - - - - - - -------------

---------------------

C...horc.u
A\ ..

...," ,.,
...nn

-.:

rJ

~v

In

'"" J,

''

'""I

. , ..,

Wll

1'-..Y

,
I

'"

,.

1._.

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C..:

4.

==---.... -"

II_

II.

,....
,_..

-I""'"

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--=-I

L_,..,

--. ...- ......

Jr
I
I

/II__ _.I

II"'""""

11-

Ill

T7--.;_~

R..

...,
I

II

II
~I.

I
I

. ~..a.
-..---,_ -"'~

__/

I
I

--

',..,......

~-...
.n

,.,.,e. ~

r~
T .J"

I
I

r,lj_, r- F~"-t:
-

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111

"'-.MI t.

I_

....,...,.

I I '"'I'

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"'

11

If

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75

,.,e,

'4

--,

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7
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r~

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~~:;--:--~----'"l7
-:zl;?

~ !. Mode !!_ ~PI it. Bu. 31tiS.PD ~ fP.rye

The aolo 1netanoe of an. entire theme, including

the cadence, stated .t1rst 1n major and then 1n the para.ll.el

minor is found 1n the

:0.1.

The first two settings

or

the text. "Agnus Dei, qu1 tollls peocata mundi, dona. e1a
requiem are 1n unison in 0 maJor with the .first sung

a cappella by the soprano and mezzo-soprano soloists and the

second by the chorus and O:POh&stra.

OroheatPal accompaniment

1a added to the aoloieta in th thi:rd setting which is 1n

a minor, The last two settings return to 0 major

and ape

sung alternately b,J the ohorua and soloists with oPobeatra

22
after- which a. short coda concludes the movement.

Verdi uses the parallel major and minor modes to

obtain variety within a tonal center, going aa of'ten

f~om

major to minor (21 times), as rrom minor to major (20 times).

It is

1nte~st1ng

to note, however, that with one exception,

a main aotion always ends in major.

The change

ot

mode ocoura aometlmes 1n the oadence

and sometime a w1 thin the pb:raae in h1oh o.aae the mode uauallr

alternates avel'1 tew meaaUX"f)a..

OVer halt

ot the changes ocour

from the dominant ot one mod.e to 1ilie tonic ot the othe:r, a

quaPter

or

the changes trom. the minor eubdom1nant to major

tonic or .trom major tonic to minor aubd.ominant.

It 1a

1iltereat1ng to note that the minor IV ehord is otten used

in changing modea, the major never.

O~BR

III

KODULA.TIOlf

The investigation ot modulations 1n the Rewatem

was made to determine frequency, methods, and the rela.t1ve

use o.t closely :related and foreign kJ

In the process

or

analyzing a composition, espeo1al.ly ot the nineteenth centU%7 1

it is sometimes d1tt1oult to determine 1t chorda are merely

altered or it an actual change ot key center oooUPa.

The

guide to analysis has been, chiefly, the feeling ot a oha.ng

to a new key center which may be establiahed by several chorda,
not necessarily including the tonic-.
Thex-e are 277 modulations 1n tl1e Requiem, or an

aYePage ot one eveey seven measures.

This figure includes

the to:rty one oha.rlges of parallel mode dlaouaaed in the pre

v1oua cbapte:r.

Ot these

277 modulations, nea:rly one th11'<1

(89) are to a toJteign key, and two thirds (160) to a oloael7

related key.
Alm.ost every knoWn modulatopY devioe 1a u.aed in. the

Regu1g.

The oom.mon chord method 1e emp-loyed moat fr-equently

when modulating to close

relat3d keys.

Sequential and ohro

matic modulations are otten used in modulating to foreign

keys.

A modUlatory devioe very ebaracter1st1e ot Verdis

style is change ot mode used by 1tselt or 1n conjunotion with

the common chord type to facilitate modulation to tore1gn keys.

23

21i-

In the latter modulatory device, a change

or

mode on a tonic

chord greatly enla.I'gea the scope of diatonic keys.

Thus the

new tonic may serve as a eommon chord 1n modulation to many

keys which previously bad been toreign.

The most frequent modulation 1n the Reg,uiep. is down

a. perfect fifth.
cho~d

It is usually tx-ans1ent and made by a ton1o

assuming a dominant function 1n the n key.

or the

aixty-tivs modulation. down a perfect titth, the mode 1s

changed eighteen times and retained ro:rt7-1vn
l.

hom .!

M\B2" liz

One-halt (33) ot the s1xty-:f'1ve modulations are tXtom.

a minor key.

Two-thirds of these (23) retain the mode and

the bridge ohorda usually used

or a IV beooming a I.

ta1na ten

or

8.!'0

I beoomins Y 1n the new key

:#3

The f1nal fugue 1n the LJrl!e;:a.

J!t.

eon

these modulations retaining ilhe minor mode.

Others are embJ"aoed in the sequential

tr~atment

of a motive

from the ld!C!7!!!1 whieh begins 1n r minor and passes conseo

uti!_ely thPQugb the minor keys or BP, Jb, AP, and Db, the
IV ohorrd eao,h time serving aa a link by assuming a tonic

function in the new key.

lfearly one-third (10)

ot the modulations down a fifth

fr-om a minot- key have a change of mode.

a bridge is a major tonic

t~iad

The chord used as

or seventh chord whioh 1a sub

tonic and then becomes a dominant in

st1tuted for the

mino~

the new key.

ill:ustra.tion of modulation from a minor key

An

25
to the aubdo.minant major is round in the following example

from the OtteJ'torx; wherte a G minor section for solo quartet

and

orchestra concludes with a V chord progressing to a !7

"1t3b7

which becomes a dominant in either major or minor.

tollowing measure an

E9 is introduced

In the

establishing the key

as C major.
hample 13

Pz-p!! !\

page 113, meas. 7

1ia.,1o:r K,e:r

Modulations down a titth from a major key ooe~ about

a.a frequently those r,.om a minor key ()2 times .. compared

with 33 from

~~nor)

and under similar conditions.

A eo~non

ohord modulation 13 used and the mode is changed aight ot

thirty-two tunes...

An illustration of a modulation f~om major

to the subdominant minor is found in the following example

from Qn2d

ndlePI 1n G minor for solo trio and orohestra.

Twelve measures before the conclusion ot the section the mode

is changed to G major where it remains .for four measures until
a cadence is reached.

As that ooours, the tonic chord becomes

a dominant in C minor and 1s followed by a minor dominant

ninth

oho~d

lil:ample

14

in the new key.

page

51,

meas.

21
Many of the modulations

r~om

a major key to the sub-

dominant major appea%t in oontt-apuntal seotions wha:r-e the

theme lternatea between the tonic and dominant lceys,

!i1ne

ot these modulations are found 1n the Sanct.-y, a fugue tor

double chorus and oreheatra.
Hod~at1gns

B.

.YJ!..!

F1t1g\

Modulations up a titth like those down a fifth occlll'

.t'!'equentl:r in contrapuntal or fugal sections, are transient,

and utilize the common oho:rd method.

S1gnif'1oantly, they

ai-e more consenat1Ye in that only two oases contain a change

ot mode
. 1.

hom !!

Ma~o:r

I!Z,

Ot the .topty-t1ve modulations up a fifth (aa compared

wi~h

aixty-tive down a ti.fth) only twelve &l"e made fpom a

major key, the remaining th1x-ty from minoP.

Usually, the

tonio chord assumes a subdom1nant tunotion 1n the new key,

but occasionally the dominant becomes a tonic.

All ot the

twelve modulations retain the m.ajoP mode; most of them are

transient, and aeveral occur 1n oontx-apuntal seot1ona.

A few.

however, definitely establish the new key, an excellent example being found in the -t;eno]!lt solo I.1fCO (p. 70) where

the theme la introduced 1n gb tor eight measures, modulates

to the dominant tor twenty-five, and then returns to the tonic

for twelve, thus g1v1ng the semblance of a th:Pee part form.

2.

Twenty-eight of the thirty modulations from a minor

key to the dominant retain the mode and moat

tained in cont:rapuntal sections.

eho~d

or

thein are oon

The tonic is the common

and assumes a subdominant function in the new key.

The

B!!.!, 1rae tor chorus and orchestra, contains a sequential

treatment of the thematic material which is repeated alter

nately 1n the tonic and dominant minor keys.

A tour measure

section 1s sung tortisatmo by the chorus in 0 minor, repeated

consecutively in G,

o,

and

a minor,

eaoh

~epet1t1on

becoming

lower in pitch and dynamics.

There are but two changes ot mode in modulating up a

f1tth and both aro

t~om

an a oappella pox-t1on

minor to major.

or

the Lux

In example 1$ trom

yterna, a

v,

~7

in sb minor

becomes a Ib 1n Bb majo:r.

Example 1.5

page 1.59 1 meas. 6

,
1.$

..Lh:

Is I

/'1
-<
l.. vr;., -'6n

j.

-a,s -c u

- 1'5

The other instance of modulation from a minor key to

the dominant major is found in Example

16 trom the

Lacr:ii!nosa

for solo quartet, chorus and orchestra, where a II7 in nb

-#'k/.'

minor, used as a deceptive eadenoe, serves as a dominant

seventh chord in F major.

Example 16

page 89 meaa. 3

I'I'P ......_____-

::r

c.

.............
..................._
Modulations
~~

___

)0

.......

Down a Third

There are fifty-one modulations down a third as

compared with forty-two to the dominant and sixty-five to
the subdominant.

Two-thirds

or

these (35) are from a major

key and one-third (16) from a minor key.

l.

P'rorn !. MaJor Kez

Nearly all (32) ot the modulations from a major key

are to the relative minor and employ the common chord type
or modulation.

The VI chox-d ot the major key usually serves

as the common chord by becoming a tonic in the relative minor.

However, every tonic t:r1ad 1n the major key is u.aed at least
once as the common chord.
Modulations from a major key to the aubmed1ant major
are :ra:rte, there being only two.

In both instances the IJJ1n

the original key becomes a dominant

oho~d

in the submed1ant

key and is followed by a major tonic, as 1llustPated in

amples 17 and 18. rathex- than the uaual minor tonio.

Ex

Dur-1:ng

the sequential treatment ot motives shown 1n Example 17 from

the Otte~torz, a III 7 in ab major becoaea a V? in Ab major and
::J:P5
progresses to the new tonic.

31
Example 17

page 106, meas. l2

The other 1natanoe or a modulation tJtOm a major key

to the aubmediant major is round in the

in&!.&too.

scored tor

tenor solo and orohestt-a, whtn.e a modulation is mad from the

key of Gb major to Ehmajor.

As illustrated in Example l8t

the II~ occurs as a deceptive cadenoe in the key or Gb major

~5

and assumes a dominant function in Bbmajor.

Example 13

page '73, meas. l l

There is only one modulation down a major third from

a major key ana it is found in the Insemiago and illustrated

in the following extmtple wher-e a transient modulation oocurs

tram B ~ major to Gb majo:r.

In the 1'1rst meaaure of the ex-

ample a tonic chord in Bb major becomes a III in

4:5'

Gb major

and

33
1s followed b1 a lilL, -I proiression 1n the nea kay.

page 72, meu. 9

Example 19

2.

hom !. Minor Kez

Fl-am a minor key, the only modulations down a third

are to the aubmediant major

or

which there

a~e

sixteen in

The only oo:mm.on chords used &:re a. I bcomlng a III

atances.
-

or a VI becoming a I, each being used u frequently.

D.

Modulations

Ya .!.

Thi.""

Another common modulation employed in the Reg.uie.m 1a

up a third, there being flft7four as compared with fifty--one

down a third.

Of these fittyt'OU%' 1 over twoth1rda (35) are

from a minoP key; the rest (19) are from a major key.

1. l'roa !. K&:qo_%' Kez:

All but two ot the thirtyt1ve modulations up a

third from a minor key aa would be expected, to the rel

ai1ve major and employ the oommon ehord trP

or modulation.

'!'he choPda usually used are the I Ol' VI triads in root po-

1t1on or the IV appearing either aa a triad or seventh

chord 1n Poot position.

Ot the

two remaining modulation up a third fPOm a

minor key, one 1a up a major third, the other to the mediant

minot- ker.

'l'he latter, 1lluatttte4 ln the tollowing example,

1s found in the

&! &ru between the Contutatie in E minor

tor baas solo and orohestra, and the

chorus and oroheatP&
ut-e

or

P.!u. 1rae

in G m1nol:' .tor

On the third count ot the seeond meaa

the example the F# 1n the aolo baas part 1a part

or

V oho:r-d 1n E minor and 1a held attel* the orchestra Pelease.

-#7
~ hold plus a turn on the toUl'th count prepare the listener
tor a t1nal oadenoe in E minor or possibly G major.

A G minor

tonic, however, 1a substituted tor \he beginning ot the new

section.

35
page

Example 20

~,.;...

.l

~
I~
-~~ I'

,..,. - -I.,.
.... Mr

..-.-...-A.

....
.- .,.

-... .:; A'

,....,

Ill

'"

LL

........

T
-...J

a
,.

'

il

I .II

r...,

&
~

I.

-.

>

...., - - n

-I

rl'

mino~,

tw aop:rano,

"-

- I

> >

>

~-

'

I ..

>
- - :. .....,_
...
-
.....
L~--..,
>

>

>.
I

:::;;;

_, ,

I I

or

...-::1'

>

... ..... ..

The aole in.atanoe

than a

I'

-.

~~

I1"7

- ....
~~: ~~

_.I ....

B.J/11

II'

~>>~

F
..,.-_,A ..,,

I..

I I

t:c~-r.,.._,.._, -~.;

., ....... ""31~ ~ -4. .. 71

...

-,

-.... ,
.... "''"::

~.>

ll

'='r tJ.tJA, pn '"J

._ r._ , ~~II
-n
_
....
,..
, r . , . a.

"""'
.,
.,. .

.:.. I

,9e- rc

-.-.

- - -. IL _. '7

> > >

~
._

79, meas.

1.)

>
_

,,-_
'

-..... .
..,

:..
:-

.L

""''

FJ

f.\

-.
r

I
I
I
I

All~r e~ l'n",...
.. ...... .D
-t
...

... ,
..1

I
I

"'_"'lk.

....

.. -.
1.

La.

Ia. L "I
a '"In
I
I,.

1""11

c:J

.I

ft'

>

:r

'-

::..

A.

,-

'

>

'

a modulation up a major, rather

third from. a minor key is round in the Ottel'to:rz

osop~ano,

tenor and baaa soloists plus

orchestPa, and 1lluatl'ated 1n the following example where the

"n cadant in obaourum seot1on ends 1n the key or P minor
and the "sed a1gn1rex- eanctue" aection begins ln A major.
As

the soloists and orchestra oonclude the ne cadant 1n

obacuttum phrase on a half cadence in F minox-, an E~ appeax-a

in the solo soprano part which ia held thJ'ough aeuure two

or

the example as the other soloists and orc.best)."& are silent.

In the third measure the orchestra ente:rs on a Vz., 1n A major

at which time the soprano s sustained B '=1 loses ita function

)6
aa the leading tone 1n r minor and assumes a. dominant tunct1on
in

major.

sed-

2.

!. MaJor !fZ

Nineteen of the

are fztom a major key.

t1~ty.four

modulat1o%UI up a th1Pd

ot the telve are to the med~ant

minor and the common ohol'da usually used

VI, or a III beoom1ng a I.

&:H

a I becoming a

The IV and VI ehorda are used a

rew times, but the II, V or VII ~"'"

An instance ot modulation trom a major

key to the

37
med1ant minoP 1a tound in the Regu1eps.

tween two similar Rau1em

aete~nam

!! !It1.

Inae:rted be

eeet1ona tor ohorua and

orchestra in A minor, 1s the cont:ttapuntall!. ceoe.t hDQU! in

F majo:r tor a oappella chorus
~~

At the end ot the Te dt,oet

the ebona baa an F major tonio, followed b7 an A

minor tonio 1n the orohestra whiob repeats with the oborus

the

Resu1,~

aete!!9: almost note tor note.

The IV, when uaed as a oommon ohorcl in modulating to

the med1ant m1nor, assumes the function. ot a Neapolitan

second chord u illustrated 1n the following example t:rom

the

A?!!!

lrae, aoo:red tor- chorus and orchestra.

The JlOdula

tion takes place on the thittd count ot the example where a.

IV, 1n Ab majoP baooaes a I~ in 0 minor.
b"l-

38
Jaample 22

21+1 meas. l

page

...It

...

I
.

1..

11n

II

-,

l"'

JL

ll

....,

....

('~.,.

.J

f"

-;:l

.,.~

)
I

I
I

"'

,...'

u--r

....

1..

...

>

-.

. . . ,.
-- . ...

-~

~-~

7),._e$

.c:::2

_..

lh

..

> >

p~e.

'-

-, D

I
~
~

,.

.,..

-~

'

I
I

...

...

1 - r11-e.

._
-..-

11 . . .

I
' I Jl ......
-JD"I
.J a.;: A

_J. j_

D, -e.5
~

~
I

11.,L..,. b-n

'

II

>

>

I'

11

I.

"''

~e
... t.::-

....

' "

.n

vil- {~

>

.
I

.,"I

>

>

.... -

--.:c

1""111"-

....,._

>

i'he only 1nstanoe or a modulation from a major key to

the med1ant majoJ- is in the Reg.u1!!! !lil.rle scored tor aolo

quartet, ohorus and orchestra and illusts-ated in the following
example.

The common ohord, found on the last halt ot the

toUPth count of the example, is analyzed as a VIt, in C major

beooming a IV' in E minor.

However, on the thil'*d count a Gil

appears in the tenor pa:rt as part of a I

in C major, and two

counts later is found 1n the alto part creating a I, in E

ma.joJt.

Thus the modulation includes a chango

or

mode by going

39
with the aid ot the G/1, to B major !'ather than E minor.

plano part contains all the essential features

or

The

the point

under d1souss1onJ therefore the Q.U&l'*'tet and chorus parts

will be omitted from the example.

Example 2.3

page 10, meaa,

Ot the modulations up a third tl'Om a major kef, the

most frequent to a tore1gn key 1s up a minor third retaining

the mode, there being 11x 1natanoea.

It 1a used etfeotively

in oontPast1ng the texte ot

tssuam rena and

m1~oo

Mariam abaolv1at1, the tormer ending in

a major

.9.'!!!.

and the lat

ter beginning in Eh majo~.

A aequent1al treatment ot this type

or

modulation 1a

toUJ:?A. in the Rex 're:mendae where the key is ra.iaed h-om E b

major to

Gb

major ( enhapmonio ot F#) then to A maJor, and

lastly to C majo:r.

Aa illustrated in the following example,

the theme t1rst appeatta in the solo bass part accompanied by

a I,II~ -v1 px-ogress1on 1n E" majo~.
y.

In the second measure

or the example on th fourth count, the :root or the ah major

chord is in the solo soprano part and on tne t1~st oount of
the third m.eaaU!'e becomes the th1P4

or

a Gb major chord.

The

mezzo-soprano part 1n meaa~ thPee and tour then as a repet1

t1on ot the theme 1n ab accompanied by the same harmonic pro

gPession.

ot the

On thct last oount or the touPth aaure, the root

dominant oho~ is again in the aolo aoprano part a.nd

aga1n becomes the th1ri

major.

or

a new tonic ohord, this time A

The aa.me JWOP1on 11 then used 1n a change to

0 major.
Example

24

page $2, m.eaa. l l

B.

lodN:a,1o9! Down .! !oond

liodulationa down a aeoond are lntrequent, then beiDg

only seventeen as oomp&Ped with r1tty-one down a third and

a1xtTt1ve down a. t1tth.

or

thse seventeen, only on. 1s

down a minor seeond, the rest &l"e de>wn a major second.

i'welYe are tttOm a mino:r key, tive from ma3or.

Boauae or

their 1ntl-equenoy it 1s dlttioult to determine a typical pro

cedve ot modulation, 'but a few general1t1ea ean be made,

naaely t they are likely to ocou:r in eontrapun\.al ott sequen

tial aeot1ona J oltromatio type or modulations utilizing dim

1n1shed seventh chords occurs frequently; lastlr, the oommon

chord type

or

l'll0dulat1on 1s used in going from a minor key to

m.ajo:r with the 'tonic triad becoming a superton1o tr-iad 1n the

l,.

Prom !. Minor !!I.

All ot the twelve modulationa fNm a mlnoP key 81'8

down a whole step with six retaining the mode and aix chang
1ng to major.

Moat

ot

the la.tte:r six are 1a.ana1ent modulations

in contrapuntal sectione, the coliU'BOn oho:rd being a minor tonic

triad wh1oh becomea a aupertonic in the new key.

Moat ot the aix modulations down a whole step trom a

minott key wh1oh retain the mode are uaed 1n aequeneea and

ploy an altered d1m1n1ehed seventh chord which beoOl'.llea a d1&

tonic aeventh 1n the new key as illustt-ated in examples

and 26.

2S

In both instances a modulation 1a made trom. C minott

to a.b minor, then to J.P minor. by means ot a quenoe 1n

which a IV 1 beoomea a VII7 1n the new key. Although the
,:/7
modulations in both examples
are quite sim1lar, they ocom-

"'"'*'

in different par' ot the Reg.u!ea, the t1rat being in the

..D1.,. -....
... 11-ae and the aeoond in the final L1bra Me

tusu.

In the following example tram the Dies 1rae for

choPWJ and orohestPa, the tirst two meaaur pb.raa contalna
a 0 minoS' VIl* I h6U"JD.onio progreae1on which 1s repeated in
~73

meaalll'ea three and toup in B h minor-. and 1n .five and

Ab minor.

au

in

The IV., at the beginning of meuurea three and t1ve

~-~:t;t(,

VJ~ '7

each time serves as a

page 22, meaa. 8

lxample 2)

.
, ......... ...

Ill

....

1\
Ill
1__.
~~

-~

,-.,.....

..........

I'll

...-

'"""

..

....

:;;..

I
I

>

( ,._..--,,
.r :'\.. --u
A..
-. I..
...
I
K
~

\.. ,
.,

q
I

' ,.,

I
I

- ..

~.

1l.:

-.I

1
~

;;....
:;..

I
If"

.&...

'- . . . I
J

>

..

- u

...
w-

..
~t

_l

j_

..J

~-

:>

>

.. _ ... _ , ...... r
r I
I I
T .....I
T

>
_,_
$>
..iiiT
T

"""-

I
I

--'-..........

r7

I
I

I
I

.>

_l

_j_

>

..

'J

.
I

f!'J

j_

u--.

'I
I

>

I
I

.. .r.
v

....

......_,.,

'I
I

'

--., T

_J_.

..

~J

I
I
I

-<.

.I

~.~~r.le:
.,
-

._

C'

_,.-

.........

.L

..J

: >- ;; ~~~L,_,-Pf-~~!
'
.
v.
""-r ..

[;A

"-

(')
......._

>

'

ff
....

.,..> >
- --

t;;..

k~

., r

___..,J !

L-

A..-

.,...

II IL

I
I

J~

- -

> >
h-~

I
I
I

IF .J_.

~-

~.

lD,

_, .. i.

~
J

TH

--

J' -J

~J

T77L

.....rv I l l -

in the new key.

.
u
...

........
-4'-

>

.
.>

.....

>

'!'he

IJ.bera Mp_ theme, in example 26, appears consec-

utively in the minor keys ot 0 1 ~, and AJ,

measures are in C minor with the Y:be:ra

soprano pal't.

On the

'Ihe first two

!t motive

in the

second count ot the second measure,

the thPee lowex- Yo1oea begin the harmon1o prouesa1on

I, .v:L.IkIIV7

+ il?

Thia pro.gresaion 1s pepeated 1n the minor

~#=6

keys of Bband Al> w1 th the Ubepa

!!! thel16

being :repated 1n

the aoprano put in the ool'Hapond1ng keys

third oount

or

'fhe IV 7 on the
-:/Jf'l*-6

\he th1~d and t1tth moaaUPea aervea as a VII 7

in the new keye.

-if?

'!'he piano pAP1 1 belns a dupllcat of the

voices, is omitted troa this ex.aaple.

Example 26

v_;.;,_

page 192 1 meu. S

45
The sole 1nstanoe
lation

t~om

cr

a change o:f mode during a modu-

m1uor to rnino:r down a whole atep occurs in the

Kzr1~ scored

to'r quax-tet of aoloists, oh.orus and orchestra

and illustrated in example 27 where a B minor tonic ohord on

the thiPd oount ot the second measure serves as a II in A majo:r. and p!'ogreaaee to a

v,.

However, an A minor tonic triad

1a substituted tor the majo:r- and creates the key of

Bxample 27

page 13. meaa, ,4.~

I

minoJt.

2.

!Tom .! ~ajo.~ ~I
ot the five modulations down a wb.ole step from a

major key, two retain the mode.

different devices a!'e used.

the Rem!1 is round in the

Both will be discussed since

The one which ooours first in

ot~e.J:ttorz

rOP

solo quartet and

o:reheatra and illustrated 1n the f'ollow1.ng &X8ltlple.

The

essential :teatures of this sex-1ea ot modulatlona are the

sustained notes 1n the solo soprano part and the sequential

repetition or the prlncipal theme aooompanied by a

v~-I.b

progression in the SUOCG981Ve major keys O't A (enharmonic of

B double flat), Ab, and

ab.

S1noe tlW only modulation down

a halt atep 1a found in this eeque.noe (trom A to A.b), lt will

be included with this example..

In the fil'at two meaeu.rea an

E~ is sustained 1n the aolo sopztano put u the theme

Ih progression az.e stated 1n A major..

and

V~

'.ftle E~ 1a lo..,.tte4 in

the third measure to Eb and the I.b in A major beeomea a

ltJeapolltan seoond chox-d in A.b majott and progresses to a V L aa

the thenne 1a repeated in the new key.

In the t1tth measure

the sustained J:b is lowered to D...h as the oroheatra has a l"epe

t11s1on ot the V2-I" Pl-08l'eaa1on. th1s t!ae 1n G b maJor.

47
Example 28

page

105,

me as

11>
----------

-------------------~-----------

~-

.~
n ......

-v

-v

~--.:;;;~

"'17

l='.
~
.....
..

~
"]II

.
n

7
"T

"T

lA

WI

....u-n

[7

.,

.._._

..

--

-~

--n

._ .

"T7

.~~~.

..._

......._.

,.,,...,..~

'T "T.
IV' ....

~ -=-~==~
I
I

...

......... ,..
flf

...

1111'

,.,;

..,.,.

TT

T~

.I

I
I

-,T
I

'T
I

..

s .. ,.- e~

- ~~r

~--

~~
-~

n-

~-

+h..
I

"T

- Jn,"

....
~

T
T
I

I
I

..... ..,""
1

' .... -.

----.
--

I/IF.

T
I

"'-I'

"T

T
-.

I'.:;.

T
I

I"

-p-_

-.

II...

,_ :;..- -::...-

- ..

r:;.

L..

!;,.

The other example ot a modulation down a Whole step

w'hioh retatna the majot- mode 1a from the final tugue 1n the
L1br

It tor solo soprano, chorus and oPcheatPa. In the

seoond measure ot the example the A majott tonic triad ie

1a changed to a minor I & by means ot a leap from A to 0~ in

the bass part on count three, then becomes a IIw in G major
and proceeds to a

v~.
The piano part, being a duplicate of
-ttsthe voices, is omitted tram this example.

Example 29

page 196, meaa.

--,_,

h1

G::o:..

14 Staves

An

1ntet-est1ng

alte~ation

is used in modulating down

a whole step fPOm a major key to minor.

ample 30, is found 1n the

An

~tr1e, soo~ed to~

illustration, ex

quartet

or

soloists,

chortis and orchestra where the ohromatioally descending bass

line in the seeond measure changes the 0# major tonic triad
to a O# minor triad which, in turn, becomes a

II~

in B major

and progresses to a v7 In its resolution, however, a minor

tonic is substituted tor the major, o:reating the key o:r B
minor.

Thus, the mode is changed from 0# major to minop ao

a common chord modulation can be made from 0#

mino~

Then the mode 1a changed againfrom B majo~ to

to B major.

m1no~.

page 13, me as. 2

Example )0

..-.._ LJ..- .w1'--

'"J """

I
I

..

_,_

""'
....,.

'
- La- &.,-.So"-"

A.

,.~...,..

"'

..... _.. - r
Jll

6
"-"

_.

I.JI

Iii"'

.....

-~;.a

.-

.J

..6 fl. c:J

.,

K!:1 t.~

"'!10

-3.

.l

I
...I

_I
I

''

>

I~

1 ....

~-r-r

""'

I I

I
I

I
I
I

' Lee-

l
I
I
I

-~

I.

>

'

I I
I
II ....

r-i.

...1

,-..- ...

"'!:

'!:;~

"Si

rc..

---

I
I

ll:.'lllo.

...'"'

i-so,..,

I
I
I

""!;

.._

~iJ. ..

.......

-- ........... .
I

.,a...-

.--~-------~-

I I : ' ..t-ALIII
I
- I KL,..&ol"' l
"'0> A_.
-..
......

..-

I
--.
...,._,_1
-

"T
I
~

-. . .. ,

'

--.

II

'

__,

Modulatiopa

!!a A

I
l

..

I
I

--

~-~..I

_..-. ... L

r ...... ., ....&

+ ---

~.,

II

F.

I
-I
I

II
I

>

--...

>

1 c.J.

!Itllo

...

>
I

'~...-...n

""-

.,_, -~
- I
I
I . n- .-~_,
T
I

I.AI

ll~~~~ >
I
-"
I

.,_

I
I
1

eoonp

The least frequent modulation

in

the

Rsg.u1s is to a

key up a aeoond there being only seYn or which tour al"e up

a whole atap and thr a halt step.

~ee

aro from a major

key, rou:P trom a minor.

l.

Prom J.

Ka~ot

1fZ

Two ot the throe modulations from a major key go

Cr)

;)\

..

ohromat1cally to the supert.anie minor by means of a V becoming a IV in the ne"N key.

The

r~alllaini!lg

"'

one is up a half

step to a major key as illustrated in example 31 .from the

01,tertoa where the "Quam olim Abrahae'* ends with solo quar-

tet and oroheatra..

In the fourth measure

or

the example,

the ob major German sixth chord ot IV,., (F!r-Ahb-ob-Ekbor,

#<it b" ~3

enharmon1oally, .F~-G~Bil-D'=?) becomes a C major V2-. and pro-

greeaea to a

I,.

Ku.mple )1

page 110. meas. 6

51
2.

From .! M1 nor Key

Change

or

mode and the use

or

sequence are an 1rrtport

ant a.apeet in the foUl' modulations up a second frorn a minor

key.

Those up a whole step atte sequential and oc.cul"' near

the end of the D1es

!!!

(p. 2829) wh.ere the unison chorus

part fo~ tour measures is the dominant note, Bb, in the key

ot E lo minor with the harmonic progreuion,

V4-I, in the orchestl'& part below it.

.vl.-I6 V:~. -I"-Vi'I-

The ohoNS part then

.)

moves to the note C whleh becomes the dominant note in F

minor as the tour measure phrase with orchestra 1s repeated

in the new key.

When the

a 1s

moved to D it becomes the

dominant note 1n G mlnoP as the sequence is repeated in

that key.
'!'he :t'ollow1ng example is tltom. the baas aolo in the

Contutatie and 1lluatratea the only mo4ula,1on up a halt

atep trom a m1nol' k8f

In going tPOm the kay ot E major to

Gb major the minor keya or E, F, and G~ are used.

The t1rrat

meaem-e of the example concludes an eleven measure section

in

major.

ohange ot moda to

minor, however, 1s ant1o1

pated on the aeoond oount by the use

.

or

a C~ 1n a VII4 and in
b~

the aeoond measure by the harmonic interval FIDil being low

ered obromatioally to all-ax, then raised to PIID/1 again.

the third measure the minot't third goes to an

I~ cho~

pedal B~.

In

E-GI:/ wbiah torma

in E tdnoP as the solo bus part remains on the

The reeling of E minor 1a tte1ntoJ-eed in the third

measure by a descending pure minor scale.

The toUPth and

measures in F minor al'e a sequential repet1 tion

or

~1tth

measures

two and three :tn E :minor with the contmon chord, in the fourth
measure, being a VI in E mi.no!l, V tn F minor.

-#{

This chord goes

to a I,, then to a VI which beoomas a V in Gb minor.

~

~7

The sub

st1tut1on or a majo~ tonic, however, changes the key to

i:xaaple 32

page 76, m.eas. 9

GP

major.

A study of tile modulations in tho :ileS[Y:i;eiU shows the

order of frequency to be as illU:otratad in the .following

table and graph.
Table 1.

b"'REQULNCY OF

l1odulat1on
Down a fifth

no.
65

HODULATIOl~S
f

~"

t Total

23

54
51

16

Up a fitth

42

15

Parallel mode

4l
17

1$

277

100

Up

a. third

Down

a third

Down a second

Up

second

'l1otal l~odula tiona

20

l"'lod.

54
Graph 1 - NUMBER OF MODULATIONS TO EACH SCALE DEGREE ASSUM~
ING ALL MODULATIONS ARE MADE FROM C MAJOR OR C MINOR
JJ..

J'J,

l.O
2..l

33

55
The modulations, taken as a whole, are usually of the
cormnon chord type a"ld a1~e frequently found in sequential or

contrapuntal sections.
A.n htll'!1onio analysis or the f.t.eg.u1em srJ.ovvs that one

or

the outstanding features ot Verdi's style is frequent change

or mode which is reflected in modulat1ona 1n two ways :

1n

modulating fz-om one key to the parallel mode .t and as a device

to widen the scope or diatonic keys

to~

modulatory pttrposes.

The following table oonta1ns a s1.unmaey of methods ot

modulation and

whe~e

they are commonly round.

56
Table 2

LOCATIOUS AND

H~'THODS

OF I10DULAfJ.1J:OU

}llodulation

1-vhere Oomnonly Found

~~etbod

Down a second

Contrapuntal and
sequential sections

Use o diluinisr.ted seventh,

cr41.nge ot mode tmd ohro
mat1c type of modulation
to foreign keys
~--

-- - - -

--

Use of common chord

modulation to closely
related keys
Up a second

Sequential sections

Use

ot

ohange

ot

modo and

Chromatic type of

mo~lation

to foreign keys
Use of

COliltuon

ella rd. 1aodu-

lation to closely related

keys
Dow.n a tr.d.rd

Throughout the

Hequ1em

Use of ch.roms. tic type modu

lation to foreign keys
Use of oorm1on chord rr1odu

lat1on to closely related

kGJfS
Up a third

Foreign modula tians

found in sequential
seot1Cll8

Change or mode and ohro-

tmatlo type ot modul.ation

to foreign keys

- - - - - - - - - -- - - - -Cowoon chord modu

Carmon chord module. tion to
lat10l8 appear through- closely related 1-::eys
out the Requiem

- - - --

Down a fifth

Throughout the Requiem Ocmnnon chord

Up a fifth

'l.'h.rt::nghou t the Requiem, C01nm.on chord

especially 1n contra

puntal sections

..
Parallel r.1ode

Throughout the Requiem Change of raode

Tr1-tone

Is not used

CHAPTER IV
ALTL:RED C:IOHDS
The 1nTest1gat1on

ot altered ohoJ'd& in th

~.eg;u,1em

was made to determine trequenoy, alterations,_ 1nvel'a1ons,

means of 1ntroduot1on and departure, and uae 1n deceptive

cadences.

The analysis 1s based on the de.t1n1 t1on that an

altered ohoPd must contain ralaed

OP

ot the key and x-eta1n. the t\tnot1on

tl"1ad trom which 1t 11 de..1Yed.

lowel"ed scale deg!'eea

or

the baa1o d1aton1o

The ra1aed and lowered

scale degrees 1n a. major key oonli1at or

arrr

altettation or

In a minor key the raiaed and lowered

scale degrees oona1at ot.any alteration or the harmonic minor
the major soale.

scale.
The number ot altered chorda 1n the entire Re9ru1e
totals 134..

Thia number appears amall because 1t does not

include ohords altet'ed in the pro-cesa ot modulation.

A.

Alterd Ob.ol'de

!a Ma~w

Altered chords in a major key oocu:r on evecy scale

degree in the Re9.ual!m and \otal seventy-two.

resented

by

They are x-ep

twenty-tour oho:rds of' which nine ape triads,

thirteen are seventh chorda, and two are ninth chorda.

1.

lifo!~ ~g,uent

Altend Q8orda

.!!!.

MaJor

Two altet*'ed chorda rall under the olaaa1t1oat1on ot

"most tx-equent".
eight times.

They are IV used eleven times J and I 7 , used

b7
Together they comprise 26 percent ot all alteped

b'

57

!t is interes tin.g to I'I..Ote that both

The IV 1s the most f'requent altered chord found 1n a

h'The~e

major key.

are eleven instances or its usage besides

1 ts frequent appearance in the proeess of modulating to a

foreign key or parallel mode.

It is usually preceded by an

unaltet-ed IV chord or a VI chorda

On the other hand, \then it

appears as a modulatoey chord 1 t is usually preceded, not by

a IV or VI, but by a I chord.

When the b(,

IV is preceded by. an
unaltered IV choPd it progresses to a V or ~. The b6 1a in
~

troduced ohromat1cally from a

1nant note
ceded by a

or

br leap tram the aubdom

The pPOgl"ese1on ot IV-IVV or

biP

fl

major, IV and

1;,

~6

1a usually pre

Thus the two moat frequent altered chords in

I~,

b1

are orten used 1n the same progression as

in the following example trom the L.tbera

and a oappella. cho!'ua.

or

A I

!! for

soprano solo

1n sb major', on the third count

b1

the example progresses to a IVq.

A leap, on the third

oount of the second measu.re, .from the root of the IV oho:rd

to G0 forms a IV" aa well as a orcas relationship with the
bfl!l

ab and the previous Gi:J 1n the alto part.

The IV" then cont1nbl:,

-"Bb:

Lv~ per-f?..e -tv .- ~

..,;r9 ~ ti' 1il'- :r'"~
b 7
b (,. Circle Blue Print Co.. 1111

When the IV is preceded

blo

by

a VI, 1t ocours in first

inversion with the alteMtd sixth being the result of a chlto

mat1c passage .from the submediant note to the dom.1nant note.
'l'his

ch~omat1c

movement 1n the bass 1a accompanied by an up-

ward scalewiae movement in the soprano from the mediant note

to the dominant note.

--- tor

Libera Me
.............................

In the following example t'Pom the

oho:rus and orchestra the chromatic movement ot

6o
the bus results in a IV on the fourth count of the second

IJ'

meaa\U'e which progresses to a

,,.

-' n

'u

...

-da
A

I/',

1:

Nll"'tn ~o~a ..
Jk
.h I I
., u--,
I
I

.....,rI
I

till,.,., -

>

" -- .
~

...

r
"

'"-'
o ..

.-.

--

,_

r-

~.

I&..1 ..

IIJ...1

-wr

II

dD -

'--

rJ

....

.'
J I

_. -

'

'_(

-r*-1. ~
..........'

L.oo.

>

:1.. ....
l.""'' ....

11
IW J
I

({,

>
....

~..~

Ul

>
,,

,.....

r~s

-e--

~
u-,.

[I

IL.M1

'le:c . . L__

__II!_

I 1.1

.,

.... r_
...

_l

>
I~

A I

Ci

..

I
I

I
I

I
I
ll

ir

_______,.,_
",:'
"rJ":e - {I.

6kL.

(
- ,...,._,,,,
rJ
"Jr:.
'- - ' . , U 'T
I

a... ..a a. ~

"'' ...

.J IW _.

I
I

- t;:;:--

J:::::.... 1

I
,. .' liif....,.

......

CJ
~~'

Jo

"'~~ .......

nil

"
n
A
... lA .......

,
I

I
I

(#111)/t,

..

.II.

-10

> ~>

..

...

.. . ~

'

-..... ,

....

I'1
b1

The altered chord which appears second 1n ft-equenoy

in major keys is

r,.,.

It is used eight times and is usually

b7

introduced by a V or I ohord and tollowod by a IV.

use or this chord ia round in the
in the following example.

J\S!NI

A typical

Dai and illustrated

Here the I? is preceded by a I

b1

61
and tollowed by a IV&

page 1$), meaa. l

.A
'

~1-

'"}

.,.

-
'
.I

l\
....
,

'-. .J

r
I

1?:#IW'~)

_
'

- _,
.....

~
Cl
~

...

-.TI

.........:

II
l

do

l.

n
I

,.,.

'-

..go.,

1-

c:J

ILl

__. I

,...........,

......

I
I
I

&....-

I
I

1..1""""

_I

/I-

_b_

.,

fl1

.. -
- -

c};;--..::::

I ~~
-...

-- I, - .....r
-- . .
t-
r r
I .J -J. ~r
... ll[;,jl

)IIIII

!,. "' . C7

2.

17

~~

- I
I

~-

I
I

_.1

~-

~-

~...~

pp~
J

1-

-:j~o.:_

c/o
:"'\..

,.
~

~-~

do

CJ.or"s

,.

I
I

.J ,_ . . . .

- '""'

............

1'2C.
I
I

Mode~atelz

C/

T7

.......-~

CJ ...

FPeguent

.,

Alte~ed

I...IJ
I

. . r""

'I

Qborda

~~

Major

Eight different ohoN\a fall under the olaas1t1cat1on

ot "moderately frequent" including chorda on every step o:t

the scale except tonic and leading tone.
thirtythree and oompz-iae
major keya.

q.6

'l'ogethet- they total

peroent ot the altered chorda in

Baoh type of chord will be diacuaaed and illua

trated. triads and their reapeotive seventh chords being

grouped together.

The II and II., ar-e used three and tour times respect
*'f

4tf

1vely, and, with just one exception, &Pe tound 1n root poai
tion.

That one exoeption ie a II,.t used aa a deceptive oad.ence

"*-I- J
and will be discussed under altered chords used as deceptive

oadenoes.

The II and II 7 chords &!-e usually preceded by a I or

~~

4'1'

VI and followed by a

v.

When used in an approaeh to a cadence,

the I rathet- than VI ohord pl'eoedu the altered cho:r-d and re

aulta in the progNaaion III?V7 I
*+

When a VI Ohord precedes

the II or II1 1 1t 1a aometimea in the torm ot a seventh chord

4"'

"'lef.

with a #l, anotheP ot the altered chords in the lfmoderatel7

frequent" olaas1t1oat1on.

T.hua two ot the moderately frequent

altered chords are aametimea used together as in the following

example from the Reoor-4!:!

ning in the second measure

The ha.rmonie progression, begin-

ot the example. 1a IVV:Lt.-II?V7

.fl(-3 '11--

6)

)6

kample

.,.,._.':
,

, " .... .,.

.,
II

,.,

...

.).I
I
I

..J

..

page 70, meaa. 2

..

...

.JJ I

"""'

.....

-e-

n~"'D
II

"

II

--

t ,

I
I

....
[

...,..

..,-

I'I'

._,

II

, . , .II

I I
~

.II

I _,
I Mil

., ...,

JilL
,.

-u.
~IS

I
I

l!LA

"' I

I
_I

II

""'..,

II

..

"'

.
'-i "--"""'"

..,-

1:

__
.... .,

~c..J-r

I I
........

-.....
..-::1I

~,:n...,J.,

c-.5t-

_I

...-

._,

P'"

1 .... I

., I

- .......
.L

I
I

.......

It

I
I

..

Al\.--le

too.:
I

..

rI

1
I'
I
I

., ~ , ...,...
r-

I
..J

I
I

I
I

L~

J,;

-c.~

.L

.~Ll

L
I

.... I

.... --......_

j.
.,.r9 '-- -

I
..... fl._

I I
~

t:il.
y

.
f!.'"",1ft+
~n-tc.
,

I
I
...ol

a.

I l

f1 b.g;:::::::"

..... --/

.._
~

~.n.J
-

~~j_

--

rJ

P'

CJ

I
I

I _ -

..---

..
An-te. J&. -c-.,, An-~e Ji -~nc,

n1s

_L

I J

I I

- "M~,.., . s;,p. S".l.

p.

,- 1
_.I
r

.Jill. 1 -

-~~-

--

I~

~I

&-'

~,;,t#,,/.

-"""-!

-""'

II

.tL ..

\r..

~
~.

r
I

1
I

,,~~

III and III7

:ffs'

tl:s

The III and II]?, each used tour times, are usually
~s-

..J-s-

introduoed by a I obord 1n :root position and .followed by a

VI chord, alao 1n root position..

~oot

position but the

inversion.
III~VI,
41-5-~

is opeated.

III~

-t:t-5

The III always oocurs 1n

'fl.s-

is occaa1onally in first or second

When it is in second inversion in the progression

the bass line of ton!o to leading tone to aubmed1ant

The following example trom the

tratea the typical progression lIIIVI.

'ItS'

lns~soo

1llua

64
Eumple 37

page 71,

lS

The IV,, used five times, is always tound in root poa

4"4j3

1t1on with the b3 uaually part of a obromat1o passage from

the mediant note to the supertonio note, and the

~~ t~equent

ly intr-oduoed by leap .from above o:r below and followed bJ' the
dominant note.

In the following example t:rom the !!!!, aeterna

tor a cappella trio, a VI Chord in Bbmajor 1s followed by a

IV1 (minus its th1:rdG), creating a leap in the bass trom

~cl-~3

the note G to E~.

The IV1 then progresses to I~.

**h3
hJ+

6S
Example 38

page 16S meaa 3

V?

4s'1'he

Jp

uaed five timea, 1a uaual.l'J a chromatic chottd

between a V1 and a VI.

'The baaa liM h'equently progpeasea

trom the dominant note to the submed1ant note by n:y ot the

II$ producing the root poa1t1on

or

the

v,.

41~

However, it 1a not

uncommon tor the V, to occur 1n first 1nve:ra1on w1 th the IS

*11-.!F'

being introduced chromatioally in an 1nneP voioe as in the

rol1ow1ng example from the

Oopts~at1!

66

~-------~

So(o

(3a.s~

----

-~--

- - - - - - ---

~---L----.r----

re,

be-

JII

VI and VI'!

41t

-:/:tl

!be VI11 uaed a1z ttmea, appeaPe in root poa1t1on and

41

every inversion, but the VI 1a used jWJt twioe and then only
41

1n root poa1t1on.

They are ueuall:r preceded by a III or v 7

,:t!)

and are sometimes tollowed by a II1 a.a in Example )6.

4+

When

they az-e introduoed by a III they continue to a II as in the

s-

tollow1ng example trom the

NmMf l)(ti.

67

40

Example

).

pagt ~. meaa. 10

Intreguent

Alte~d

Chorda in

Jla~or,

The ohords liated as "1nt:requent" :r-epresent eight per

cent or the altered chords in major and consist ot the II7

b'

and VI,.
~1;,.-t,t: I

!! , is

always found 1n seoond inversion. the bass

noto being part ot a chromatic progression tram the submed1ant

to the dominant note.

It 1a introduced by. a VI or IIJ3

continues to a V o:r I".

'f

Requiem

!! in:&~

step forming a

II~

bt,.l

and

In the tollowing example from the

the bas a note

or

the II~ 1 low red a hal.f

which progreasea to a

v1

68
page 6, meu. 10
.

-~a~-,_;;;

~
,,... .

A_
I

.I lla..,.
I I I"V' If_

.... , ...........,
.I

----- .

_I~

,..

-...

,-, I
-

.........

I
I

ll

..... J.IT

II

I
I

II -

Ye

il'. " .

1.

1.....
~

~~

.... JIL_

..,. ...

'

'""'-

--

1ft~

II

II

_1_1

II

1: J

et.
I

~I

I
I
I

II
II
II

-t9:

e'l:,

---

II

I
I
I

CJ

_l

I
I

I
.I

I
I

1:_..1

ve -

II
II
II

ef.

,;

I
I

- ,,

ni

.. ........... --

I
I

t'e

,..0

ve

-...

_.I

CJ

.r1 IJ

--------------~~----

~e, pr.JL__~

_..

II

I"

--------~-----------~-----

n ,

I
I

II
II
_ll

II

u
-

II

ei. .

The VI7 1e .tound in aeo-ond or third inversion, but

/It:~-(

never in :root position o:v t1rst 1nve:rs1on.

When found in

third inversion it is preoeded by a V choztd and tollowed by

a V oz- I" thus making the dominant note in the bass a common
'f

tone tor all thl.-ee chords as in the following example trom the

Libera 1.
-

two dominant

HePe the

VI~ ooc~a

df#4f;-.

oho~d

as a obromat1o ohord between

Example

42

page 183, m.eu. 3

----------------

q..

Rare Altj!:Ped Ohol'dt

----

.!!!. MaJop

Twenty peroent of the altered ohorda 1n major are

claas1t1ed aa

pape'*

and a:re ao called because they are used

only onoe ot- tw1oe in the Reg.utem..

In general. they are not

verry unuaual chorda tor nineteenth oentUPy mua1o.

Twelve

types eome unde:r this clus1t1eat1on.

upeoted,

Aa would be

most ot them appe8.1' in chromatic aeotions.

No examples will

be given, but their names, frequency and locations in the

Requiem

&NJ

o1ted 1n the tollow1ng table.

70

RARE ALT;:.:RJ.SD CHORDS IN. NAJOR

Table 3
Chord

~"'reauoncy

Patte

-i~--

l'~ieasure

I
-1:Ps-

165

200

72

74

154

lO

1-

rlo.

_l_-

13

b3

I 1
.dtb1
II
bZ-

b'

II,

b~

b'

III
b?

III9
4~

IV?
~..fb"

IV

2
-~~-- -13-l 9

,fjt.f

VI9
-Itt

76

VII1

76

IV1
#f

A complete list

or

the altered chords used in major

keys is contained in the following table with triads listed

in the left hand eolunm, seventh and ninth chords in the
right hand column.

71
Table 4
Symbol

ALT.L;R.GD CHORDS Iil HAJOR

II

'rype chord

Symbol

CHORDS ON TUB TO!IIC

1\jinor triad
Au~;1ented

Hajor-minor seventh

~1'61

Hajor triad

SUl:.~RTONIC

II?

Najor-mino:r. seventh

II7
6'

Halfdinlinished seventh

-*4-

N.ajor triad

CHORDS ON
III

Jliajor triad

,,

Diminished triad

III

.chord

--=I::-,,--~--=Dim-::--~1n-1'::'""s-=h-e-d~s-e_v_e_n.....-w

triad

CHORDS OJ,I TH..G

-9'5"'

l;

~1fpe

TH~

Structure N3d3-l13

lrliDIAlM."

Y.}.,

Hajor-minor seventh
!~inor

ninth

CHORDS Orl TH.t;

!I1nor triad

IV

seventh

Dtminished triad

Dtminiahed seventh

-1/:c/-

onoRDS ON

'l'.tlL DCI'~IUA14T

II
CHOHDS

VI

I~1ajor

01~

J; I

Diminished seventh

rHh

Hajor-minor seventh

triad

-1.1'1

D~n1shed

VIq
4t

Hinor ninth

seventh

12
'l'he following table shows the comparative frequency

or

all the altered chords 1n major.

'lbe figures 1n paren

thesis indicate the frequency of usage.

Table

RELATIVE FREQU.i!iNCY OF

ALT~Bhl>

CHORDS IN l.riAJOR
,~

Alto red chords

Fl-equency

IV,

I-,

' b~
(o)

or

total no.
26

b'1

(i)

-------------T~=====-~======~--------~==----+-----1
1
I.IJ,riii, III~, IV 7 ,
VI, VI 7
,;}j.6
llodera tely
4'1- ~,;, . "'l"S
4.s.,rttfb-3 4"r ~~ ~I
ftlequent

V.,,

r"fi,
(3)

Infrequent

II1
b'
(.a)
I.

(4)

(if)

(-}

(5) (~) (~) ('),

VI-,

~,~,

(.8)

I.., '

4',r 63 4-lb?

(.2.) {I) (I )

- - - -

II.,~ I I-, J
h1-bw -d-4-J,"
(I) (I )

--- ----

III, II~
b1

(I )
- - - -

20

45

(I )
- --

--

73

The total numbeJS or altered chorda in minor keys is

sixty-two, almost aa many as in major keys.

However, the:re

are only twelve different ohords used in minor as compared

with twenty-tour in major.

Of these twelve, five are triads

six are seventh ohords, and one ia a ninth ohord.

1.

!!!! heguent Altered Chords ln. Kino!"

Four altered chorda tall under the olaasit1cat1on of

.J

"moat f:requent".

They are 1 7, used tan times; II , used ten

b~
times: IV7 , used nine times; and IV?, used eleven times.
-:11:4
Together they comprise 64 percent of the altered chords in

*" -&'

major keys.

I7

:tt3

The altered chord found aeoond 1n frequency in minor

keys is 1 7
-=li-3

Curiously, this major-minor seventh struotw.-e

is also used often u

an altered seventh choro 1n major keya

--ten times in minor, eight times in major.

key, it 1s usually in third

1nve~s1on

When in a minor

and treated muoh the

same as 1n major; that is, it is usually 1ntroduoed by a V

or I and followed by a IV or
IV'

p~ogression

~.hen

it occurs in a I-IL:
=tf3

as in the following example from the Libera

Me, the bass line

ated.

IV~.

or

tonic to subtonio to submediant is cre-

The piano part, being a duplicate of the voices, is

omitted trom the example.

74
Example

~3

page 201, meas.

net ,-,._, tli - e

1!:

_, _,-7 fl

- J;

II
/J:;..

The II. also used ten times, always occurs in first

bv

inversion with the :root or fi:fth

part.

or

the chord 1n the soprano

When the fifth is in the soprano part, it 1a preceded

by a tonic arpeggio as in the following example trom the

--

Quid sum, m1serl

75
Example

44

f)

--

. .,.,.
"'

?,;,.)
l
\,

-- -
Ul_

-.

r-''L

-
I"""

- ~:e. ,
---- -- - .........
,

....
J"ft a

W#

Ill

.a I
1
I

...

I
~

.&

...._

ivs
p _,--

I
I

I=".

IT

I I

ri..A'

.9:

~~

-r~.--r

.....

~:

~.

::.,oij

I
I

i~

L.....L

.
-- .

:rvs

....
"".,
~

..I

,,

..............

Dl

lfl!!" I

meaa. 12

.~

..

tiC
-..1-0

47,

page

I "I
I

-'

~~

~
-r
.....

;n.t.- ..

'1 ., r
I
I

~-

1
I

........

I I

~v--

Circle Blue Print Co., lie.

lhen the poot ot the II ia 1n the soprano part. 1 t

h~

is preceded by the tonic note and continues to the leading

tone by skip, or diatonically by way of the tonic note as
in the following example from the
ion,

II,-IV~VI,,
bZ..

measures.

*4- ~

1rae.

This progress

is repeated tw1oe in the succeeding two

Example

4.5

page 24, meaa. 3

The IV.,, a German augmented sixth ohord, is used

-dt.f

nine times--always in POot position.

It ia usually pt-eceded

by a II or IV chord and tollowed by a I,; orJ.,

'f

ceding example, it 1a used with a II"

In the pre

In the :following ex-

bZ..

ample from the Otfertorz, the 1nt:roductory and departure

chorda are

II~and I~.

77
Example

46

page 115, meas. 6

-------------------

The altered ohord used moat fPequently in

is the IV?

-1tt./d-fo

It appears in

~oot

position or,

mo~

mino~

keys

frequently,

in first inversion and is preceded by a variety or chords

including IV,, V, and V1

gresses to a

.!!!!! rdaerl

I~

If

When in first inversion, it pro-

as in the following example trom the

Qg!~.

78
page 4,8, meas.

Example ~7

~-

n~

. , Ill:

ill

JJl

tl

..I

--
... ......

._,

1 I

._

...

_. 1 1.1-I"'T I

2.

JQ

Moderatelx

II"
I

...,

I.a.

-.

.... .

.A1:.

_._r

_.,.

..,. -.JI

......_

.JI

_l_

I
I

I
A

II

I
'I

~eguenjt

1..-w

I'

..Ill

.....
I

'I"

Altered Cborda

!e. Minor

Two chorda tall unde:r the olasa1ficat1on

or

"m.oder-

a.tely frequent".

They a.:re the II7 1 used tive t1mea, and VI1,

-:tit.f'
-ti:&

used tour times.

Together they total ti.tteen percent or the

alte~ed

chords in minor.

The II 7 is used rive times--once 1n first inversion

-:t:b'f

and four times 1n

second inversion.

It is preceded by a

variety of ohords including I, IV, and VI, and is usually

followed by a I

o~

v.

The bass note or the chord is frequent-

ly pa:Pt of a descending bass line fx-om the tonic to dominant

note, but is occasionally reached by leap from the tonic note

79
ae in the tollowing example from the Reguiem aeternam.
Example

48

page 182, meas. 10

:r

7I.J3
-$ teltBiutP-ri&t-C
.

f'lftp

--

~-,lL

W:

The VI?, used .four times, 1a always found in root

~

position,

The bass note of the ohord le always part

descending baas line from the tonic to dominant note.

or

a
It

1a preceded by a I-I., or II~ end ia followed by some form

or

~3

II, IV, or VI with the submediant note in the bass, then

a I~.

The tollowing example from the ~Cl!OS& illustrates

the progression I-IJ..VI1IV, -IV, I,.

-If" ~

If

80
Example

49

page

95, meas.

..sv,

3.

Intreguent Altered Chords !!!., 111nor

Two al,ered ohorda are claas1t1ed aa "intrequent in

minor keys:

the II 1 . and VI.

.Ji t #{,
#:='

Because the II, is used only

-#:1/-t:t:.,

as a deceptive cadence which is :repeated three times in a

phraae extension 1t will not be discussed

he~e,

alte:red chords used as deceptive cadences.

the VI, used three times, to be discussed.

but under

That leaves only

Together', the
#'
two ohordo are used a total of seven times and comprise eleven
percent or the altered chords in :tn!nor keys.

81

VI
-#-~

The usage

or

the VI resembles that

-1:/:.,

or

several other

altered chords 1n that it 11 part or an harmonic progression

with a descending baa a line from the tonic to the dominant

note.

The progression, as illustrated 1n the following ex

ample t:rom the Ofterton:. is Ilz...VI"I4I,.

-11:-,
!
y..

Example

50

page 113, meaa. 6

82

4.

Rare Altered Chords in

~11nol'

Ten per cent ot the altered chorda in minor are

class1tiod as "rare", and are so called because they are
used only once or twioe in the Regy1e.

under this claes1t1cat1on.

Four tn>es come

No examples tlill be given but

their names, frequenoy, and locations 1n the Ragytem are

cited in tho following table.

Table 6
Page

Chord

Freque1;1oy

J3

--- -l~-- .

II

152

II

~-t:J::..'
-d:&

Vq

"*'

Heaaun
-

- - . ~- -
3
l

l
-- -- _9]_ --.. --- -3-97

83
A complete list of the altered chords u.sed 1n minor
keys is contained in tho following table v1th triads listed

in the lett band col'Ullln, seventh and ninth chords in tho

right hand column,

Table 7
S}'mbol

AL1'1!ltED CHORDS Ill NINOR

Type chord

11

S7fJlbol

CI!ORDS OU THB TONIC

I
..,:/:"3

II

l".ajor triad

Najor-minor seventh

CHORDS ON Tllli SUPERTONIO

I11nor triad
II,

H3-d.3!:1.3 struo tu.re

Lajor triad

YJor-m1nor seventh

#"ti-

II

II,
'*li_,

1-'Iajor tria

bv

CHORDS ON Tl:i.8 Jt11J>IANT

None

II

German augm.ented
sixth
D1min1Shed seventh
CHORDS OU Tl1h !X)1"1INAl'iT

II
VI
~'

*Y~ 1

CHORDS Oli TH.8 SUBHJIDIA!f.I'

D.l.min:l. shed tl"1ad

II

!!.,

CHORDS OlJ TilE LBADIUG TOUL

None

II

Dom.1nant ninth

Hald1r:J.1 ni shed

seventh

84
The following table shows the comparative frequency

ot all the al terad chords in minor.

The t1gurea in paren

thesis indicate the frequency of usage.

Table 8

RELATIVE FilliQU.b'liOY OF AL'I'EHLD CHORDS IU

Frequency
t.:.lost frequent

I1 1 II, IV'?,

-:tJ;3 . b z... -:tSf

(lo) (1o)

Hoderately
rrequen.t
Infrequent

Rare

;~

Altered Chorda

(9)

IV1

~ f*(.

-tJ:(,

(SJ

(--)

II.,t VI

44-t:e

-tJ::.{,

(~)

(..3)

I,

-k~

('-J

V~
-dt, 7
(I) (1) (7-)

II, IJl

#4-d,

of Total tio.

64

(11)

II1t Vl1

-t:J::Y..

~1INOR

15
ll

lO

85

c.

Altered Chords

!a Deceptive

Oadeno!

Many times thl'oughout the coUl'se

ot a long

composi-

tion it is necessary and desirable to extend a phrase for

one of several purposes such as further development of old

material in the same key, introduction or new material in
the same key, or utilization or old o:r new material in a new

key.
To extend pbraaea, striking etteota U'a obtained
with decept1Ye cadenoea utilizing suoh oborda aa II, III, IV,

and VI, as well as many altered chords.

Altered ohox-da used by Verdi as deceptive cadences

1n the Req,u1em include

I~

II4,

IIIb, and VIu in major

b;b1+
#-t
and IVc.. in minor keys. So the reader
-#:4- if6
-#fb1b7 #4,3

keys, and I2..1

~'3

II 7 ,

-ir4 :If&

may become acquainted with the manner in whioh these

cho~ds

are used by Verdi, the following examples have been taken

from the Requiem and all condensed to a piano score and trans-

posed to the key of

a major

or C minor.

(;I'

00

51

Exartlple

Altered Chords Used as Deceptive Cadences

in Major Keys
.,,...,
Ul
~JS

.,,

i'

TIA ~
\. lJ

1ser -''.1

'

I
I ~'
I
I

..

I _.

.,..~

I
I

_.

~..-

....

.....

.. - - - -.

...

.L

:Jli

-il

ill

..

.ill

> ...,.

,_

J,r

1l

I. . . . .

...~--.... r~I.e. l-!

I#
r2
r

~.JI

t-

~_,. l(c~-

_d.

~--.

r.:IW

'

_I

f\

~~~~
I
I

1 metJ6.
l<e!f - B 6

.....

r:..
r

LJ

II "
1- I
J

f\
,-

P~.!l

-t:&J

~~

( " -.....
.. '
I

,_,_
--.-.
J

'

?' '".c

p.

t:~n:,. /fie:~~

1!-~

:~ .... ~:

,....

~
-~ ~~::.1' L.

._

....

il-

rD

-~

~~--

3_

..

~sJ

..

I I
I
I

""::

Mr-

I~

c~

"'

,...,.~

ft

(k

"'.Y

l -.. ,, ...
1: ""\ ..

..,

Ill

..

..-

~~

..

.,.

-e-

..

..

..l

..

[)
~

0
I " ::.1

11'""111

..,

r-

..._...
I

,...,
;

,...

..
...
......
. - "-

i
.. .... ..--.. - .. -

,..--

.........__

J ..\lb.

.,..

'7
'7

-- ...""""'

br7

'-

If

....

'
u

>

'

u c.

.,"15...

87
Example

51 cont'd

Alte:red Chords Used as Deceptive Cadences

1n K1no:r Keys

p. /7 I

-,.

.J).. '/-

38

There are a total

or

1)4 altered chords in the

Req.u1em, :represented by thirtyaix different chords.

Ot

these thirtya1x different altered ohorda, fourteen are

triads, nineteen a:re seventh chorC'la, and three are ninth
chorda.

The frequency ot usage, however, has a d1tterent

ratio. the total num.ber

or

altered seventh chorda exceed.ing

triads two to one.

As would be expected, altered chords are u.aed with

approx~tely

the aame frequency in maJor and minor keys.

Perhaps a much more a1gn1t1cant observation 1s the fact that

sixtytlutee percent ot all the altered ohord structures appear
in both major and minor keys.
usage are listed in Table 9

Their names and frequency of

89
Table

1iAJ1.LS A~ID I~Rl:;QU.t:~lOY OF ALT.GRLD CHORD STRUCTUH.ES

A~lD

USED IU BOTH lUJOR

Sy:mbol

Frequency

in
lajor

!?

J.17

!1IHOR

Symbol ot Correaponding chord

Frequency

structure in Minor

Total

and Hinor

I1

10

-P=-3

18

Diatonic

I
-P:-.3

II 1

II1
-IF if~ It:,

II1

.3

II 1

Diatonic

II

II1
~4-b"

II

bB

-tJ:.~

b"

-Jl;4

""b'
II

IV

h'

Dis. tonic

ll

IV1

vf

Diatonic

4-+b~

Diatonic

II

II1

II

10

ll

II

IV

Diatonic

11

~+t:bt,

~+

hz-

-IJ:'
~~

ll

16

v,

Diatonic

:t/7*"

VII7

VII'1
~1

b(,

38

U8S

in l'Jajor

46

84

CHAPTER V

UNUSUAL HARMONIC DBVIOES

Moat ot the music in the ftegu1em oan be analyzed in
te~a

style.

or

eighteenth and early-to-m1ddle nineteenth century

There are, however. some unusual harmonic devices

which defy det1n1t1on within those bounds.

or

group are Verdi's usage

Inoludd in this

1nYerted pedal point 1n connection

with non-functional progression, aemi-tunotional h&rJnon1zat1on or chromatic melody, and nontunotional chorda appear-

ing at the beginning or conoluaion ot a section or movement.

A.

Inverted Pedal foint

Unusual

us~ge

consists ot a group

or

ot inverted pedal point 1n the Requiem

nontunet1onal oho:rda appearing beneath

a sustained or repeated note in the soprano part.

There are

two such instances.

In the tollowing example from the lt!crD!Ps&, a

Db in

the violin part serves as an inverted pedal point while the

harmony goes from a functional

Bb

minor tonic triad to two

non-runotional triads (B;b major and oh major). then returns

to a Bbminor IVt..lt,V? progpess1on.

~+

progression

or

The basa part for this

'+*7
five chords is a typical descending chromatic

line from the tonic to dominant note.

90

91
Exaxnple 52

page 99 1 me as. l

The aeoond instance

or

unusual usage ot inverted

pedal point occurs just atte:tt the terrifying "Quantua tremor

est tuturus" 1n the Dies ........

irae.
"""""""'

Here the brass of the orches-

tra, beginning with the trumpets on a pedal

zJJ,

build to a

tremendous climax fop the chorus baas entrance on the wopda

"Tuba mirum.".

In the intervening twentyaix m.eaaurea, a dim

1niahed t:r1ad on B; is formed by the gradual superimposing ot

minor thirds.

After two m.eaaUPes ot an Eb major triad, a

diminished triad appeus on F beneath an 1nYerted pedal note

92
on E~.

on

PI

The tx-1ad then moves ooneeoutively to diminished t:riada

and

a.

At that point the notes

or

the diminished triad

become the third, t1tth and seventh of an B b major.mino:r

seventh chord which assumes a dominant function in the key

of Ab minor.

!he Eb whioh recently had serYed as a pedal

point, inverted pedal point and dominant note 1n Ab m1no:r,

remains 1n the soprano part

or the chorus or o-rchestra. tor

a total of titty-one measUPes.

B.

Harmonisation ot Ohroaat1o MelodJ:

The hal'Dlon1zat1on of ehromatio melodies oontainsthe

moat advanced hamonlo p:rooeduree 1n the

R~~u1em.

The ohromat-

io passages begin in a well defined ayatem of tonality, tempox-ar1ly violate traditional r-oot movement and :return to the
, system

or

tunot1onal harmoDJ' be:toN the oonoluaion

or

each

ph:t"aae.

The t'ollowing example from the Dles 1rae is typical

or the three instances of unusual Poot movement round in
the harmonization

or

chromatic melodies.

It is interesting

to observe that the succeaaion ot root movements (up a third

--down a second--up a t1tth) in the non-tunot1onal major
triads on counts five to eight are duplicated in the next
tht-ae counts.

('\.3
'1

53

Example

....

>>>>

rl'-""" ..

"[']

f}'

b~

J,

..

J I

1 - I
_._,L_

'

I
I

__!

. I_...

A~

LL_I~-

........

..
>

>

I
I

__n.

...

, '".
_, ...
-I

....

>

c:

'

>
.,
I

I
I

I
_!

>

~~

I
I

_I_

_l

)
~

I
I

,> >
I D'I
I
I
I
I
I

--

_._
'
-'see -clu., ;,., F ~- ,;.[. l.a: le- de 1>~- ,~"J

~II >

"V

>>>

-~ b~ ..,. _L J,'~ -~-r

.,

>

:.I

I""'

.. ..

-"

-4-, ... . .
>

>

.>

'ff'
41

..

>

>

.>

41

>

>

...... - .

_.

1141!1

......

I_'

..... -jl-

.,~;to

>

:;t

...

>

>

_l_

.>

_l
I

I
I

t:;,.. .ri. '':t L-l ~ .

I

>

>

.... ,...

. ---....

":;

1111113.

~~

"'>
,_
'-

I-

.,r _. ....

>

>

>
.__

~-3~~- ~:;

..,.

...

>
.,

....

~t ~-,.
>
I> .

A similar example is found on page 170 in the Libera

-Me.

The rema1n1n...~ instance of unusual harm.onlzation or a

chromatic melody 1s especially interesting because it appeus

three times in succession and each time with a completely

ditfel'ent harmonisation.

The theme 11 sung first by the

sopranos, second by the tenors, and last by tho entire chorus

in four part h~ony.

In the seoond measure

or

the first

statement, the hax-mony becomes non-tunet1ona.l where a t'1rat

inversion Bb minor triad p:r-og:reases oonseout!vely to the sec-

ond inversion major triads ot pb,

always in the melody.

zb,

DP and C with the root

With th.e conclusion ot this planing in

94
the third measure. the h&l'mOny again becomes functional on
the 0 major t!'1ad,

The first six chords ot the second state-

ment illustrate the type or root 1novement which can easily

lead to non-tunot1onal harmony as the

~oot

sequentially goes

up a fifth, up a third; up a t1tth, up a third.

The third

statement begins and ends with :root movements up a fifth and

a third.

However, from the tourth to the thirteenth choro,

the:re is only one instance of :root movement up a t1tthJ the

:remainder alte:rnate between a third and a second away.
following chart shows how completely different the three
harmonizations

The

Qu.t.a.t'V'\,

o-

~r

P...- brQ

hc:te..

(2) 1(dm7

't

. c
. }J

B'rJ
j

.L l

b I Db

'
J

d"
~..J

. (l)
I

LJ,

(l) (7) t(hd7) (hd7) (1)

I e b ~ B b b b bb AJ,

(m7 )l
bJ,

(m7)i (l)
I bk ~ c

Key:
Capital letters: major triads
Stnall letters : minor triads
1: first inversion
2: second inversion
7: major-minor seventh chords
m7 : minor seventh chorda
dm7: diminished seventh chords
hd7: haltdim.in1shed seventh chords
enh: enhannonic spellings within the chord

(7) ,
~ b A"

(dm7
d

96

c.

Nontunot1o:nal Chord Prosress1one !! !h!

sinniP,& .2 ConcluJion

ot .! Section

P.!

MoYement

The 1natanae 1n the Rf!guiem which moat fo:reshadowa

the breakdown ot tonal music occurs 1n the .&Y& aeterna.
The movement begins on a ab major triad in second inversion
with solo mezzosoprano and tremolo "d1via1" violins.

Arter

two measures the harmony changes to a D major triad and the

following three measures consist or functional

the key ot D majo~.
~sembling

ha~onr

in

In the following tour measures. a device

planing occurs as the notes of a descending melo

dy

in the mezzo-soprano part appear consecutively as roots

or

a D major' t:r1ad, C minor triad, A major-1nor seventh

chord. Gil major triad and E major-minor seventh oho:rd.

that point a aho:rt sueeession

or

At

root moYements down a f1tth

oecurs as the E majorminor seventh ohord la followed by an

A majo:r t:r1ad, D major-minoP seventh chord and a G minor triad.
On the G mino:r triad the rest

ot the str1nge are added to the

orchestra and the following three

measu~es

consist of tuno

tional harmony in the key of B b major only to have a ohange

or

mode at the oadenoe.

Non-functional chords are used very etrectively in

momentarily interrupting the pr"evalent tonality neal' the con-

clusion ot entire movements or sections.

Th1a practice is

used so frequently (four times) as to become a oharacteriatic

device 1n Verdi's style.

In bringing the movement to ita

close. the chorus, as 1.r in a recollection or afterthought,

97
utters a short statement in a foreign tonality whioh 1a
followed by a quick :reestablishment of the prevalent tonal
1ty as the section is concluded.

The chords used tor this

purpose are always major triads in root position.

!1

The following example from the Reg,u.1tm

~1e

is

a typical illustration ot non-runotional chords near the end

ot a movement.

The prevalent tonality or

rupted as the ohorus sings the wopd

major is inter-

~tate,

P major triad and then on a B" major tz-iad.

first on an

The movement

concludes three meaaures after the last ehord or the example.

page 17, meaa.

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CHAPTER VI
OOltOLUSION

To complete the picture of Verd1 1 the h&Pmonist, a

different slant must be

p~sued

1n th1a oonolud1ng

ehapte~.

In the pPeceding chapters, a study hae been made of individual

ohot-ds and modulations; now the whole" must be considered.

One
h~on!o

or

the moat striking oharaoter1st1os

or

Verdi s

style 1s the alternation of the parallel majop and

Th1a influences every phase ot his WY-1 t1ng :

minor mode a.

melodies, modulation altered chorda, oounterpoint,-even

key algnatUPea.

Ma.nr

melod1ea o:r themea appear 1n one mode, then

are :repeated in the parallel mode.

SOmetimes the thematic

r-epetition or devlopment containa alternations ot mode within the phr"ase

Ol'

melody as 1n the following example from the

!gjemtaoo fof! solo tenor and orchestra.

llx:ample

S6

page 73, aeaa.

Pugue themes, too, are olored by the 1nterohange ot modes

aa 1n the following example from the sanetua. a fugue tor

double ohorua and orchestra.

99
S7

&itam.ple

......

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e hor ~A~

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Altered chords and modulations ue greatly atreoted

by

the parallel

The majority

or

mod~s

as haa been seen in previous chapters.

altered chord

major and m1nol" keys.

st~uotures

are used in both

These chorda, part1oul&l'lJ' tnd to

erase the barrier between majo:r and minor tonalities.;

They

may be used within one key or, very conveniently, as modula

tory devices to the pattallel mode or foreign keys.

Otten.

the key clianses to the pa~allel mode tor several pages at a

time without a change or key signature.

ao 1n the '~!!!! Del and

F'ol' a pf.oture

Tbia is particularly

aeterna

ot the role papallel modes play in

the

key scheme ot an entire movement, one need look no t1.1rther

than the Refll.\&em .!llSX.ra,l

The opening "Req~1em aeternam"

section is 1n A m1no7, A major, and A minor.

The seeond aeo

t1on, Te deoet hymnue", is in F major, followed

by

a recap-

itulation of the "Requiellt aeternam" section in A. major and

A minor.

!he

cont~apuntal

"Kyr1e" section then begins 1n

majol', modulating frequently to olosely related and .foreign

keys and often employing change of mode as a modulatory device.

100

It then concludes with a section alternating between A major

and A minor.

Suoh frequent usage of the

pa~allel

modes as has been

described in the preceding paragraphs creates great tlex1b1l1ty melodically and harmonically, nart-ow1ng the gap between

majoP and

mino~

keys.

Thus far, no mention has been made of the beautirul

melodies so p:revalent throughout the Reg,ulea as in his operas.
Near the beginning of this thesis was the remark that change

ot mode was evidenced on nearly every page.

Now the obser

vation must be made that on nearly every page is ample evi

dence or the tuneful nature

ot opera.

or

this composer from tb. field

Flowing melodies, s.imply and beautifully har-

monized; drama; emotion'rheae ..,.... as much a part of his

Regulem as of his operas.

They are, in etfeot, what makes

it "music Of the WOPld" to the point where 1t is deemed,

not unwoz-tby, but unsuitable to:r church pertormanoe by most

ohurob mus1o1ana.

A study ot the Regu3z.. shows that Verdi wu a master,

not only ot melody, dl-ama, and emotion, but alao ot the harmonic aspects of music.
ness to his

Ilia two excellent tugues bear wit

c~aftamanship

major and minor modes.

as does his usage of the parallel

It 1s true that Verdi was not ahead

of his time, but it is also ti'Ue that he, among other oom
posers

or

his time,

century tonality.

fo~eehadoed

the breakdown of nineteenth

BIBLIOGRAPlr.{
Apel,

w.

Oolls, H.
Oolles, H.

Banerd D1gt1onarz or !Wf1o.

Uiilie:re1ty 6esa, 1944.

Cambridge t

Harvard

o. (editor) Grove Diet&~ ot ~ and

Mw!1o1!Jll. New '!orli: 'l'fie ~l!inoompan;:; 1932.

o.

VtrdSif Reql!1em.

London

.o:rd

!2it!. sn t.he

t1iiivera1ti Preae;-!943

J'!l'dl'

Oroweat, F .
MD. an<1 Mf1e1an.
SoP 'bner a Sons, 1 9

New York:

KoHoae, A. I.

The Contrafrt&l Harmonic Teehnig.ue

18th EtYn
w YoPkt P. s. <li=otia &

G1ge;eR1 Verdi.
Book Oomparrr.

Ruttera, H.

Toye, P.

Stockholm:

Charles

or

the

5.;-t'947

The Continental
lin York:

101