Harmonic Tonality in the Music Theories of Jerome-Joseph Momigny, 1762-1842: v. 79 (Studies in the History & Interpretation of Music S.) 0773474331, 9780773474338

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HARMONIC TONALITY

IN THE MUSIC THEomFs -m._ "_.-.

OF JhkiivEyjasii MOMiGNY, 1762-1842

By GLENN G. CALDWELL

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HARMONIC TONALITY IN THE MUSIC THEORIES OF "ROME-JOSEPH MOMIGNY I ''0Ph 10“!

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ant Cover: .I.-.l DE MOMIGNY

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HARMONIC TONALITY IN THE MUSIC THEORIES OF JEROME-JOSEPH MOMIGNY 1762-1842

Glenn G. galdwell /

Studies in the History and Interpretation ofMusic Volume 79

The Edwin Mellen Press uwisiaiiireari.Liiiuer

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Library of Congress Cataloging-hs-Pt-thm Data

Caldwcll, Glam Gerald, I958Hmnonic tmality in the music theories cflétéme-Joaeph Mcmigly, 1762-1842 / Glam G. Caldwell. p.ctn.- (studimirtth0istoryamii-tatiatofmusio ; v.19) Inclm bibliographical "fhmces.

ISBN 0-7734-7433-1 l. Malnigny, J.-I. de (miirneJoserh), 176b1842-Criticigm and interpretation 2. Hammy 3. Tonality. l. stndiesintuhistoryandint-tatirmofmusio Y. 79. ML423.M628 C35 2001 78t.2'SN92-dtt21

2001030001

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Studim in theHistsy and hstupritatitn ofMusic Volume 19 ISBN 0-1734-7433-1 SHIM Series ISBN 0-88946-426-X

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Copyright © 2001 GlmnG.Caldwell Alln'ghts med. Forintbrmati-tact

The Edwin Mellen Ptess

The Edwin Melkn Pmss

Box 450

Bax 67

Lcwiston, New York

Qucusmn, Ontario

USA 1409b0450

CANADA LOS 1L0

The Edwin Malia: Press, L11

Lamp”, Ceredigion, Wales UNITED KINGDOM SA48 8LT PrintmiintheUuitatStaesofAataica

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This book is dedicated to the memory of my loving parents Bernard Alvin Caldwell and Thelma Cummce Caldwell

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TABLE OF CONTENTS

PREFACE . ACKNOWLEDGMENTS

iii

INTRODUCTION wa~:

Momigny: A Brief Biography

Momigny's Theoretical Writings . A Review of Research on Momigny . Problematic Terms .........

CHAPTER I.

THE GRAND MUSICAL SYSTEM .

ll

The Diatonic Genus

11 17 20 22 24

The Chromatic and Enharmonic Genera . The Minor Mode Tonal Hierarchy S u mmary .

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II.

DIATONIC HARMONY .

25

Chord Structures . . . . . . . . . . . 26 The Hierarchy of Diatonic Chords ......... 35 Key and Harmonic Cadences . . . ..37 On the Basse fondamentale . . . . . . . . .39 The Rules of Voice Leading .......... Noncnora lones . Summary

m.

.

42

69

.

CHROMATIC HARMONY ............

73

Alteration of Diatonic Dyads and Triads _...... 73 Alteration of Diatonic Seventh Chords ....... 79 The Resolution of Diatonic and Secondary Dominant Chords . . . . . . 83 Borrowed Chords . . . . . . . . 89 The Resolution of the Altered Fifth Chord ..... 89 The Resolution of Common-Tone Diminished Seventh Chords . . . .

90

The Resolution of Augmented-ar, and Neapolitan Sixth Chords .

91

. .

Momigny' s Analysis ofAltered Chords'1n Excerpts from Two Musical Works . . . ..... . . . . . . 93 Summary . .

IV.

v.

.

.

.

. .

.

.

.

.

. .

.

. . .

. 106

MODULATION . . . . ...... . . . . . . .

109

Momigny's Dermitions ....... . . . . . Transitions . . . Momigny' s Analysis of ModulationsIOMusical Works. Summary . . . . . . . . . . . . . . . . .

110 1 17 128 137

MOMIGNY’S BROADER VIEW OF TONALITY

. . .

139

On The Relationship of Keys .......... 139 The "Morceau" and the Application of Unity and Variety . 143 Summary . . . . . . . . . . . . . . . . . . 146

lio gle

M,

PERSPECTIVES ................ CONCLUSION ................. SOURCE WRITINGS BY MOMIGNY ....... SECONDARY LITERATURE ON MOMIGNY . . . . GENERAL REFERENCES ............ INDEX .....................

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LIST OF TABLES

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TABLE

PAGE

De la Resonance du Corps Sonore . . . _....

12

Consonances in the key of C major .......

27

DissonancesinthekeyofCmajor . .... . . . . . .

28

Dyads admissible in C major ..........

74

Altered dyads, triads, and sevenths involving C and CY) . . .

75

The alteration of diatonic triads by tones borrowed from the chromatic genus in C major .......

77

Species of the augmented sixth chord ......

78

Additional seventh chord types created by the chromatic

genus in C major ...........

Chromatic alterations of chords in C minor . . ...... Momigny's examples of borrowed chords . . . . . .

. .

82 .

89

Intervals not admitted in harmony . . . . . . . . . . . .

90

Momigny's examples of ''iio and riio7 chords . . . . . . .

90

Forty-nine harmonic thirds in C major ..... . . . . .

92

Momigny's analysis of the melodic resolutions and their underlying harmonies in the first eight periods of Mozart's .

.

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LIST OF FIGURES PAGE

1.

The natural type of the "true" scale .........

l3

57‘5"???)

FIGURE

The natural orders of the seven diatonic tetrachords .....

14

Morel's melodic example No. l

15

Morel's melodic example No. 2

16

The twenty-seven tones of C major . .

17

The "true" chromatic scale of C major . . ........

18

Resolutions of the tones of the enharmonic genus in C major . .

19

Elements of the diatonic and chromatic genus generated by the

fundamental G

19

Trichord analysis of major and minor scales . . . .

21

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(In C major) An example of a resolution to the diatonic genus from the chromatic genus

23

12.

(In C major) An example of a resolution to the diatonic genus from the enharmonic genus .

23

13.

(In Ak major) An example of a resolution to the diatonic f'?? from the enharmonic genus .

23

14.

Relations among the genera in C major .

24

15.

Diatonic dissonances by contact (C major)

29

l6.

Diatonic dissonance; without contact

29

17.

The bringing together of two diatonic semitones in C major . . .31

18.

Triads built on the "true" scale ofC major . . . .

19.

Seventh chords built on the "true" scale of C major .....

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H

u

.....

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