HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.

htm

A) THE PENTATONICCHROMATIC SYSTEM

The harmonic types of the chromatic system, that is

(1) alpha chords

(2) 1:2, 1:3, 1:5 models
(3) chords of equal intervals

are characterized by the fact that they unite the tension of the Fibonacci-models with the
closedness of the twelve-tone system.

The most characteristic chromatic melodies and harmonies obey the proportions of the
Fibonacci sequence. Calculated in semi-tones:

2 means a major second,

3 means a minor third,
5 means a perfect fourth,
8 means a minor sixth,
13 means an augmented octave, etc.

In reality, these numbers express proportion and not semi-tone steps.

(1) ALPHA CHORDS

As Mozart or Haydn had employed primarily major and minor triads or as we had grown
accustomed to seventh-chords in Romantic music, the use of harmonies built of

1 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

Fibonacci intervals became just as common and predominant in the works of Bartók and
Kodály:

Fig. 24

We call this type of chord with the collective designation: the alpha harmony the various
sections of which can be distinguished by letters beta, gamma, delta and epsilon.

Chord alpha consists of two layers. In order to establish tonality, at least two notes are
necessary: the key-note (C) and one of its overtones: i.e. the fifth (G) or the major third
(E). In this simple case the G or E reinforces the C although G and E has in itself a
dominant significance.

Type alpha has a strong tonal, even functional character. When, for example, in the main
cadence of the Recruiting Music Kodály looks for a dominant alpha chord (before the
tonic E major), he moulds its upper layer from the melody itself (B-G#-F-D), and the
lower layer from the diminished seventh chord C-D#-F#-A:

Fig. 25

Thus type alpha is nothing less than the axis adaptation of the simple C-E-G or C-G
relation (this is why type epsilon rarely occurs owing to the absence of the fifth and
major third G and E without which the tonal character of the chord is unsteady); the
sole requirement is that the chord should be constructed of two layers (two axes).

Type alpha complies with two requirements. On the one hand it derives from pentatony.
The intervals 2, 3, 5, 8 (or their octaves) sound together with every note of the chord.

Fig. 26

2 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

This is how in one of Bartóks choruses the pentatonic DO-SO-LA-MI motif is

transmuted into gamma and delta harmonies:

Fig. 27

On the other hand, alpha harmonies are axis models and, as such, express the polymodal
tensions of the axis system. (See: Fig. 32 on p. 27)

Let us add: the tension of alpha harmonies may most simply and effectively be
expressed by the symbols of polymodality.

Fig. 28

3 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

Examples

Fig. 29.

(2) MODELS 1:2, 1:3, 1:5

By the chromatic juxtaposition of intervals 2, or 3, or 5, closed scales are produced (i.e.
by the periodic repetition of the intervals we are taken back to the starting point).

MODEL 1:2 is an infinite chain of minor and major seconds,

e.g. C-C#-Eb-E-F#-G-A-Bb-C,

MODEL 1:3 is an infinite chain of minor seconds and minor thirds,

e.g. C-Eb-E-G-Ab-B-C,

MODEL 1:5 is an infinite chain of minor seconds and fourths,

e.g. C-C#-F#-G-C.

Fig. 30

4 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

Model 1:2
Model 1:2 should be considered the fundamental scale of the axis system.

In the 12-note system three different 1:2 models may be established, in accordance with
the three functions: a tonic, a dominant and a subdominant. Every further form agrees
with one of these models, e.g. in C tonality:

Fig. 31.

All chords and models appertaining to the same axis constitute a functional unit.

Fig. 32

5 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

Examples

Fig. 33

1:2 model harmonic turns **)

If we combine a major seventh and a subminor chord lying a minor third higher we get
the 1:2 model. This combination became current among the Romantics.

Fig. 34

6 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

In Act I of Tristan, the inner world is visualized by the Tristan chord (F subminor), while
the outer world by the chorus of the Sailors at all times appearing in the form of a D
major seventh chord.

Fig. 35

Model 1:5

7 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

Model 1:5 represents another typical axis sequence: it rests upon polar relations.

Fig. 36

Fig. 37

Model 1:2 may be split up into two 1:5 models.

Fig. 38

In the Mikrokosmos piece From the Island Bali both left and right hands play 1:5
models, which together create a complete 1:2 model.

Fig. 39

The closing chords unite these four elements.

8 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

Fig. 40

In the final chord two triads are merged: the difference of six accidentals between the
two triads create a polar tension and the two triads fuse in a perfect alpha harmony.

Fig. 41

1:3 model
While models 1:2 and 1:5 have a powerful tonal character, the 1:3 model annihilates
tonality due to its augmented triad structure. For instance, the C-Eb-E-G-Ab-B 1:3 model
comprehends the following triads:

The floating quality of model 1:3 was already recognized by Liszt and Wagner.

Fig. 42

9 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

Examples

Fig. 43

Complementary (annihilating) keys

A 1:3 model can be created by uniting a major and a minor triad (the latter lying a major
third lower).

In this case one triad neutralizes the other since their notes combine in an atonal 1:3
model. This is why such triads express a contrast in their content as well.

Fig. 44.

10 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

The idea of annihilation goes back to Romantic models. When Wotan in the great
Monologue of the Valkyrie prophesies the Twilight of Gods, his words "Das Ende! Das
Ende!" evoke E major and C minor which tonally destroy each other.

Fig. 45

A peculiar manifestation of the annihilation idea is Weberns famous Reihe in which two
1:3 models are merged:

Fig. 46

A change from major to the complementary minor (E majorC minor) results in a

negative effect, it is associated with gloomy, or even, oppressive and irrational
experience. (See Fig. 45 above)

And conversely, a change from minor key to the complementary major (e.g. C minor E
major) creates a positive impression, it is inspired by enthusiasm and serenity like the E
major episode at the end of Beethovens Piano Concerto in C minor.

11 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

In the chorus The Aged, Kodály translates the life-and-death symbolism of the piece into
the language of music by means of complementary keys: G major and Eb minor then Bb
minor and D major:

Fig. 47

The entire tonal plan of Bluebeards Castle is built up of such complementary relations.
F# minor is the key of night and C major that of light. C major can be destroyed by
means of the Ab minor key thus the latter is associated with death symbolism. On the
other hand, the nights F# minor can be defeated by Bb major thus it became the symbol
of love. The four triads together include every degree of the chromatic scale:

light: C-E-G death: Ab-Cb-Eb

night: F#-A-C# love: Bb-D-F

The basic tonality in Kodálys Psalmus Hungaricus A minor is equivalent to weeping,

imploration, despair, curse. The dénouement of the action, on the other hand, takes place
in the complementary key: Db = C# major. It is the task of Db major to absolve from the
weight of the curse: From you he removes your every burden. And that of C# major to
become the key of elevation and apotheosis: In honour Thou wilt raise him on high!

Complementary keys may appear in a hidden form, too. The "Sündenqual-motiv" from
Parsifal exerts a tormenting effect because the authentic sequence (moving authentically
on the circle of fifths) is coloured by complementary chords: F major and Db minor in b.
1; Db major and A minor in b. 2, etc.

Fig. 48

12 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

(3) EQUIDISTANT SCALES

Closed sequences may, however, be created by simpler means by composing equidistant
scales from the Fibonacci intervals 2, 3, 5, 8:

from major second intervals (2) whole-tone scale,

from minor third intervals (3) diminished seventh,
from perfect fourths (5) fourth chords,
from minor sixth intervals (8) augmented triad

can be established.

Fourth chords**)
Owing to the folksong inspiration, strikingly frequent is the theme formation and
harmonisation with fourth chords. The characteristic fourth-accumulation in our ancient
melodies spurred us on to the forming of fourth chords: we have projected here the
horizontal succession into vertical simultaneity (Bartók: The Influence of Peasant Music
on Modern Music, 1920).

This is how Bartók transforms the fourth melody into a fourth harmony in the Violin
Concerto:

Fig. 49

13 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

Tonicantitonic relations in the pentatonic scale

Thus, fourth chords in Bartók and Kodálys compositions derive from folk-music, and in
keeping with the folksong inspiration, also in the connection of fourth chords the inner
laws of pentatony assert themselves.

To mention the most important one: of two fourth chords which are placed at a distance
of a minor third (3) or major second (2) from each other, the tonic model is always the
one which lies a minor third lower or (which means the same) a major second higher
than the other. We call one of them the tonic and the other antitonic model:

Fig. 50

In Fig. below, the tonic model is represented by fourth-degrees C-F-Bb, and the antitonic
by fourth-degrees Bb-Eb-Ab.

Fig. 51

14 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

The tonic-antitonic attraction originates in the SO-REMI (DO-SOLA) cadence so

frequent in folk melodies: the SO-RE holds the tension, while the MI corresponds to the
tonic resolution:

Fig. 52

It deserves a special attention that this time we are faced with a two-function system (and
not a three-function one, as in classical harmony).

Incidentally, chords based on the SO-LA-DO-RE structure have a floating, soaring effect
since the tonic and antitonic (RE-LA and DO-SO) relation supports not the lower, but the
upper note.

Omega chords
In my analyses, the letter omega indicates the whole-tone scale. I have deliberately
chosen the letter farthest from alpha because Bartók himself used them oppositely. Alpha
is tense in character, omega is dissolved and this quality becomes apparent in that the
whole-tone scale, as opposed to alpha and pentatonic structures, contains not one single
perfect fourth (nor a perfect fifth) without which the tonal character of the chord
becomes unstable.

In the 12-tone system two omega scales can be distinguished (6+6 notes), they are

15 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

mutually geometrical dominants of each other (C-D-E-F#-G#-A# and Db-Eb-F-G-A-B):

w1 and w2.

Fig. 53

Kodálys chorus Fancy concludes with a complete omega harmony depicting the peal of
bells:

Fig. 54

The omega harmony due to its fluid character lends itself particularly well for tone-
painting (landscape painting). We give a Kodály example:

Fig. 55

Because of the contrast, the direct confrontation of the alpha and omega tonalities is very
effective. In the third movement of Music for Strings, Percussion and Celesta, the central
light theme accompanied by the high-pitched cymbal also includes this duality. The
motif is centralized around the C note. Depending on whether it occurs in root position
or inversion,

16 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

Fig. 56

it can be accompanied by omega chords (Fig. 53 on p. 35) or by alpha chord: through the
periodic repetition of diminished triads, a closed alpha structure is created:

Fig. 57

*
In practice, the Fibonacci models i.e. alpha and axis harmonies, 1:2, 1:3, 1:5 models and
equidistant scales merge into each other. In Fig. below, the hunting ostinato is quoted
from the chromatic first movement of Bartóks Sonata for Two Pianos and Percussion:

Fig. 58

The entire chromatic scale is included in the twelve notes of the ostinato. A
polecounterpole relationship exists between the opening and the closing notes (upper

17 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

part A and Eb, lower part F# and C), forming together an axis arrangement: F#-A-C-Eb.
The upper part is composed of the A-B-Db-Eb-F-G omega scale (its formula being
2+2+2+2+2+2), while the lower part of the complementary omega scale F#-G#-Bb-C-D-
E. The two parts progress in parallel minor thirds (3). Motivically, each part is built of
minor sixth (8) elements: the upper part of augmented triads A-F-Db and B-G-Eb, and
the lower part of augmented triads F#-D-Bb and G#-E-C (8+8+8). The harmonic
character of the ostinato is defined by gamma chords (3+5+3) and 1:3 models:

Fig. 59

The two 1:3 models can be fitted chromatically. Thus all of the structural elements are
Fibonacci formulas.

B) THE DIATONIC-OVERTONE SYSTEM

ACOUSTIC (OVERTONE) CHORD
The basic form of the diatonic system is the so-called acoustic scale (DO-scale with FI
and TA), e.g.

C D E F# G A Bb C

and the acoustic harmony, for example, C major triad with natural seventh Bb, acoustic
fourth F#, and major sixth A (pastoral sixth) which is called acoustic since its notes
originate in the natural overtone series:

Fig. 60

Examples

Fig. 61

18 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

Other examples see: Fig. 87 b on p. 50 and Fig. 107 on p. 65.

The acoustic character becomes even more effective if it is the result of an expansion.
The hunting-fugue in Bartóks Cantata Profana becomes so explosive since the minor
third changes into major and bursts with an acoustic fourth (MA-MI-FI):

Fig. 62

The perfect fifth frame of the theme and its two points the acoustic fourth at the half-
close (FI) and the acoustic MI-TA step at the full close only enhance the natural
atmosphere of the scene.

The acoustic chord, with the exception of one tone, contains a whole-tone scale (omega)
as well: Bb-C-D-E-F#. Therefore, the acoustic chord can easily be coloured by the omega
scale:

Fig. 63

The acoustic harmony is familiar in Kodálys music too although he had an affection for
the brighter Lydian modality:

Fig. 64

19 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

In Kodálys music there is often very little difference between the acoustic harmony and
the polar harmony. For example, in Fig. above the first chord is the combination of Bb
seventh and E seventh. The acoustic chord of Fig. 84 b consists of the C major and F#
major counterpoles.

Now we try to find a new path in deducing the acoustic harmony. Let us start from our
observations See: p. 77 that the relative of the C major is A minor and that of the latter
is F# subminor:

Fig. 65

The tones have a symmetrical distribution around the virtual RE (=D) symmetry center!
If we combine the tones of the three chords we obtain an acoustic harmony. In both cases
FI and TA are determinants of character. And what is evident again: FI and TA are exact
reflections of each other in relation to the RE symmetry center.

The acoustic scale became a static colour chord because it lacks the two sensitive notes
that characterize the major scale: instead of FA and TI (F and B) FI and TA (F# and Bb)
notes occur.

What the spectrum of rainbow-colours is in optics, is the natural overtone scale in music.
(The term acoustic scale comes from me 1947).

Hypermajor and hyperminor

Whenever Bartók or Kodály intends to endow the acoustic harmony with more light, the
minor seventh of the acoustic chord is raised to major seventh.

Fig. 66

20 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

We shall call this chord type (major triad with major seventh) the hypermajor harmony:

Fig. 67

The hypermajor embodies the most solemn sound-type in Bartók and Kodálys music (the
opening chords of Psalmus Hungaricus and Budavári Te Deum are hypermajor
harmonies) it has become the characteristic concomitant of apotheoses.

The origin of the well-known Bartók signature also goes back to the hypermajor:

Fig. 68

The hypermajor owes its light not only to its major character and major seventh, but
primarily to its consisting of two perfect fifths (see Fig. 67 above).

In the most pictorial effects the hypermajor harmony merges with the acoustic fourth
(FI):

Fig. 69

The hypermajor has a counterpart: the hyperminor. Its construction is a minor triad with
major seventh (the Eb-G-B augmented triad adds considerably to its individual
colouration):

21 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

Fig. 70

Your leitmotif wrote Bartók in a letter to Stefi Geyer. It is to be found all over where the
text speaks of pain and passion (see: Fig. 70 b above).

By inverting Bartóks leitmotif of love, a peculiar kind of chord arises which in Bartóks
works is associated with the symbolism of death: Eros turns downwards his torch!

Fig. 71.

It appears whenever desire is fulfilled and, as a consequence of the fulfilment, passion

ceases. Through the inversion the augmented triad of the hyperminor (Eb-G-B in the
foregoing example) moves to the bottom of the chord: A-F-C#; this is the source of the
neutralizing effect. The final chord of Bluebeards Castle is also a hyperminor-inversion,
the whole opera terminates in this symbol of death:

Fig. 72

Alpha inversion
If it is true that the diatonic system is merely a mirror-image of the chromatic system,***)
then diatonic sound-types can be produced by inverting the layers of the alpha
harmonies:

22 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

Fig. 73

The diatonic impression is the direct result of the alpha-inversion being ruled by fifths,
major thirds and minor sevenths (i.e. the closest overtones) that are precluded by the
alpha harmonies.

Oddly enough, the harmony with a major third above the root and with a minor third
below it, evokes the most opened impression:

Fig. 74

And to bring to an end the interconnections: the alpha-inversion carries in itself the seed
of the acoustic harmony as well:

Fig. 75

By exchanging the C and F# notes, a polar relationship can be effected (C and F# seventh
chords, or C and F# ninth chords). The recapitulation theme in Kodálys Háry Prelude
(Fig. 84 b on p. 48) may be interpreted equally as a C acoustic or an F# acoustic tonality.

This 4-note polar formula started gaining ground already in Romantic music. The tonal
nucleus of Station 10 in Liszts Via Crucis, or the fortissimo explosion introducing the
great ensemble of Act III in Verdis Otello, allows the following interpretations:

Fig. 76

23 di 24 04/04/2019, 08:02
HARMONIC PRINCIPLES http://www.mi.sanu.ac.rs/vismath/lends/ch3.htm

*
Let us summarize the basic types of the two harmonic systems:

CHROMATIC-PENTATONIC SYSTEM DIATONIC-ACOUSTIC SYSTEM

Pentatony, Fibonacci-models Overtone chord, acoustic scale
Alpha chords Alpha-inversion
Models 1:2, 1:3, 1:5 Hypermajor, third-tower
Equal-degree harmonies Equal-degree harmonies
from intervals from fifths, major thirds
2, 3, 5, 8 and minor sevenths

*) It includes subminor chords, too (see. p. 77) (ed.)

**) Title given by the editors.

***) (see pp. 48-50)

NEXT

CONTENTS

24 di 24 04/04/2019, 08:02