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Acta Musicologica
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the idea suddenly struck me: To be sure, such leaps in crotchets are in them-
selves well balanced, and one also finds them frequently employed in textbooks with exercises of the >>Third Species<<. Nevertheless, I should like to
know if such modes are quite in keeping with the pure melodic ideals of Palestrina himself. Does he, in reality, make use of them?
In order to clear op this question, I first looked at a few of Palestrina's masses
and motets, all chosen quite by chance, but nowhere was one single leap upwards from one crotchet to another to be found, neither accentuated nor
unaccentuated. As for similar leaps downwards, not one occurred exeeding the
interval of a third. By this my attention to the problem was seriously aroused,
and I now made up my mind to take it up in a more extensive and systematic way.
But, at the same time, what had musical theory to say about this matter? As
is known, the theory of vocal counterpoint, based upon the art of Palestrina,
had in all essentials been at a standstill ever since the Gradus ad Parnassum
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ABBREVIATIONS
Ambros V = Ambros: Geschichte der Musik, Vol. V (Kade), 3rd Ed. 1911.
L. = Orlando di Lasso, Siimmtliche Werke, Breitkopf & Hiirtel, Leipzig.
Laude = Knud Jeppesen: Die mehrstimmige italienische Laude um 1500 (1935).
M. D. = Musica divina. Annus primus, (Vols. I-IV) published by Carl Proske, Re.
gensburg, Pustet, 1853.
With regard to the other case, the ascending leap from an unaccented crotchet,
the matter is somewhat more complicated. Evidently, a distinction has to be
made between two categories, which may be illustrated by the following examples.
2) See >Style of P.<<, p. 61.
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l2 ....i 1r 'li I
In the Exx. a and b the concluding tone of the leap is of greater value, a minim
and a minim tied respectively. This mode of expression belongs to that which
12
38
39
60
larger sized ornaments 6, 38, 6 b and 7 (fourth, fifth and octave), in which
the concluding tone is, moreover, the high-note of the figure.
4~sW
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Comparatively speaking, more attention must be paid to the remaining ornaments: 37, 38 and 6 with their more marked outlines owing to the leap to the
high-note of the figure. In all, Jeppesen has noticed 20 instances of this kind
in the authentic works of Palestrina, but at the same time these ornamentations
are also found with the leap to a stressed time unit, for instance
S 4L
do ,. I 'I' l, . [ I
and in this form the figures are to be found 32 times in all, the total sum
thus amounting to fifty-two in the authentic works of Palestrina').
Even if this number is relatively greater than that of ascending leaps to unaccented crotchets, it cannot in itself be considered a particularly great one. In
view of the enormous production of Palestrina (90 authentic masses and more
than 400 motets, etc.) it must rather be called a remarkably small one. At any
rate, further evidence of a marked tendency to leap upwards from crotchet
to crotchet is nowhere to be observed. To prove this, we may take by chance
any one of the masterpieces of Palestrina, for instance the famous 6-part
>>Missa Papae Marcelli<<: No less than 22 times we find that a crotchet leaps
upwards to a note of greater value, but not one leaps to another crotchet. Even
if the number is probably somewhat smaller in masses of fewer parts6), one
5) It is noticeable, however, that these leaps to stressed time units are in most cases limited
to the interval of a third occurring, moreover, very often in situations of obvious constraint,
for instance to avoid consecutive fifths (for example P. VIII, 27, 2, + 2 and 140, 1, 3). The
following phrase, which I have observed no less than 7 times in Palestrina, is interesting:
F6
(See P. II, 4, 3, 1; IV, 119, 2, + 2 and 127, 1, 1; VIII, 40, 3, + 4; XVI, 13, 1, + 3;
XXII, 95, 2, + 2; XXIV, 17, 3, + 3). Here the downward leap of a third is filled out by a
step; this procedure, however, of causing a leap upwards from a quaver, is at any rate an
irregularity in Palestrinian music!
Finally, phrases like the following are relatively common:
P. XIX, 41, 3, 3
I l
As the last crotchet here is a Grace-note (Portamento), the high-note >>ideally<< represents
a minim; moreover, the leap to the note E is in this case a constraint to avoid consecutive
fifths with the tenor. (See further P. XVII, 7, 2, 3).
6) An examination of the three 5-part masses >Repleatur os meum<, >Sacerdos et Pontifex<<,
and >>Sicut lilium inter spinas<< showed 17, 14 and 11 leaps to notes of greater value
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value. In reality, he would only have profited by being able to employ these
forms indiscriminately.
An examination of the various situations in which the ornaments 37, 38 and
no -. . re
re
no
In ex. a the voices are altogether thematic, but while the outer voices, in
conformance with the first entrance of the theme (cf. ex. b), move step-wise
downwards from the syllable >>no<<, the middle voice makes an ascending leap
be tempted to talk here about melodic >mole-casts<<. For the rest, it is noteworthy that phrases like these (including the ornaments 38 and 6 too) are only
to be found very seldiom in the outer voices. As far as possible, Palestrina tries
to conceal them in an intermediate voice.
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rA gnus De IA
-gnus
qui tolDe
...._ _ _ _ _ _ 'L L
The 2nd theme of Agnus Dei II is introduced here by the tenor I and the alto
in 'close' order, in the alto with the leap of the fourth to a minim, in the tenor
to a crotchet. The F in the tenor, however, is part of the theme (and therefore
--
(tris)
Two measures later it appears in the alto rhythmically condensed in the first
two notes, and with the originally conjunct progression replaced by a descending leap of a third succeeded by an ascending leap of a fourth:
(ibid. bar 102)
11
tris
ram Pa mi - se - re -
- tris
Musicologica,
XXII
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with the soprano (which voice for the same reason must follow a direction
contrary to that of the bass), and finally the downwards progression in
crotchets is again in conformance with the first version of the theme.
In the 4-part mass >>Quam pulchra es<< of Palestrina we find the following
example
P. XV, 71, 3, 4
12 ,. - . .
In touching the rules for melodic balance, we probably have the clue to the
comprehension of these ornaments as a whole. In the greater majority of
cases, these figures, notwithstanding the size of the leap, are to be found in
conjunctions like the following
13
15 J rJ , I ! i.
are on the contrary very common, the need for filling out the downwards leap
being perceptibly less urgent in cases of this nature').
7) Jeppesen has maintained (in a private correspondance with me), that the omission of
filling out leaps like the above, even if technically possible, might be due to considerations
with regard to the textual distribution, for example:
P. IX, 109, 3, 3
16
sem - - - per
Assuredly, in situations like the above, the high-note could not, for the sake of the
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19
in-vi
1!'
In ex. a the last crochet in the upper voice is a Portamento-note which is,
alto might very well have been a minim, but for the sake of correct declamation, it is better for the syllable >>in<< to fall upon an unaccented crotchet.
For the same reason, the F (to introduce correctly the syllable >>vi<<) ought
to have been a minim, but for the sake of the melodic balance, the E could
not have been eliminated. This instance is thus in more than one sense rather
awkward, and contributes to confirm the supposition of this mass being one
of the earliest works of PalestrinaS). (See further a corresponding instance in
P. IV, 121, 1, 1 ff.)
And now for the aesthetic and psychological explanation of this. As generally
acknowledged, melodic progression upwards gives the impression of a tension,
leap without any trouble, but nevertheless desists from doing so, for instance
17
",o-"'.
gu
sta
,
-
De
..
See further P. XXI, 3, 2, + 3; Ambros V, 398, 3, 1 (Senfl) and SNM I, 206, 1, + 2 (Suriano).
Finally, in the following cases, the syllables could easily have been placed otherwise if
the filling out of the leap had really been desired
nis
Ni
co-la
to - - - nis] [Ni . .. co - la - eJ
8) Cf. >Style of P.<< p. 195.
9*
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phenomenon which arouses the attention of the listener. With regard to the
attitude of Palestrina towards this matter, Jeppesen has emphasized the >>fine
claim upon the attention, and consequently creates the impression of too great
value, where they are felt, so to speak, in a more placid manner. Moreover,
Jeppesen has pointed out the tendency, already perceivable with the half-note,
of leaping upwards more frequently to an accentuated note than to an unaccentuated one, the leap arousing more attention in the latter case.
to makeshifts, to deviations from the rules of style; likewise that the psychological explanation of his abstention from leaping up from one crotchet to
another may be found simply in the circumstance that such leaps must have
implied to the mind of Palestrina too much activity and tension in the
melodic lines.
This hypothesis being valid, how may it then be explained that the leap from
Palestrina? For the leap takes the same time regardless of the value of the
high- note.
Nevertheless, there seems to be a difference - obviously of essential importance. In the case of leap ascending to a note of greater value, a change
of rhythm occurs simultanously. This change, which attracts more attention
than the leap itself, influences the activity of the leap in a mellowing way.
bad good
a
b
204,
Another factor, probably no less important, has moreover to be taken into
consideration: Ascending leaps from crotches in Palestrina are everywhere
preceded by a descending movement to an unaccented crotchet. This movemnet
9) >>Style of P.<<, p. 46.
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being descending and unaccented, the attention is perceptibly less engaged here
than by the following ascending leap. Behind phrases such as
21 It "I I F
the following is therefore heard as the essential
22
!' f I F ---
attention is claimed to approximately the same extent for each single note, and
consequently the activity of the leaps is manifested in a proportionally more
emphatic manner.
Moreover, the fact that the ascending leap from an accented crotchet cannot
(see further P. XVIII, 50, 3, + 1), but obviously the crotchets are here for the time being
reckoned as units.
upon as technical remnants of earlier period or, on the contrary, as the beginning of a decline of the classic-pure ornamentations together with a tendency
towards a more free development of the melodic lines.
There can be no doubt that the latter supposition must be maintained. Until
the middle of the century, one finds everywhere in the ecclesiastical music
of the Italian and Dutch composers that by means of the ascending movement
of the ornament 5.
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24 NJ 0 1 1 F1
no
bis
SN M, I, 245, 2, 3
52 - - : ,
In the first example the ornament 6 occurs twice within the limits of the same
melismata, the character here being already much more in conformance with
the melodic principles of the 17th and 18th centuries than with those of the
26 1Io
o We -
S N M, I, 286, 1, 3. (2,+3)
27 -2-
As far as the style is concerned, this phrase also anticipates the harmonically based polyphony
in the next period, where it is extremely common. See for instance the following example from
an organ choral of Samuel Scheidt:
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30
II
No. 36 (cambiata) and No. 15, which could justly be called the 'classical'
ornamentations:
36
15
I1!1..
-H1
I
3 !1mI
. I.j-I
! I
-, I
but also figures like the following are to be found relatively often
3
32-
13
14
All these ornamentations, which were used already in the first half of the 16th
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Compared with the kindred ornament 15, which is to be found several thousand
times in Palestrina, the occurrence of ornament 16 seems infinitesimal. Never-
We may begin by placing it side by side with the ornament 15. The most
common progression of the latter is the upward step; to be sure, leaps are also
found, but hardly one in a hundred times. The opposite is the case with regard
to the ornament 16; with only few exceptions the progression here occurs by
an ascending leap of a third:
15
16
P. XIV, 2, 1, 1 2, 2,1
35?~~~~~2
I
-,.I
2, ]-I'J rr"r
35It
'
. .. . , ~ ~OE ---I , . . . - * ,
-. . .. - ,
.-. . ./
.,, i
...
,,
In this example (from the 4-part mass >>JEterna Christi munera<<), the ornament
15 is thematic, and it is maintained in this quality during the whole develop-
ment with one single exception of the ornament 16, owing to the (vertical)
impossibility of employing here the leap of a third. Quite an analogous situation
may be found in the 6-part mass >>Te Deum laudamus<< (see P. XVIII, 132,
4, + 4 ff.)
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P. V, 89, 2, 1
36
With regard to the rhythm, the B flat in the middle voice could not have been
a half-note, and the next crotchet written as a passing-note would have caused
consecutive fifths, the leap of the fourth being thus the only possibility here.
In the following example, too, the leap of the fourth was inevitable
P. XVI, 16, 4, +2
37 A '.r
In order to avoid consecutive fifths, the G could not have been a half-note
and the leap of the third is dissonant here. (See also the instances in P. X, 35,
4, +1, where the leap is required to avoid isolated crotchets upon an accented
beat).
Finally, the following is an interesting case:
P XXIII, 37, 2, 1 ff
38
'
.-,.
rKr
'
,"
_
-I_
RIC%
with the harmony. On closer examination, it is, however, apparent that the
leap of the fourth in this case, hardly has its origin in a free melodic impulse
and its first note, being consonant, may progress by the passing-note F
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(This example, which is only one of many, may prove, by the way, that not
only the vertical in itself, but also a dawning perception of the harmonic
functions, influences here end there the development of the melodic lines).
That the leap of the fourth in all the above instances must be considered as
a vertical constraint substitute for that of the third, seems thus out of doubt.
And this may furthermore be demonstrated by the interesting fact that Palestri-
a40
The downwards crotchet leap is treated somewhat more liberally when followed
by movement in the opposite direction to an unstressed time unit, generally
a syncope in connection with the typical cadence formula. In such cases the
third is comparatively often replaced by a larger interval (fourth, fifth or,
even if more seldom, octave). The most commonly used phrases of this
41-- ? L~=E~IC-
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but they are also found in other combinations, for example, fourth-third, thirdfifth, fifth-fourth, etc.
44.
the stifness of the figure is generally softened in this way
45.Ii
Ei -'
a mode of expression, which, with its wonderfully plastic rounding, might be
the leap of the fourth occurs only in situations where the leap is vertically
constrained and the employment of the third forbidden on account of the
harmonic progression. The following example illustrates this point:
16) Already about the year 1500, this phrase was very common in the case of both Italian
and Dutch composers; for instance Laude, 14, 1, + 2; 93, 2, + 3; 165, 2, 2; Torchi I, 153, 3, 1
(Animuccia); Ambros V, 171, 2, 2 (Brumel); 190, 1, 2 ff. and 192, 3, + 2 (Ghiselin); 226, 2, 3
(Gomberth). The same is true with respect to the phrase quoted in Ex. 43 b; cf. for instance
Torchi I, 33, 3, 1 (Giov. Spataro); Ambros V, 91, 2, + 1 and 3, 2 (Josq. de Pres); 217, 4, 2
(Carpentras); Wagner M, 462, 2 and 525, 2, + 1 (Cr. Morales).
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P. XIX, 39, 3, 2
46
In order to avoid consecutive fifths, the voice must leap downwards; the third
being dissonant, the fourth is the only possibility in this case. The same thing
applies in the following situation,
P. XIV, 56, 4, 3
' r"i ,I
where a step-wise descending half-note is for the same reason divided into
two leaps of crotches, a fourth and a third respectively. (Cf. also P.
XVIII, 121, 3, + 1 and P. XXII, 122, 3, 3; furthermore: Ambros V, 128, 1, 2
(Josquin de Pres) and 597, 1. 2 (Cr. Morales)).
To what extent Palestrina seems to have preferred the 'classic' cadence formula
to any others, is moreover indicated by the following instance from the 4-part
mass >>Veni sponsa<<, where the leap of the third is employed in spite of free
dissonance
(See further: P. III, 159, 1. 1; 160, 4, 4; VI, 127, 3, + 3; XII, 68, 2, + 4; 77,3, -t 2; 78,1, + 1;
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however, that the fourth also occurs in cases where the third would be consonant, that is to say in chords with the fifth omitted, for example
P. III, 46, 1,+3
501 1
IF4.
rpm
...
But for what reason? No doubt, a purely harmonic perception may have
exercised the predominating influence here. The harmonic relation being in
reality the triads of the Tonic and the Dominant, Palestrina has obviously
preferred the completion of the harmony to the changing of the chord (i. e.
the triad of the 'submediant' in the first inversion). On the whole, this phrase
resembles most of all the 'breaking' of a harmony, the merely linear qualities
being proportionally weaker.
Moreover, this 'harmonical' fourth is relatively often employed by the predecessors of Palestrina, evidently for the same reasons. Two cases, especially
interesting, are to be found in Laude, 151, 2, 2 (1508) and Wagner M, 471,
2, 1 (Morales, 1540) respectively.
Finally, we have the succesion fifth-octave, for instance
51P
YQ) rkOF
It is evident that the third could not have been employed in Ex. a; on
account of the suspension in the soprano, the leap of the fifth was the only
possibility here (parasitic dissonance!)"1). In Ex. b the leap of the third would
have been succeeded by the leap of the major sixth's).
But even in cases where the descending leap of the third would have been
succeeded by the minor ascending sixth, the descending fifth is nevertheless
most often found, for instance
52
P. XVIII, 35, 4, 1
IL
'_
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The ascending leap of the minor sixth being quite a legitime mode of expression in the style of Palestrina, it seems somewhat difficult to give a
satisfactory explanation to the above phrase'9). It is a matter of fact, however, that the interval of the ascending minor sixth is upon the whole very
much in the background in relation to that of the octave, the latter being (in
IN
the leap of the third being excluded here on account of the leading-note Cis.
quite on a level with that of the third, which seems after all to be ideal to
the mind of Palestrina. A circumstance apparently in favour of this supposition,
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to the style of Palestrina. As this rule is not followed here, it is evident that
the greater interval was only employed by constraint, and that the third was
the interval really intended.
A matter of significance with respect to the question of the descending third
is, furthermore, that figures like the following, which are always to be found
with the ascending leap to a note of greater value
a
quoted in Ex. 3, - apart from the special case of ornament 12). Being already
utmost reserved in the use of the relatively harmless ornaments 37, 6 and 38,
Palestrina has totally refrained from the use of the above figures with outlines
which are obviously too harsh21).
21) With respect to the phrase shown in Ex. 55 a, compare with p. 138 ff. of this treatise.
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