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1933U6 Nannette Reese Hanslowe, B 79 Maf ?SOO( rn A STUDY OF THE ORIGINS AND EARLY DEVELOPMENT OF THE MAJOR SEVENTH CHORD THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ivUSIC By 1933u6 Nannette Reese Hanslowe, B. M. Denton, Texas August, 1951 1933'J$ TABLE OF CONTENTS Page""k, LIST OF TABLES . * . * * . * * " a iv LIST OF ILLUSTRATIONS . I v Chapter I. INTRODUCTION . , . .a 1 II. THE USE OF TIE I4AJOR SEVENTh CHORD IN THE PHEYGIAN CADENCE . ., ,. 7 III. THE USE OF TEE MAJOR SEVENTH CHORD IN AUTHENTIC CADENCES . 40 IV. THE USE OF THE MAJOR SEVENTH CHORD IN SEQUENCES AND SUSPENSION CHAINS . .. 60 V. THE IRREGULAR USES OF THE MAJOR SEVENTH CHORD * * - - - * - .1 -*.*-0-#-& . & . 1 87 VI. CONCLUSIONS * -.- a a9 a a a9 0 a9 a0 a9 a9 . 107 a 9- 9 0. 9 APPENDIX * 0 - 9 9 9 - , - a a 9 9 0 0 112 BIBLIOGRAPEY *.- * - . .*- . - 9 9 9* . 0 - . 0 . 113 III LIST OF TABLES Table Page 1. Tabulation of the Examples of Irregular Uses of the Major Seventh Chord Mentioned in ChapterV . -a-0-0-0-0**...* - . .*112 iv LIST OF ILLUSTRATIONS Figure Page 1. Voice Leading of the hrygian Cadence . 8 2. Johann Sebastian Bach, "Erbarm' Dich Mein, 0 Herre Gott" . * @0 8 3. Georg Frederick Handel, "Sonata No. 4" . 4. Arcangelo Corelli, "Sonata X" . 10 5. Glausulse for "Hec Dies" . - - - . 12 6. Phrygian Cadence circa 1400 . 13 7. Conrad Paumann, Fundamentum organsandi 13 8. Johannes Martini, "La LMartinella" . 14 9. Jakob Hobrecht, "Pleni und Agnus Dei II". 15 10. Heinrich Finck, "Sanctus Benedictus und - -a. Agnus Dei"# . # .0 16 11. Anton Brumel, "Regina Coeli" . " . 17 12. Magiater Othmar Nachtgall, "Fortuna in Fa" . 19 1. Johannes Schrem, "Sancta Maria bitt' f'r uns" 0 . 19 14. Johann Buchner, "Kyrie Eleison" . 20 15. Ludwig Senfl, "Magnificat Secundi Toni" 0 0 21 16. Paulus hofhaimer, "T'Andernaken" . 0 0 22 17. Christian Erbach, "Ricercar 1. Toni" . 23 18. Samuel Scheidt, "Fantasia Super: Io Son ferito lasso" . 0 0 23 . .I 19. Johann Hermann Schein, "Die mit Trgnen Saen" 24 20. Heinrich Sohlitz, "Die Juden" . .... * 24 21. Heinrich Scheideman, "Canzon" . 25 V Figure Fa ge 22. Franz Tunder, "Praeludium" - - * * * . 26 23. Johann Jakob Froberger, "Toccata faIII" . 27 24. Johann Decker, "Praeambulum" . 28 25. Johann Pachelbel, "Aria Prima" . 28 26. Dietrich Buxtehude, "Dialog fur Bass und Tenor mit Instrumenten". - . - * * *. 29 27. Arnold M. Brunckhorst, "Praeludium" . 30 28. Christian Ritter, "Sonatina" . 31 29. Georg Bhm, "Christ Lay in the Bonds of Death" . 32 30. Johann Gottfried Walther, "Nun ruhen alle Walder" . - . -. - . ... 34 31. Johann cebastian Bach, "Herzlich thut mich verlangen" ...... ...... 35 32. Paul Hindemith, "Sonate fir Klarinette in B und Klavier" . - . 37 33. Paul Hindemith, "Sonate ftr Klarinette in B und Klavier" . 38 34. Paul Hindemith, "Sonate fur Klarinette in B und Klavier" . .** . 38 35, Claude Debussy, "Reverie" . 39 36. Boumgartner Excerpt Showing IV7 -VII6 -I cadence . 41 t 37. Jakob Hobrecht, "Pleni und Agnus Dei II , . 41 38. Paulus von Hofhaimer, "T'Andernaken" . 42 39. Gregor Meyer, "Kyrie Eleison" . 43 40. Franz Tunder, "II. 0 Jesu dulcissime" . 44 41. Johann Pachelbel, "Praeludium" . 45 42. Johann Pachelbel, "Toccata 7" . 47 43. Johann Jakob Froberger, "Toccata" . 47 vi Figure e Page 44. Matthias Weckmann, "Rex virtutum" . - . 48 45. Johann Friecdrich Alberti, "Der du bist drei in Einigkeit"kolaus Bru.n, " . 49 46. Nikolaus Bruhns , "Praeludium" -. - - * . v . 50 47. Nikolaus Bruhns, "3. Praeludium" . 51 48. Friedrich Erhardt Niedt, "In .cirth and Gladness" 52 49. Johann Heinrich Buttstedt, "In dulci jubilo" . 53 50. T Vincent Libeck, "Nun last uns Gott dem Herren" . 53 51. Johann Gottfried Walther, "Aus tiefer Not Schrei ich zu Dir" 0 * 0 *-*-0- * * 0- *.0 .9.0 .# .# . 54 52. Johann Sebastian Bach, "Nun danket alle Gott" . 55 53. Johann Sebastian Bach, "Ermuntre dich, mein ..- .. .... 56 -- - . schwacher Geist" 0 54. Johann Sebastian Bach, "Vater unser im IHimme 1r e ich"!' - -- 0 - -- 0 . 56 55. Johannes Schrem, "Sancta Maria" . 61 56. Johann Jakob Froberger, "Toccata XIII" . 62 57. Franz Tunder, "Fugato" - . 9 . .9 63 58. Matthias Weckmann, "Toccata XI" - - . 64 59. Jan Adams Reinken, "Toccata" - . 65 60. Dietrich Buxtehude, "Sonata I." - . 66 61. Johann Christoph Bach, "Nun last uns G(ott, deinherren" . -f . 67 62. Johann Friedrich Alberti, "Der Du bist dre i in Einigkeit" . .** .... .. 68 . .9 63. Christian Ritter, "Sonatina" . 69 . .9 64. Johann Michael Bach, "Wenn wir in hbch& Uen" . 70 65. Georg Reutter, "Canzone" . ... 0 . , 71 vii Figure Page 66. Johann Pachelbel, "Ach Gott vom Himmel, sieh #-0 - -0. darein"! . -*.* . -0-, - 72 67. Tobias Volcknar, "Kyrie, Gott Vater in Ewigkeit" 73 68. Andreas Nicolaus Vetter, "Allein Gott in der Hh' se i Ehr" ................ 74 69. Georg Bbhm, "Allein Gott in der h4h' sei Ehr" 75 70. Johann Gottfriea Walther, "Fuga" . 76 71. Johann Sebast ian Bach, "Acht kleine Preluaien und Fugen" ... ... ,,. , 77 72. Johann Sebastian Bach, "Allein zu Dir, Herr Jesu Christ" . - - - *- * * * 78 73. Arcangelo Corelli, "Sonata 3" . * .0* 79 74. Johann Friedrich Doles, "Auf meinen leiben Gott" 79 75. Jakob Hobrecht, "Pleni und Agnus Del II" 82 76. Heinrich Finck, "Benedictus" -.- . 82 77. heinrich Isaak, "La Martinella" -*. 83 78. Johannes Schrem, "Salve regina" . 84 79. Hans Neusiedler, "Judentantz" . 85 80. Elias Nicolaus Ammerbach, "Passametzo" 86 81. Jakob Handl, tvMedia vita in morte sumus" 87 82. Melchior Schildt, "Praeambulum" . 89 83. Samuel Scheidt, "Fantasia Super: Io son fer it a la Css " -0 -0 -4 -0 -0 -0 -0 -0 - - . .. 90 84. Heinrich Scheidemann, "Praeambulum" . 91 85. Jakob Praetorius, tPraeambulum" . -.- - . 92 86. Franz Tunder, "4. Praeludium" . .0 . 93 87. Johann Jakob Froberger, "Ricercare VII" .. 93 88. Anton Kniller, "Nun Komx der Haicien Heiland" 94 viii Figure Page 89. Jan Adams Reinken, "Tocoata" - - . 95 90. Georig Muffat, "Toccatat . 96 91. Dietrich Buxtehude, "Sonata I., Opus I.--Adagio Movement" . , 97 92. Johann Alberti, "Der Du bist drei in Einigkeit" 97 93. Johann Pachelbel, "Magnificat--Fugen . 98 94. Georg Dietrich Leyding, "Praeludium" . a a 99 95. Georg Dietrich Leyading, "Praeludium" . 99 96. Christian Ritter, "Sonatina" . 100 97. Johann Kuhnau, "Ach Herr, mich arinen Sinder . 101 98. Johann krieger, "Prelude" . 102 99. Johann Sebastian Bach, "Puer natus in Bethlehem" 103 100. Johann Mattheson,- . ."Air". 103 . 101. Wilhelm Friedemann Bach, "Polonaise" . 104 ix CHAPTER I INTRODUCT ION The purpose of this study is to trace the development of the major seventh chord from the earliest recorded music through the German School of composition up to the time of Johann Sebastian Bach. The term "major seventh chord" 1 is used to denote the four-tone chord comprised of a major triad plus a tone which is a major seventh above the root. In major keys this chord may be built on the tonic and sub- dominant degrees of the scale without alterations, and in the "natural" minor on the mediant and the submediant. The full, or structural, name "major-major seventh chord"--used in the present thesis only when it is necessary to distin- guish it from other seventh chords with major sevenths-- arises from the fact that the triad (1, , 5) is major and the interval between the root and the seventh is major. An example f ollows: 'Allen Irvine McHose, The C ontrauntal Harmonic Tech- nique of the Eihteenth Centu p. 142. 1 2 Other seventh chords2 referred to in this thesis are as follows: Structural Name Usually Called major-minor seventh major-minor seventh chord chord minor-minor seventh minor seventh chord chor d diminished-minor half -d imin ished seventh chord seventh chord diminished-d iminished diminished seventh seventh chord chord minor-major seventh minor-ma jor seventh chord chord augmented-major seventh augmented-ma jor chordI seventh chord 2Ibid*.,pp. 142-143. Bach's music marks the height of harmonic achievement up to and including the first half of the eighteenth century (end of the Baroque period) , and therefore, provides a convenient terminating point for research in early uses of this chord. 6ince the composers of the German School preceding Bach have been thought to have been a strong influence upon Bach's harmonic treatment, their works have been selected as a basis of this investigation. Although (with one exception) this study does not show that composers before 1750 used the major seventh chord other than accidentally, i.e., as a result of non-harmonic tones, Bach's harmony includes it as part of the standard harmonic equipment (Figures 2, 31, 52, 53, 54, 71, 72, and 99). First, the use of the major seventh chord in connection with the Phrygian cadence is traced from an example (Fig- ure 8) from a piece by Johannes Martini, dated 1470, to a chorale prelude by Johann Sebastian Bach (Figure 31). Second, the use of the major seventh chord in connec- tion with the authentic cadence is traced from an example (Figure 36) by Boumgartner, dated circa 1460, to a Bach chorale (Figure 54). Third, the use of the major seventh chord as a result of two frequently used contrapuntal devices is traced. These devices are the sequence and the suspension chain, and the discussion of their use is of the period from circa 1524 (Johannes 6chrem) to circa 1750 (Figures 55 and 78). Nal 4 Fourth, those usages of the chord which do not conform to the three first patterns are shown as they occurred historically. In this group the examples range all the way from slight variants of the other three types of progres- sions to extreme deviations. A few of these usages were employed by more than one composer, but for the most part the examples are isolated instances rather than treatments which recur. The works from which portions are reproduced are in- tended to represent a cross-section of the compositions and composers of the early German School.
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