1-- q
ASPECTS OF IDIOMATIC HARMONY
IN THE HARPSICHORD SONATAS
THESIS
Presented to the Graduate Council of the
North Texas State College in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Wiley John Williams, B. M. Denton, Texas June, 1961 TABLE O CONTENTS
Page Lr3 ISTRTIOS...... iy Chapter
I. . . . BI10GRAPHY...... a . .
II. THE STYLE OF THE SONATAS ...... 8
III. HA2MOSIC 3TYE -...... - . . . . . 12 Modality Leading Tone Functions of Lower Neighbor Tones Modulation Cyclic Modulation Unprepared Modulation General Types of Dissonance Polychordal Progressions Dissonance Occurring in Modulation Extended 'ertal Harmony Permutating Contrapuntal Combinations
IV. CONCLUSIONI.. . .a. .a. . ... ,. . . 39
,IBLI RAP HY . .a .. a . . . .. 0.0. .0 .0 .. 0 .0 .0 .. .. 41
iii LIST OF ILLUSTRATIONS
Figure Page
1. Longo 180--iv-V Phrygian Cadence ...... 14
2. Longo 202--Parallel Fifths Between iv and V . . - - -. . . 15 Chords -. . . " ------
3. Longo 273--Modulating Figure Based on Phrygian Cadence...... - ...... 15
4. Longo 257--Resembles Pure Phrygian Mode. . . . 16
5. Longo 260--Phrygian Cadence and Dominant Pedal 17
6. Longo 257--Major and Minor Scale in Contrary Motion ...... " ...... 17
7. Long 309--Leading Tone Effect on I, IV, V . . 18
8. Longo 309--Leading Tone Effect on I and II . . 19
9. Long 342--Non-harmonic Tones are Turning Points of Scale Motion ...... 20
10. Longo 273--Raised Fourth Degree Delays Upper Voice Progress ...... 21
11. Longo 281--Alterations Introduce Modulation. . 22
12. Longo 178--Raised Fourth Scale Degree. . . . . 22
13. Longo 62--Upper Harmonic Minor Tetrachords . . 23
14. Longo 124--Raised Lower Neighbor Tones and Principal Tones Produce Melody...... 23
15. Longo 124--Cyclic Modulation ...... 26
16. Longo 259--Cyclic Modulation ...... 26
17. Longo 409--Tonicization of II and IV . . . . . 27
18. Longo 308--Abrupt Modulation ...... 28
19. Longo 49--Truncated Cadence ...... 28
iv Figure Page
20. Longo 133--Tonic Sustained into Dominant Chord 29
21. 133--Compressed Longo Cadence ...... 30
22. Longo 446--Chord Compressions . . .- . . .. 31
23. Longo Supplement #29--Dissonant Anticipations of Modulations...... 32 24. Longo 39--Sequential Modulation with Added Note 33
25. Longo 323--Stepwise Modulation with Pedal Tone 34
26. Longo 450--Broken Thirds Resemble Thirteenth Chords. . . * ...... 35 27. Longo 202--Arpeggiated Motions Downward Form Ninths...... - ...... - . - - * 35
28. Longo 347--Appoggiatura Ninths...... 36
29. Longo 371--Ninths Obtained by Oblique Motion 36
30. Longo 450--Dominant Ninth Chords...... 37 31. Longo 467--Combination-and Repetition of Unequal Patterns...... 0.#. 38
V CHAPTER I
BIOGRAPHY
Guiseppi Domenico Scarlatti, the sixth of ten children,
was born on the twenty-sixth of October, 1685, in Naples,
Italy. A brief enuieration of his family's musical partici-
pation at this time would include an uncle, Franceso, a
violinist and composer; an uncle, Tomaso, a popular comic
tenor in opera buffo; an aunt, Anna Maria, a singer; and an uncle, Nicolo Pagano, also a musician. Later Domenico's
brother, Pietro, became a composer; and his sister, Flaminia,
a singer. This entire company, of course, was dwarfed by
the stature of the father, Alessandro, famous Italian opera
composer, who by Domenico's eleventh year had composed over
sixty works for the stage, besides innumerable serenades, cantatas, and church pieces.
At the age of fifteen, Domenico was appointed organist and composer at the chapel in the royal palace of Naples.
At this time, however, Carlos II of Spain died, and the con-
sequent dispute over Spanish possessions (including Naples)
between the French Bourbons and Austrian Hapsburgs in the
War of the Spanish Succession caused an uneasy situation in
Naples. Alessandro had not lately been satisfied in Naples and the addition of this factor increased his zeal to re- locate in a more suitable environment. Alessandro obtained
1 2
four months' leave from his duties in 1702 when he and
Domenico went to Florence in an apparent attem pt to be accepted into the court of Prince Ferdinand of Tuscany.1
Failing this, and overstaying his leave, Alessandro was obliged to take an inferior position as assistant maestro
d capella at Santa Maria Maggiore in Rome. It was after
his return to Naples that Domenico wrot e several operas, his first extant compositions.
In 1705 Alessandro sent Domenico to Venice with a
famous castrato named Nicolo Grimaldi who was known as
Nicolino. Alessandro had become disenchanted with the musi-
cal situation in Rome due to papal suppression of the public
theater. Venice was known all over Europe as a meeting place
for artists because of vibrant activity in the many public
theaters. Domenico Scarlatti studied with Francesco Gasparini
in Venice and met such eminent foreign musicians as George
Friedrich Handel, and Thomas Roseingrave, an eccentric
Irishman, who later became Scarlatti's chief supporter in
England. Handel had come to Italy in 1706 and probably met
Scarlatti during the winter of 1707-1708 in Venice.2 It is known that they spent a great deal of time together, and in
1709 in Rome they were contestants in a harpsichord and organ
IRalph Kirkpatrick, Domen' coScarlatti (Princeton, New Jersey, 1953), p. 16.
21I . , p. 32. competition, the former ending in a draw and the latter fall-
ing to Handel. In 1708 Handel had found some employment in
Rome, and in 1709 Scarlatti was also in this city preparing
an oratorio, but by the autumn of 1709 Handel had left Italy
and was never to see Domenico Scarlatti again.
Roman society and culture at this time were peculiarly
dependent on the leadership of foreign realmless monarchs.
Queen Oristina of Sweden had been converted to Catholicism
in her strongly Protestant country, whereupon she abdicated
her throne and moved to .Rome at the age of twenty-eight.
She became the patroness of Roman cultural affairs until her
death in 1689. Queen Maria Casimira of Poland had been
exiled from Poland by her eldest son when her husband died
and the son became king. Oristina was dead by the time of
this exile, and Casimira appointed herself royal successor
to Cristina's Roman patrimony. She and Cardinal Ottoboni became leaders in Rome's artistic life. In 1708 Alessandro
Scarlatti was Oasimira' s maestro di cappella and Domenico
Scarlatti succeeded his father in 1709. During this time Domenico wrote most of his operas, but very little of this music is extant. Between 1711 and 1715 his known output of operas includes: Scarlatti made his first recorded connection with the Portu- guese court when he served as maestro di cappella to Marchesi 4 di Pontes, the Portuguese Ambassador Extraordinary to the Pope at the ambassador's palace in Rome. On December twenty- second of this year Scarlatti became maestro di capela to the Basilica Guilia of St. Peter's in the Vatican. He re- mained at this post until August, 1719, at which time at the invitation of King Joao V of Portugal he journeyed to Portugal to begin what is historically his most illustrious period. It is not known whether Scarlatti did or did not go to England on his way to Portugal because most of the records of the Lisbon court were destroyed in the earthquake of 1755 and the English publications of this time do not specify with a Christian name which Scarlatti was present at certain musical activities in England. It has been widely assumed up until now that Domenico went to England, but research indicates that the Scarlatti who visited England was probably not Domenico. Portugal had wealth from colonization, and King Joao applied this wealth to the development of churchly rituals. He was never more pleased than when the Lisbon church emulated the Vatican. The acquisition of the former chapelmaster at St. Peters was probably doubly attractive in his eyes.4 Scarlatti's duties at Lisbon consisted of composing church music, music for saint's days and music for royal birthdays Frank Walker, "Some Notes on the Scarlattis," The Music Review, XII, No. 3 (August, 1952) 194. 4 Kirkpatrick, 9ff. cit., p. 68. 5 and occasions. He was the private instructor of music for Don Antonio, younger brother of the King and Maria Barbara, the King's daughter and later Queen of Spain. A pupil who was much respected by Scarlattl and known still today was Carlos Sexias. He and Domenico are believed to have in- fluenced each other to some extent in their compositions.5 In 1724 Domenico Scarlatti returned home to Naples because of his father's failing health, and in 1725 Alessandro died and was buried in Naples. In 1728 Domenico Scarlatti and Catalina Gentili were married in Rome. He was forty-three years of age and she was sixteen. In the eleven years of their marriage five children were born. Catalina died in 1739, and her mother came to live in the household and help raise the children. Between 1740 and 1742 Domenico married a native of Spain named Anastasia and four children were conceived of this marriage. Scarlatti was appointed music master to Maria Barbara at her request, and in 1729 they traveled to Spain where Maria Barbara married Fernando VI, heir to the Spanish throne. Felipe V and Isabel Farnese were reigning at this time. Felipe suffered greatly from fits of depression and allowed his personal appearance to become quite slovenly. Carlo Broschi, who was known as Farinelli, was one of the greatest 51_ ,p 3 6 castrati of this time and he is credited with the curing of Felipe' s melancholy. For this therapy, Farinelli was hired by the Spanish court and received many riches, titles, and other rewards. Maria Barbara and Fernando wished that Domenico could also be honored, but were powerless to bestow awards; and because of a friction that existed between the Spanish rulers and Spanish prince and princess, her father, Joao V of Portugal knighted Domenico Scarlatti. Out of gratitude for this, Domenico dedicated his first collection of harpsichord pieces to Joao - the Esserc per Gravicembalo published in 1738 when Scarlatti was fifty-three years old. At the death of Felipe V in 1746 Fernando VI became King of Spain and his wife, Maria Barbara, Scarlatti's pupil, was Queen of Spain. Between 1752 and 1757 thirteen volumes of thirty sonatas each were copied out for the personal use of Maria Barbara, who was an excellent musician. Previous vol- umes were copied out in 1742 and 1749 for the Queen and another set of fifteen volumes containing mostly duplications of these sonatas was copied independently at the same time. The Queen's sonatas were bequeathed to Farinelli who took them to Bologna where he retired and lived with his harpsi- chord collection, each of the instruments having been given a Christian name. At his death and against the instructions of his will, the entire estate was dispersed, and in 1835 6 bid., p. 95. 7 these volumes of the Queen's sonat as were deposited in the Wiblioteca iarciana de Venice. This collection represents the most important single unedited source of the Scarlatti sonatas. Little has been recorded about Scarlatti's personal life, but it is known that he and Parinelli were most for- tunate to have been under the patronage of Queen Maria Barb ara. Parinelli informs us that Domenico Scarlatti, an agreeable man in society, was so much addicted to play, that he was frequently ruined, and as frequently relieved in his distress by his royal patroness, the Queen of Spain, who was constant in her admiration of his original genius and in- comparable t alents. He died in 1758 at 76 1757 at 72J very bad circumstances, leaving a wife and two daughters totally unprovided of a sub- sistence; but the queen extended her liberality to the ftmily of the old master, and settled a pension upon them early equal to Scarlatti's own court appointment. 7Charles Burney, "Domenico Scarlatti," The ycloedia or ;iris a aar g r, Sciencs a ndLiteraur cit e din Frak Walk er, gj. cit., p .19 CHAPTER II THE STYLE O THE SONATAS It is difficult to place Domenico Scarlatti in a definite musical epoch in spite of the fact that his life span coincided almost exactly with that of J. S. Bach and Handel. The music of the Baroque era is often character- ized as predominantly contrapuntal while Kococco and Classical music is stylistically more homophonic. Scarlatti's harpsichord sonatas are in general homophonic -- a single voice with chordal accompaniment of broken chord figures. Numerous examples can be found of his sonatas which begin fugall, but quickly the polyphonic writing is dissolved into Scarlatti's characteristic homophonic style. Although his style portends the later homophonic writing of Haydn and Mozart, he lacks their balance and evenness of phrase length and construction, and his subjects are less lyrical and more rhythmi cal. As we get to the later men in this group late Baroque) it becomes increasingly hard to draw the line between the late Baroque and early Classic. Our chief external sign of the Baroque, the presence of the basso continue part, becomes less and less of a reliable style indicator. . . ntWhether a composer proved to be mainly a follower or leader helps to place him when that fact can be established. Partly 8 9 on that basis, Domenico Scarlatti, exact contemporary of J. S Bach is saved here for the Classic Era. Most of the harpsichord sonatas of Scarlatti can be said to fall into the binary form and to consist of one movement. The most obvious exceptions are five fugues, two organ voluntaries, one set of variations, three rondos, and seven movements written to be parts of various multi- movement sonatas. A great number of the sonatas do not conform exactly to any typical or stereotyped form, but a basic scheme has been devised by Ralph Kirkpatrick and helps illustrate the proportional similarities to a classical 2 sonata. CLASSICAL ONATA CARLATTI SONATA Exositio: First : First theme, subsidiary BASIC Opening, central section material, extensions (continuation, transition, and transitions TONIC pre-crux) ------(Crux Second theme, subsidiary CLOSING Tonal section material, extensions, (post-crux, closing, furtl her closing theme, or themes TONIC closing, final closing) Development: MODULATION Second Half: Opening (optional) Excursion R cpitulation: Optional restatement of First theme, subsidiary pre-crux or also preceding ma erial, extensions material o------m(ru) William S. Newman, The Sonata in the Baroque Era (Chapel Hill, 1959), p. 10- 2 Kirkpatrick, 2Z. c., p. 254. 10 Second themes BASIC Restatement of tonal subsidiary material, section (post-crux, closing, closing theme or TOIC further closing, final thiem es closing) The term crux refers to a specific point (not a section) before which the basic motives associated with the opening of the sonata are heard and after which the section (or half) can definitely be felt moving toward the closing cadence even though it may be some distance away. Unlike the three-part form of the classical sonata (exposition, development, re- capitulation), the Scarlatti sonata has two similar sections separated bya double bar. The two central sections (each preceding the crux) often include complete development sec- tions within themselves. Scarlatti was the first composer to establish definitely a procedure of recapitulation in which the material that had appeared earlier in a foreign key would be found near the end of the movement in the key of the tonic. 2 These sonatas have long eluded an academic formula that could be universally applied. Kirkpatrick's formula is no exception; it is effective only when a great number of options and exceptional cases can be allowed. Scarlatti's treatment of the binary form is as interesting and varied as is his harmonic style and underlines the idea that he was not bound by any particular intention or procedure. Scarlatti was the first who dared to give way to fancy In his compositions by breaking through the contracted prohibitions of the. rules drawn from dull compositions produced in the infancy of the art, and which seemed calculated 3 Philip Radcliffe, "The Scarlattis," Hertae of Music, II, (London, 1934), 28. 11 merely to keep it in that state. Before his time the eye was made the sovereign judge of music, but Scarlatti swore allegiance only to the ear. Charles Burney, An $iE hteenth CenturZ Tour in Central Europ eaand theNtherla d oln, 1959),P T . CHAPTER II HARMONIC STYLE The sonatas used for investigation in this chapter are drawn from a group of sonatas which originally appeared in Volumes III and IV of the manuscripts now located at the Bibliotheca Marciana in Venice. These volumes consist of sixty single-movement harpsichord sonatas in binary form. This particular group was chosen because it contains those sonatas considered to be the best of his middle period. Having muc in common with both his earlier and later works as a group they are probably the most representative of Scarlatti's entire output. Longo2 numbers are used in the present discussion since they are the most universally employed method of identifica- tion of these sonatas. Longo arbitrarily arranged and numbered the sonatas in suites rather than by chronologv in his edition. The scores edited by Longo are used in this research. Though deletions were made by Longo, the original 'Kirkpatrick implies this evaluation in his general observations of the complete set of sonatas. Kirkpatrick, 2 ciit., t. ppi. . ue4-49 2Italian pianist and musical editor (1864-1945). 12 13 text is indicated in footnotes at the end of each sonata and is used here in preference to Longo's revisions. Most of Longo's changes were made in order that these pieces, originally written for harpsichord, would sound better at the piano. Certain practices found in this composer's style as- sert themselves as being typical of Scarlatti, but unusual to the student of his sonatas. His uses of modal writing and dissonant harmony are examples of characteristics which separate Scarlatti from his contemporaries. Much of his individualism has been traced to a Spanish influence. One of the greatest composers who ever lived in Spain was Domenico Scarlatti, and considering the years spent there and the amount of music he wrote, it would be no more unreasonable to con- sider him a Spanish composer than it is to describe El Greco as a Spanish painter.3 Modality In his love of repetitious patterns, Scarlatti typifies his period, but his treatments often set him apart. One of the most recurrent of these figures is a construction based on alternating minor iv and major I chords, moving so as to produce a Phrygian cadence. This procedure is often cited 3 J. B. Trend, Manuel de al la and Spanish Music (New York, 1934), p. 148. nMajor triads are indicated by the appropriate Roman numeral in upper case and minor triads by lower case numerals. Diminished triads are indicated by the lower case numeral and the sign 0 ;for example,vio. 14 as a Spanish trait when it is, as in Scarlatti, a basic motion. . . . he emphasizes the tonality of the second subject by laying stress on its dominant and sub- dominant and postponing any emphatic expression of its tonic until the cadence is reached . . .. It produces an effect of singular pathos sugges- tive of the Phrygian mode, and lends color to the interesting theory that Scarlatti was influenced by music heard during his sojourn in Spain. The Phrygian mode during the sixteenth century was favored by composers in Spain more than elsewhere on the continent. The following example is inB minor; and while the bass changes from V to :v 6 , the dominant harmony sounds through the treble, producing a polychordal spelling on the second beats of measures twenty-nine and thirty. Fig. 1--Longo 180--iv-V Phrygian cadence Parallel motion in fourths and fifths occurs frequently when the iv and V chords are stated in root position. Ex- amples of this can be seen in Longo 257, measures sixty-eight and sixty-nine, Longo 256 beginning on measure eighty-nine Radcliffe, 2p. cit., p. 30. 15 and the following figure. ', , ______ r V r Pig. 2--~iongo 202 Parallel fifths between iv and V chords Scarlatti is apparently not inclined to allow this figure to appear always unadorned, and as a result, many variants appear. The following excerpt modulates between b V- and e: viii-i.-. The figure in measure twenty- three can also be analyzed as a contraction or compression 6 of a .7-V Phrygian cadence in e minor on the first beat. . - -- " ""t 1 , P)r 1--7-1 1 ' ITdx- -4f- -Ilia, fir- I F AOL0% Fig. 3--Longo 273--Modulating Figure based on Phrygian cadence. Phrygian characteristics appear in other constructions besides the iv-V motion. Following is a passage which has, [irkpatrick, y. cit., p. 235 16 despite a recurrent G sharp, the harmonic characteristics of the Phrygian mode built on . -~ + ('L Litt- i r A I m______4--. L L.2II~ a . . a r 417-J,~ 1. V~ ..I[ I 1 Fig. 4--Longo 257 Resembles pure Phrygian mode Perhaps the purest example occu 1ng in this particular set of sonatas is the first six bars (measures eighty -five through ninety) of Figure 5. The following six bars (measures ninety-one through ninety-seven) are also quoted, as they are representative of the characteristic adjacent chordal motion, in this case VI-V over a pedal V. The most striking feature of Southern Spanish song. . . of the kind prelude to a Pandang . . . is the characteristic cadence: la, sol, fa, mi. 'he melodies of the fandango and its derivatives . . . seem all to move in a harmonic atmosphere depending upon this "Phrygian" cadence, ending on what is apparently the dominant which the guitar emphasizes in a way that leaves no doubt as to the effect intended . . .. It occurs on several occasions in the harp sichord sonatas of Domenico Scarlatti.7 Trend, 92. cit., pp. 42-43. 17 rirt I I-W4- rmnw"-!= 4r Irv MM C j. I A 71 NBC .. It. IF I I 7F - - I - Uff., - ___. -F i -qgw. -; -aim W jqIL ~II~F i I I W T " 7 ' A .. -- I '' I,,- I I ---- I.---- 0111 1 L, - -1 1 1 J... Y-1 -#H 11 1 Of I U I 1 f -low- 4-1 ,ii Fig. 5--Longo 260--Phrygian cadence and dominant pedal. Other distinctive modal treatments or combinations appear besides the Phrygian passages, but are most often isolated cases and are not representative of any general tendencies. The following is a natural minor scale in B minor occuring in one register (left hand) against the major scale of the same key with one added note. 46 Fig. 6--Longo 257--Major and minor scale in contrary motion. 18 Leading Tone Function of Lower Neighbor Tones Another interesting practice of Scarlatti's is his fre- quent use of raised lower neighbor tones, particularly in conjunction with the second, third and fifth members of the key, as if to endow them with leading tones to give extra emphasis. An extreme example of this type of alteration is seen in Longo 309, figures 7 and 8. In this first excerpt the tonic and dominant tones are preceded by raised lower neighbors and the subdominant is treated similarly with its diatonic lower neighbor. In the second example, Figure 8, the second scale degree is preceded by a raised lower neigh- bor and the tonic by its diatonic leading tone. Figure 7 shows, in each of the first three beats, the leading tone effect in the second and third division of each beat, which are as follows: leading tone of tonic, leading tone of subdominant, and leading tone of dominant. At the same time, the left-hand counterpoint outlines the I-IV-V harmonic movement, but IV and V are delayed one beat which results in some very eccentric contrapuntal writing. I; J I ig. 7--Longo 309--Leading tone effect on first, fourth, and fifth. 19 4 J011 Fig. 8--Longo 309-Leading tone effect on first and second. A different application of this technique is found in Figure 9. The melodic minor scale in A is found in the range E to E bounded by a D sharp below and an F natural above as non-harmonic tones. The P natural may also be justified as a chord member as well as a descending melodic minor alter- ation (but the conventional alterations of the sixth and seventh degrees descending are not found in measures forty- three and forty-seven). Thus the D sharp in measure forty- four opens the way for the E major harmony, producing a most unusual cross-relationship with the iv chord (measure forty- three), and the F functions as a chord member in measures forty-three and forty-six. Both notes are also used melodically as turning points for the scale movement. It is interesting to note that the left-hand chord in measures forty-three, forty-four, forty-six and forty-seven is better analyzed as a iv chord in this particular context rather than a 15 , because Scarlatti's frequent use of IV-V parallel movement and the common practice of suspending elements from 20 one chord to the next (in measures forty-two and forty- , three suspending the fifth of the V triad, 3, into the iV triad). J I I SWAN s, a Air fit Mw w-4d Ahk AVW flF J-7- J -F flit PF "Am IF1 it Fig. 9--Longo 342--Non-armonic tones are turning points of scale motion. The following scale figure in contrary motion is nor- mally executed except for the raised lower neighbor to the dominant (E sharp--F sharp, measure fifty-five). This introduction of E sharp delays the progress of the upper line so that the contrary motion of the two lines will re- solve simultaneously on B (measure fifty-six). 21 ,ig. 10--Longo 273-- Raised fourth degree delays upper voice progress. Chromatic motion is often used to introduce modulation. In Figure 11, modulation up a third occurs in every other measure and the altered tones move chromatically into new keys in the following pattern: beginning in the key of B flat minor the D natural in measure forty-seven leads to the supertonic note (fifth of the V triad) in D flat, the next E natural to the third of the tonic, and in measure fifty the E and G natural move to the root and third of F minor respectively. Here the sequence begins again with the A natural in measure fifty-one leading to the super- tonic note in A flat. 444, 22 Fig. l--Longo 281 Alterations introduce modulation. Chromatic alterations, especially leading tones to various scale degrees, are often introduced and used con- sistently in scale passages and chords without affecting the key. The following passage in A minor twice uses a raised fourth scale degree in the upper voice (leading- tone to the dominant) and a natural fourth scale step in the bass. Fig. 12--Longo 178 Raised fourth scale degree Alterations in Figure 13 produce mi, fa, si, la harmonic minor tetrachords with alternating final tones on A and 2. 23 The upper line is doubled by the lower line at the interval of a sixth and is treated in a silar manner harmonically. Fig. 13--Longo 62 Upper harmonic minor tetrachords. A scale line consisting of chromatic neighbor tones with their principal tones is an underlying constructive device in the formation of the closing theme from Longo 124 in Figure 14. Beginning on F sharp (diatonic lower neigh- bor to G) the pattern runs upward over the fourth, fifth, sixth and tonic (D) scale notes and their respective lower raised neighbor tones (diatonic neighbor tone of tonic) in ascending order. It is interesting to note that this melody of four beats duration regenerates itself without pause in the three-four time resulting in an interesting shift of accent. -/7' 9 7S rzT zzA1 Fig. 14---Longo 124--Raised lower neighbor tones and principal tones produce melody. 24 Mo dulation The Scarlatti modulations are not considered unortho- dox either because of their intracacies nor evasions of tonic. For the most part, one of two characteristic inclinations may be found to underlie a great percentage of his modulatory writing. The first is the tendency, as in a development section, to modulate through many keys and return to the original without a rhythmic pause. The second trait is an abrupt type of modulation caused by a juxtaposi- tion of harmonically distant elements of the old and new keys so that a pivot chord is omitted. Cylic Modulation Scarlatti's methods of modulating from the key of his first subject to his second are often delightfully roundabout and inconsequent. Sometimes in their unexpectedness they are sug- gestive of Schubert. A good instance occurs in the Sonata Longo 44 and 124 Qigure lf. It is not only in the inconsequence o some of Scarlatti's modulations that anticipates Schubert, but also of their clarity. Even in a chain of rapid transitions . . . thg tonality is never for a moment obscured . . .. The modulatory passage in Figure 15 begins in G and moves into 0 in measure 107 and F in measure 113 (though the tonic is never sounded) and briefly into A flat at bar 121. The recurrent C in the treble beginning at measure 124 is an anticipation of the C dominant seventh in measure 128. The D flat (C sharp) carried from measure 129 is 8Radcliffe, p. cit., p. 31. 25 anticipating the entry of the V chord in D (measure 135). At measure 131 the iv chord of DJis introduced and resolves in a Phrygian cadence to the V. The passage quickly moves back to G which carries through the remainder of the work. i40, / 40 W&WI-k I L- - " - ' - A I t f:ji A frrTrt.rr- LL44J Li I f r-/ f I4Lh I - I AL Ah AL F"W r A l 4;~ -o1 a ( - A '' 'd -4 zzIM 1L4 ''-J f erg o I I o q-T 26 k r. _&r -IA6 . - t L 1 g rl 4 / !.. r i 1_ ' i 7 7 naIJJ."F 1_IN IL 1 i iyn A [ f 1 --- L R ..-- tom 1 & T' JL- - fill - - fill t Al E r t t All -.f Z4 0 1] /N V- " Fig. 15--Longo 124 Cyclic Modulation. Other examples of a similar, cyclic type of modulation My be seen in Longo 259, measures three through sixteen and measures eighty-seven though ninety-six (Figure 16). In measures eighty -nine, ninety-one, ninety-three, and ninety- five there also occurs some unusual motion in parallel fourths. The passage begins in F sharp minor and modulates back to this key by sequence. qo No-M (71A 1 4 1 Tm F=1 1 ______- Al Al -tlf 4.1 -a7 93F I T' '!' r -+Fwr- t-I ' Fig. 16--Longo 259 Cyclic Modulation. 27 The use of several altered chords within a key can induce an apparent key change as in Figure 17. This pas- sage is a I Iv i V I progression in 0, but addition of minor sevenths to' the tonic and supertonic chords and a change in modality from major to minor of the I chord and minor to major of the II chord produces a tonicization of F minor and G minor before C is re-established. ;.r IrvOf FTI -- - - - igLO-~ng 0 Pig. 17--Longo 409 Tonicization of IV and V. Prepared Modulation In Longo 308, measures seventy-nine and eighty, a progression from the V of Eminor to the IV of G major re- suits i the parallel harmony B D sharp F sharp--C E G. 28 Another progression in Sonata 308 (Figure 18), occurring at the double bar, is from the i in A minor -to the V i nor and is further intensified by the melodic leap of an augmented octave with similar notion occurring between the two parts. Fig. 18--Longo 308 Abrupt modulation. Figure 19 is an example of an unprepared modulation entering as a resolution to a i, i 6 , iv, ij, V cadence. The expected D minor resolution appears as a diminished triad and in second inversion. It thus appears that the cadence is truncated at the dominant chord and an excursion into C minor is then inserted beginning on the 11 chord. Fig. 19--Longo 49 Truncated cadence. 29 General Types of Dissonance The following discussion and examples are representa- tive of some basic tendencies which underlie much of Scarlatti's more dissonant harmonic procedures. Ply;chordal Pro ssions Frequently a portion of one chord will carry over into the following one and perhaps even further. Often in an ex- tended progression notes from several chords will accumulate this way producing thick and dissonant vertical spellings. The effects of harmony produced unconsciously by guitarists in Andalucia are among the marvels of untutored art . . .. Rasguear, ' thrumming," consists of repeated chords in which all the five or six notes are seldom changed at once, and the notes which are held on--to steady the hand--produce an "internal pedal-point t " such .s we find in the sonatas of Domenico Scarlatti. Figure 20 shows a I V I cadence with the E retained from the I to the V chord. This is a very common pattern and occurs in almost every sonata. Fig. 20--Longo 133--Tonic sustained into dominant chord. 9Trend, 2. cit., p. 41. 30 Another common figure is the progression where a har- monic movement is temporarily compressed into a smaller number of beat units (although these units may be repeated a number of times). In Figure 21 a leading tone in the trill (implying v) sounds over a broken IV harmony shortening the I-IV-V-I cadence by one harmonic integer. 97 Fig. 21--Longo 133 Compressed cadence. Measure twenty-seven of Figure 22 has many possible explanations. It could be regarded as a compressed ,W- iiQwi cadence of the key of B minor, as V-viio progression with a pedal B, or a compressed V-iv-I progression. Measure 6 4 twenty-eight, in A minor, contains a V5-1iv movement hic could also be a V 6 5 motion into a compression of iv and i. 31 4 Ar ILA A, If r t 27 All T: 1.94: 41t. 'A A r JFF Fig. 22-Longo 446 Chord compressions. Dissonance Occurrl in Modulation After a modulation, notes are often retained from the first key which are not consonant in the new key. Disso- rant anticipations of the next key appear similarly. These elements are especially common in sequential modulations. The modulations in Figure 23 never display their tonics. The new key is always represented by its dominant seventh chord, but is first introduced by the sounding of its third scale degree on the fourth beat of the measure preceding the entry of the dominant of the new key. An example is the D natural on the fourth beat of measure fifty-eight antici- pating B minor, which is established one beat later by the appearance of the V chord in B minor. The rest of the pas- sage then moves sequentially in fifth-wise progressions resulting in a high incidence of harmonic dissonance. D2 jo r4 i L1 4 1 *J IN -h17 l it { G\' i\ t A r-it_ /--, J I 611 II + I Fig. 23--Longo Supplement #29 Dissonant anticipations of modulations. I Figure 24 the I in F major joins vii0 in G minor to which is added a G, the fifth of the dominant (supertonic) of F major and also a anticipation of the tonic, G (similar to the function of the non-harmonic-tone in the dominant seventh chord in Figure 25). In measure twenty-four a modulation to A minor occurs after a statement in G minor sequential to the earlier F major passage. This s accom- panied by a rhythmic shift in the location of the cadence. I 1'4 JL A.0 0-0 16 I 1h 33 Fig. 24--Longo 39--Sequential modulation with added note. Figure 25 appears to include three modulations which are displaced upward a major second each time. Each phrase is composed of a 7 chord with added inner tonic pedal al- ternating with a diminished chord built on the raised fourth scale degree. A dominant pedal is sounded throughout and the resolution of each phrase is to the dominant (measure forty-five). This modulation is not without pivot chords, however, as the P sharp tonality moves to relative minor D sharp (E flat) which then functions on the second beat of measure forty-six as the dominant to enharmonic A flat and similarly moves to F which functions as a dominant to B flat. With deference to Scarlatti' s practice of truncating a progression of two or more chords into a single sonority, the following analysis of measure forty-two is made by Ralph Kirkpatrick. First beat: C sharp (V) Second beat: C sharp, B (minor) (V, IV) Third beat: 0 sharp, P sharp minor, G sharp minor (V,TIV minor of V, V of V) 1 0 10 irkpatrick, p. cit., p. 236. 34 464 Fig. 25--Longo 323-- Stepwise modulation with pedal tone. Extended Tertial Harm Many instances occur in the Scarlatti sonatas where constructions or motions in tertial harmony are extended beyond the seventh. A number of these cases do not actually function as extended harmony when they are examined in re- lation to their context. Many figures of consecutive arpeggiated or broken thirds when considered accumulatively and independent of their accompanying harmony, resemble broken ninth, eleventh and thirteenth chords. Examples of this motion can be seen in Longo 159, measures twenty-four through fifty-five, Longo 259, measures 104-105. In the following example, which is a I-IV-V progression, the 35 figuration in the left-hand, measure 100-103, resembles a broken thirteenth chord. X114 A 1-41 Fig. 26--Longo 45Q--Broken thirds resemble thirteenth chord. 6 7 Fgure 27 consists ofa I-IV-vi -I - - .I progression in C major and produces broken ninth figures in the left hand. The left hand outlines a six-four chord in each measure, but the bass moves down a step in the follow- ing measure immediately preceded by the triad of the preceding measure which produces a broken ninth chord without the third. AL I A I MI 1-1 1111 jo t A-1 I I T I I I 9 OFF, A F" it Pig. 27--Longo 202-- Arpeggiated motions downward form ninths. 36 Sequential ninth harmony is produced in Figure 28 by the use of an appoggiatura on the second eighth note of each measure and found in three successive measures. This appoggiatura is the same pitch as the third of the follow- ing chord, and therefore seems to anticipate this third. :i. 28--Longo 347-- Appoggiatura ninths. Ninth chord constructions often result from an oblique motion where the moving voice or section drifts away in a stepwise motion from the sustained voice. In Figure 29 beginning with an E major triad the B is retained and the two lower notes of the triad move down stepwise producing 6 7 9 6 a I-V-vi -V-IV -I progression. oil 7- x Fig. 29--Longo 371-- inth obtained by oblique motion. 37 Figure 30 contains two dominant ninth spellings. The first occurs in measures three and five (the repeated mea- sures are numbered) with a pedal tonic bass; the second, in measures nine and eleven, is arpeggiated in the left hand while the right hand holds the ninth for two eighth notes. it .. 49 aM -[ .. e ,. - l 9' - T W Fig. 50--Longo 450--Dominant Tinth Chords rm in ontrapuntal Combinations Interesting contrapuntal passages are frequently pro- duced by a combination of two patterns which are of dissimilar rhythmic duration. Earlier examples in this chapter which are of this type are the passages quoted in Figure 9, Longo 342, and Figure 14, Longo 124. The following example consists of 38 a harmonic minor scale of four beats duration repeated over a figure of three beats duration. Fig. 3l--Longo 4670-- Combination and repetition of unequal patterns. CHAPTER IV CONCLUSION Most of Domenico Scarlatti's harmonic progressions are quite orthodox when considered abstractly or free of their positioning in the score. The harmonic movement is given interest by subtle alterations in time; for example, (1) simultaneous upper and lower voices of different lengths, when repeated several times, change their relationship with each other; (2) one voice may be simply delayed so that it lags behind the other voice, thus combining to produce ir- regular harmonic sound on many succeeding beats; (3) the combination of two or more chords appearing on one beat is similar to number (2) but does not necessarily occur more than once. While some chord combinations are the product of an interesting procedure of harmonic development, other cases seem to be the by-product of other functions. The passages which contain inner pedal tones held through entire harmonic progressions and gradually accumulating from each chord pro- duce a harpsichord crescendo, where no mechanical crescendo is possible. Scarlatti gives an extra attention to the dominant chord in several ways: (1) the material which covers the 39 40 distance from the crux to the end of each section is mostly concerned with the dominant chord; (2) Scarlatti's concern with Spanish folk elements and their Phrygian mode results in the frequent resolution of a minor iv to major V. This establishes the dominant as a temporary tonal center, and the dominant tone is often found with a lowered upper neighbor tone even if the key is a major one. (3) The domi- nant many times is embellished with a raised subdominant which gives to it a leading tone. (4) Either of these two chromatic neighbor tones in conjunction with the dominant frequently becomes the basis for lengthy patterns which employ many of Scarlatti's rhythmic alterations. while these devices are among the most commonly used, a complete catalogue of the harmonic procedures occurring in every sonata would not only list these devices used in almost every conceivable way, but introduce many other seemingly unrelated procedures. Scarlatti frequently told Mr. L'Augier that he was sensible he had broke through all the rules of composition in his lessons; but asked if these deviations from these rules offended the ear? and, upon being answered in the negative, he said .that he thought there was scarce any other rule worth the attention of a man of genius, than that of not displeasing the only sense of which music is the object. 1Burney, Eighteenth Century Tour of Central Europe 17 75 p. 87. BItIOGRAPH Books Apel, Willi, asters of J eyboard, Cambridge, 4assachu- setts, Harvard university Press, 1947. Burney, Charles, ighteenth Trur in Central 2re and t Netherlands, London, Oxford Univer- siuy Press, 1959. A ighteenth e sor of France and Italy. London, Oxford University Press, 1959. Fillmore, John 0., 4 History of Pianoforte Music, London, T. Sonnensohein and Co., 1885. Hutcheson, Frnest, Literature f.the Piano, New York, Alfred A. Knopf, 1949. Kirkpatrick, Ralph, Domenico Sarltti, Princeton, New Jersey, Princeton University Press, 1953. e an, William S., e Sonata in the Baroque ra, Chapel Hill, University of North Carolina, 1959. Sitwell, Sacheverell, A Background frDomenico S arlati, London, Faber and Faber, Limited, 1935. Trend, J. B., deFaa and,aManuel Spanish lsi, New York, A. A. Knopf, 1939. Articles Malipiero, Q. T., "Domenico Scarlatti, " Musical Qterly, Vol. XIII, No. 3 (July, 1927), pp. 476488. Radcliffe, Philip, "The Scarlattis," tHertae of Is, edited by Hubert J. Foss, II (1934), 28-34. Walker, Frank, "Some Notes on the Scarlattis, " The Music Review, Vol. XII, No. 3 (August, 1952), pp 1 8 5-203. 41 42 Encyclopedia Articles Dent, E. J., "Alessandro Scarlatti, " Grove's Dictionary of M.usi and Musicians, Vol. IV, New York, Macitllan, 137. "Longo, Alessandro," Baker's Biographical Dicionar of Musicians, edited by icolas Slont sky, New York, G. Schirmer, 1958. Music Scores Scarlatti, Domenico, Complete RarpsicNord Works, edited by Alessandro Longo, Milan, G. Ricordi, 1951. Scarlatti, Domenico, SixtSonats, edited by talph Kirkpatrick, New York, G. Schirmer, 1953.