5~79 //£/ APPLICATIONS OF REDUCTIVE ANALYTICAL TECHNIQUES IN THE PHRYGIAN SETTINGS OF THE ORGELBUCHLEIN BY J. S. BACH THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Zilei de Oliveira Leite, B.A. Denton, Texas May, 1995 5~79 //£/ APPLICATIONS OF REDUCTIVE ANALYTICAL TECHNIQUES IN THE PHRYGIAN SETTINGS OF THE ORGELBUCHLEIN BY J. S. BACH THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Zilei de Oliveira Leite, B.A. Denton, Texas May, 1995 Leite, Zilei de Oliveira, Applications of Reductive Analytical Techniques in the Phrygian Settings of the Orgelbiichlein by J. S. Bach. Master of Music, May, 1995, 116 pp., 110 illustrations, bibliography, 70 titles. This study aims to two problematic aspects of the Phrygian mode: a. the development of a harmonic pattern at the cadence that differs from that of the other modes and of the major and minor modes as well; b. the observation that the Phrygian scale inverts all of the intervallic properties of the Major scale. The result of these two observations is that when the reductive techniques of Heinrich Schenker are applied in the Phrygian repertory, melodic and harmonic properties are brought into conflict with each other. However, application of alternative models of the Ursatz developed by Lori Burns has certain benefits for demonstrating musical properties in the Phrygian repertory. ACKNOWLEDGEMENTS The completion of this thesis would have been impossible without my God-given health and mind. The professional skills and humanistic characteristics of my major professor and advisor, Dr. Graham Phipps, in the achievement of this thesis cannot be overestimated. On the one hand, his suggestions and opinions have always been of the highest level of professional enlightenment; his guidance has always been directed in a patient and understanding manner. On the other hand, his readiness to hear my own opinions has encouraged me and helped me build confidence in my scholastic development. I also would like to thank the other members of my committee, Dr. Paul Dvorak and Dr. Jana Saslaw, who graciously gave me their valuable expert opinions and advice towards the completion of this study. Finally, I would like to express my gratitude to a very special person in my life, who has been the main support to all my endeavors. Mary Zeline Winsett not only came to my rescue several times when I needed financial support but also has been a constant source of encouragement both moral and intellectual. Her devotion to me and my work has seen me through the toughest challenges. 111 TABLE OF CONTENTS ACKNOWLEDGEMENTS iv TABLE OF CONTENTS v LIST OF FIGURES vii LIST OF TERMS xiii INTRODUCTION 1 CHAPTER ONE - PRELIMINARY REMARKS 13 Cadences with Two Voices 13 Cadences with Three Voices 14 Considerations about the Phrygian Scale IB Alternative Models for the Ursatze in the Phrygian Mode 24 CHAPTER TWO - ANALYSIS OF THE PHRYGIAN SETTINGS IN THE ORGELBUCHLEIN 32 Lob sei dem allmachtigen Gott (BWV 602) 33 Melodic Properties 33 A Closer Look at the Prelude Setting 37 Christum wir sollen loben schon (BWV 611) 43 Melodic Properties 43 A Closer Look at the Prelude Setting 47 Christus, der uns selig macht (BWV 620) 57 Melodic Properties 57 Further Melodic Aspects of this Melody 61 A Closer Look at the Prelude Setting 65 Da Jesus an dem Kreuze stund (BWV 621) 74 Melodic Properties 74 A Closer Look at the Prelude Setting 76 CHAPTER THREE - CONCLUSION 92 iv APPENDIX A - FOREGROUND OF EACH PHRYGIAN CHORALE COVERED IN THIS DOCUMENT IN ITS ENTIRETY 95 Lob sei dem allmachtigen Gott (BWV 602) 96 Christum wir sollen loben schon (BWV 611) 97 Christus, Der uns selig macht (BWV 620) 98 Da Jesus an dem Kreuze stund(BWV 621) 99 APPENDIX B - COMPLETE SCORES FOR THE PHRYGIAN SETTINGS COVERED IN THIS DOCUMENT 100 Lob sei dem allmachtigen Gott (BWV 602) 101 Christum wir sollen loben schon (BWV 611) 103 Christus, Der uns selig macht (BWV 620) 106 Da Jesus an dem Kreuze stund (BWV 621) 108 BIBLIOGRAPHY 110 LIST OF ILLUSTRATIONS Figure Page 1. Division of the modal scale 1 2. Modal scales that provided major triads on I 3 3. Modal scales that provided minor triads on i 3 4. Absence of harmonic link between the boundary tones of a Phrygian Ursatz .... 6 5. Schenker's viewpoint regarding the boundary tones in the Ursatz 7 6. Structural design of the Phrygian scale 7 7. Possible fundamental lines according to Schenker 9 8. Pitch registers 11 9. Cadences on C, D, F, G and A 13 10. Cadence on £ 14 11. Phrygian cadences 14 12. A third voice added to the two-voice cadential pattern 15 13. Dunstable, Beata mater ...15 14. Ockeghem, Ma maitresse 16 15. Application of the Burgundian pattern 17 16. Harmonic interpretation of the Phrygian cadence 18 17. Comparison between E-major and E-Phrygian 19 18. Cadential drive in the major and Phrygian modes 21 VI Figure Page 19. Cadential closure both in major and Phrygian modes 23 20. "Plagal of plagal" relationship 23 21. Bach, Dies sind die heil'gen zehn Gebot (BWV 298) 25 22. Phrygian bass elaboration, an articulation of the subdominant triad 26 23. PH-IV 26 24. PH-IV paradigms 27 25. Nested plagal relation 28 26. A more intricate elaboration of the PH-IV progression 28 27. PH-LN and PH-UN paradigms 29 28. PH-VI paradigms 30 29. Different harmonizations for the 3-Zug (g1,/1, e') 31 30. Phrase 1 34 31. BWV 704, opening phrase 35 32. BWV 704, closing phrase 35 33. Phrase 2 35 34. Phrase 3 36 35. Phrase 4 36 36. BWV 602, phrase 1 38 37. BWV 602, phrase 2 39 38. BWV 602, phrase 3 40 39. BWV 602, phrase 4 40 vii Figure Page 40. BWV 602, middleground 42 41. BWV 602, background 42 42. Phrase 1 43 43. Phrase 2 44 44. Phrase 3 45 45. Phrase 4 45 46. Emphasis on/7 46 47. Emphasis on e' 46 48. Comparison between phrase 1 and 4 47 49. N°56 from The 371 Chorales of J. S. Bach 48 50. BWV 611, phrase 1 49 51. BWV 611, phrase 2 51 52. First harmonic support for 3 52 53. Second harmonic support for 3 53 54. BWV 611, phrase 3 53 55. BWV 611, opening of phrase 4 54 56. BWV 611, closing of phrase 4 55 57. BWV 611, middleground 56 58. BWV 611, background 56 59. Phrase 1 57 60. Phrase 2 • • 57 viii Figure Page 61. Phrase 3 58 62. Phrase 4 59 63. Phrase 5 59 64. Phrase 6 60 65. Phrase 7 60 66. Phrase 8 60 67. A metric analysis of the text 62 68. BWV 620, comparison among the eight phrases 63 69. Bach, Canon Perpetuus super thema regium 66 70. Harmonic support for 5 67 71. Harmonic support for 4 67-68 72. Prolongation of the A-minor triad 68 73. Second harmonic support for 4 69 74. Harmonic support for 3 70 75. The "mild surprise" 71 76. Harmonic support for scale degrees 2 and 1 72 77. BWV 620, middleground 73 78. BWV 620, background 73 79. Phrase 1 74 80. Phrase 2 74 81. Phrase 3 75 ix Figure Page 82. Phrase 4 75 83. Phrase 5 76 84. Cross-relation 1 76 85. Cross-relation 2 77 86. Cross-relation 3 78 87. Cross-relation 4 78 88. Cross-relation 5 79 89. Cross-relation 6 79 90. Cross-relation 7 80 91. Scheidt, XII. Psalmus ~ 2. Versus a 3 Voc. - Choralis in Tenore 81 92. Scheidt, XII. Psalmus — 3. Versus, Bicinium. Choralis in Cantu 81 93. Schein, Da Jesus an dem Kreuze stund 82 94. Schein, Vorige Melodey / in Contrapuncto 83 95. Lack of G as the harmonic support for 3 84 96. BWV 621, harmonic support for 3 85 97. BWV 621, harmonic support for 4 86 98. BWV 621, harmonic support for 3 and ^ 88 99. Chromatic elaboration in the progression from VI tovii 89 100. BWV 621, harmonic support for ^ and 1 • • 89 101. BWV 621, middleground 91 102. BWV 621, background 91 x Figure Page 103. BWV 620, secondary dominant in the background structure 94 104. Unfolding of the iv chord in a mirrored scale 94 105. Harmonies resulting from the contrapuntal forces within the Phrygian mode .... 94 106. BWV 602, complete foreground 96 107. BWV 611, complete foreground 97 108. BWV 620, complete foreground 98 109. BWV 621, complete foreground 99 110. BWV 602 101 111. BWV611 103 112. BWV 620 106 113. BWV 621 108 XI LIST OF TERMS Following is a list of terms, knowledge of which is of advantage for the reader in facilitating a smoother understanding of the topics presented in this study:1 • Auskomponierung - composing-out; horizontal unfolding of the tonic chord in the span of a composition. • Bassbrechung - bass arpeggiation in the sense of I - V -1 of the fundamental structure in the tonal repertoire; in this study, new ways of bass arpeggiation will be explored for the Phrygian mode (i.e.: VI - vii - f). • Kopfton - the primary tone (either 8, 5 or 3), which begins the descending line of the Urlinie. • Stufe - literally "scale step." Degree of the scale that has been accorded functional significance in the context of a given composition. • Teiler - divider. This term may be used in the sense of a divider of an octave, namely, the fifth, and may also be used in the sense of a divider of a fifth, namely, the third.