Professional Documents
Culture Documents
LEDUC
THE TECHNIQUE
OF MY
MUSICAL LANGUAGE
BY
OLIVIER MESSIAEN
Prof~ r at the National Conservatory 0/ Music
T rln. L.ted by
JOHI'I S,\T'J'[UltlD
Al1'HONSE LEDUC
.ditiOIUl MUlic::al.et, 175. rue Saint-Honor~
PA R I S
THE TECHNIQUE
OF MY
MUSICAL LANGUAGE
BY
OLIVIER MESSIAEN
ProfUJO, at the Na tional Conx.rvalory 0/ Mwic
T ran,l,ted by
JOHN S"'TTnflELD
ALPHONSE LEDUC
tditiona MUlicalet, 175. rue S.int-Honor~
PA R I S
(I ) TrOfl,lalo, ', noft. - An ~Ie( t tonlc 1'lItrum~nt. Martenot II t h~ nam~ or the Inv~ntot; andr II th~ Fno nf h tqu\v.ltnt
or !DOW.
-8 -
not Bentiment. I shall content myself, on this last point. with citing an article in which I
formerly glorified sacred music. After having asked for" a true music, that is to say, spirit-
ual, a music which may be an act of faith; a music which may touch upon all subjects without
ceasing to louch upon God; an original music, in short, whose language may open a few doors.
take down some yet distant stars, " I stated that .. there is still a place. plainchant itself
not having lold all." And I concluded : .. To express with a lasting power our darkness
struggling with the Hol y Spirit, to raise upon the mountain the doors of our prison of flesh, to
give to our century the spring water for which it thirsts, there shall have to be a great artist
who will be both a great artisan and a great Christian." Let us hasten by our prayers the
coming of the liberator. And, beforehand, let us otTer him two thoughts. First, that of
Reverdy : .. May he draw in the whole sky in one breath I" And then that of Hello : .. There
is no one great except him to whom God speaks, and in the moment in which God speaks to
him ...
2) I do not want to close this introduction without thanking: - my masters: J ean and Noel
Gallon, who stimulated in me the feeling for the" true" harmony, Marcel Dupre, who oriented
me toward counterpoint and form, Paul Dukas, who taught me to develop, to orchestrate, to
study the history of the musical language in a spirit of humility and impartiality; - those who
influenced me: my mother (the poetess Cecile Sauvage), my wife (Claire Delbos), Shakespeare,
Claudel, Reverdy and Eluard, Hello and Dom Columba Marmion (shall I dare to speak of the
Holy Books which contain the only Truth?). birds, Russian music, Debussy's Pellias et M i li-
sande, plain chant, Hindu rhythmics. the mountains of Dauphine, and finally, all that evokes
stained-glass window and rainbow; - my most devoted interpreters : Roger Desormiere
(orchestra co nductor), Marcelle Bunlet (singer), ~tienne Pasquier (violoncellist), Yvonne
Loriod (pianist); - finally. all who induced me to write this work and particularly my friend
Andre Joliv ~ t.
CONTENTS
PREFA CE . . . . . . . . . . . . . . . . . . . . . .. 1
3) B inary Smtence . 3.
4) Ternary Sentm et . 3.
5) L ist of M elodic Ptriods. 39
CATilLOGUE OF WORKS . . . . . . . . . 71
CHAPTER I
Before co ntinui ng. I pause to specify that in my mus ic, a nd in all the examples
of this treat ise, the val ues are always nola ted very exactly; hence. whether it is
a question of barred passages or not, t he reader and the perfo rmer have only to
read and execute uaclly the values marked. In the passages not barred, which
8rc the most numero us, I have saved t he use of t he bar lin c t o mark the periods
and t o give an end to the effect of the accidentals (sharps, flats, et c.). If you
des ire more ample information, refer to Chapter VII : .. Rh ythmic Notations ...
I) Am.trical Music ( I)
Maurice Emmanuel and Dam Mocquereau knew how t o illuminate, th e- form er,
the variety of the rh ythmic patterns of ancient Greece, the latter, that of the
neumes of piainchant. That va riet y will instill in us already a marked predi-
lection for the rhythms of prime numbers (five, seven, eleven, thirteen, etc .).
Go ing furth er, we sha ll replace the notions of .. measure" and" beat" by the
feeling of a short value (the sixtee nth-note, for exa mple) and its free multiplica-
tions, which will lead us toward a. music more or less .. ametrical, .. necessi-
tating precise rhythmic rules. Recalling that Igor Stravinsky, consciously or
unconsciously. drew one of his most striking rhythmic procedures , the augmen-
tation or diminution of one rhythm out of two: namp)e 1
(diminution of A at the cross, B does not change) from the Hindu rhythm
simhauikridila : eumple 2
1) Rlcavardhana
Carngadeva, Hindu theorist of the thirtee nth century, has left us a table of a
hundred and twenty deci -tdlas, or Hindu rhythms (2). We find in this table the
rh ythm ragavardhana : .umpl. 3
( I ) Trarulalor', nolt. - The phrase. .. ametrical mu sle " 1$ ht re used t o mean a mUl le with fret, but pr~ d st , rhyt hm le
p ~ tlen\s,l n oppo$Ulon t o" measu red " (I. t . equally barred) music.
(2) Trarulalor" nole'. - The tab le may be found In t he Encvc10pldit dt la mu.iqut tt d fcUonnaiu du con,uva/oirt , eds.
A tbert Lavlgnae and Lionel de la Laurencie (Pa ris: Delagrave, 1913-1931). Part I, Vol. l , pp. 3011T. RdgofHlrdhanail
num be r 93. SimhollikrtdUa II numbn 24.
- 15 -
Let us revene this rhythm : aampl. ,
Thus reversed , it co ntains three quarter-notes (A) and three eighth-notes (8) .
classic diminution of three quarter-notes; {urther, the dot added to. the second
eighth (at the cross). which renders the diminution in exact . opens to us a new
perspective of augmentation or d iminution (b y addition or withdrawal of the
dot) and, above all , constitutes an added valu e; fin all y. the fragment B is a non-
retrogradable rhythm : eumpl. 5
I) Added Value
What is the added valu e? It is a short value, added to any rhythm whatsoever ,
whether b y a nole, or by a rest, or by the dot. Let us suppose three very simple
rhythms whose unit of value will be the eighth-note: eumple 6
Let us transform them by the added value, added to the first of these rhythms
by a note: esample 7
In practice one will rarely hear the simple rhythm before addition of the added
value; the rh ythmic pattern will almost always be immediately provided with
the added value.
The same character. The added values a re again ind ica ted by the crosses. example 12
An exa mple writte n entirely in the sixtl! mode of limited transpos itions (see Chap-
ter XVI). The brackets mark the large rhythmic divisions: seven eighth-notes.
eight eighth-notes, seven eighth-notes. Added val ues (at the crosses) just com-
plicate these divisions. We shall speak of this example again in r a ragraph 3. example 13
The rh ythmic preparation precedes the accent, the rh yt hmic desce nt follows it.
We sha ll find this idea again in Chapter XV, laken in the melodic sense. T here
the appoggiatura will grow to the point of becoming the combi nation : " upbeat-
accent-termin ation." There is an evident analogy betwee n melodic upbeats a nd
terminations on the onc hand . and rhythmic preparations a nd desce nts on the
other. The added valu e ca n change considerab ly the aspect of th ese last. In
the preceding examples let us notice: - in example 12 (" les bergers .. ) : at B,
accents, at C, desce nts, at A, rh ythmic preparations elongated b y add ed va lu es
(at the crosses) - in example 13 (" Danst dt fa /urtur, pour fes stpl Irom-
ptltts ") : at A, the added va lues (at the crosses) slacken the desce nts by elon-
gating their penu ltimate note.
Another example of preparatio n thus elongated ; at A, acce nts. at B. descents,
at C. preparation (added value at the cross) : esample 14
This theme, which is completely a descent, would normally have been obliged
to finish thus : esample 19
Simple rhythm in A; the same in B, all notes dotted; at the cross, added value.
An example of diminution by withdrawal of the dot: "'!:umple 22
Each example situated at the left of the table presenls fi rst th e normal rh ythm,
then its a ugmenta tion ; each example situated at the right of the table prese nts
first the normal rh ythm, then its diminution. e:u.mple 24
4) Inexact Aurmentations
We saw in Chapter II, article I, the augmentation of one rh ythm out of two,
which already gave a presentiment of the present pa ragra ph. Here now a re
some examples of more striking inexact a ugmentations. First exa mple : e:u.mpl. 2S
At the cross, added value; B is the augmentation of A, C is the a ugmen ta tion ofB;
the normal a ugmentation would be : .:ampl. rt
Let us notice furth er in this passage the use of the six-four cho rd with added
sixth and added augmented fourth (see Chapter XIII).
With very inexact augmentations or diminutions, one arrives at making
rhythmic variants ra ther than a ugmentations or diminutions properly so called.
CHAPTER V
Outer values identical, middle value free. All rhythms of three values thus
disposed are nonretrogradable : example 31
If we go beyond the figure of three values, the principle grows, and we should
say : all rhythms divisible into two groups, one of which is the retrograde of
the other, with a central common ualue, arc nonretrogradable. eumple 32
- 21 -
Th e group B is the retrograde of group Ai the quarter tied to a sixteenth-note
(ce ntral value whose duration ('quaIs that of five sixteenth-notes) is common
to the two groups, A sucl'c!lsion of nonretrogradable rhythms (one per meas-
ure) : esampl. 33
is repeated a nd, from th is fa ct, goes through some important rhythmic variants.
The superposi tion of several complicated rhythms will often make it necessary
for us, in the course of this cha pter, to gather our rhythms into one meter.
Explanation of this term: it is a question, by means of syncopes, of writing in a
normal met er rhythms which have no relation t o it. By mu ltiplying th e indi-
ca tio ns of slu rs, dyn amics, accents, exactly where we want them, the efTect of
our music will be produced upon the auditor. (This notation has th e fault of
being in contradiction to the rhythmic co nceptio n of the composer, and we
shall return to this subject in Chapter VlI; but certa in examples ca nnot be
written otherwise.) For the comprehension of the reader, before the measu red
examples - and notating it as it has been conceived, that is. without meas-
ure - I shall write separately each rhythm dest ined to be superposed after-
wards on one or severa l others.
All the rhythmic forms detailed in t he preceding chapters are co nst an tly mixt!t1
in practice. It is also interesting to superpose them, and we arrive thus at a
rather thorough polyrhythm. Our first essay in polyrhythm, the simplest , the
most childish, will be the superposition of two rh ythms of un equal length ,
repeated until the return of the combination of departure. In the following
example (which is written in the third mode of limited transpositions - see
Chapter XVI) the upper part repeats a rhythm based. upon the addition and the
withdrawal of the dot (see Chapter IV) and of a t otal of t en sixteenth-notes;
the chords of the lower sta fT repeat a rhythm of ni ne sixteen th-notes; it will
require nine repetitions of the upper rhythm a nd t en repet itions of the lower
rhythm to find again the combination of departure eu mple 3S
I have abb reviated the quotation. Another example. Fi rst rh ythmic succes-
sion : eu mple 36
Let us now combi ne this series with repetitions oC the initial rhythm, while
The brackets of the upper part (series of the difTere nt forms of augme ntation and
diminution) mark these difTerent forms ; the lower part repeats the initial rh ythm.
all the chords oC the middle stafT arc written in the third mode of limited trans-
positio ns : eumple 4S
and the bass (pedal part, which sounds an octave higher than the notation) uses
the whole-tone scale. There is. lhen, a superposition of t hree modes of limited
transpositions. We shall remember this example in Chapter XIX (" Po lymo-
dality ").
From the rhythmic point of view : the right hand repeats the rhythm : example 46
There are three rhythms which are repeated indefatigably, in ostinato. This is
the principle of the rhythmic pedal, and here we are in the presence of three
superposed rhythmic pedals, the second being the retrograde of the first, the
third befng nonrctrogradable.
From A forward , the entrances. in right ~hythm, of the chords of the upper staff
are shortened by losing values progressively, following the principle of deve lop-
ment by elimin ation (see Chapter X, article I). From B forward, the entrances,
in retrograde rhythm, of the chords of the middle staff are deprived of the
eighth-rest which was separa ting them and are contracted in the same manner.
The nonretrogradable rhythm of the bass does not change.
4) Rhythmic Canons
They may exist without the presence of any melodic canOIl. Here is an
example: eumple 49
Upper statT : the right hand repeats 1l melodic and harmo nic succession of six
chords; lower statT : the left hand repeats a melodic and harmonic succession of
five chords, the whole entirely independent of the rhythmic canon established
between the two hands at a quarter-note's distance. At A, the canon ends.
Use of the added value (at the crosses) and superposition of the modes of limited
transpositions, number 3 (chords of the upper staff) over number 2 (chords of
the lower staff) - see Chapters XVI and XIX on the subject of these modes
and polymodality. At B, use of the sixth mode of limited t ranspositions, creat-
ing a modal modulation and placing the entire passage in A major.
Another example: example 50
rh ythmic divisions of it. By reproduci ng them over each part of example 52,
we facilitate t he view of the triple canon. The latter takes place twice in the
example, and the reprise indicates that one call repeat it to infinity. esample 52
Wh y not write, also, rhy thmic ca nons by augmentatio n or diminution, using the
forms classiHed in Cha pter IV, article 3? Let us try a canon b y t he addition
of the dot. Proposi ng rh ythm, of a total value of t hirteen eighth-notes (prime
number) : .ample 53
a~ . By reproducing over each part the letters which marked the rhythmic
Let us lry a canon of nonretrogradable rhythms . Let us recall exa mpl f' 33 of
Chapter V : succession of nonreLrogradable rhythms (o ne per measure) ; example 58
7) Rhythmic Pedal
Rhythm which repeals itself indefatigably. in ostinaLo - I was say ing in para-
grap h 3 - without busying itself aboul the rhythms which surround it. The
rhythmic pedal , then, call accompany a music of e ntirely diflcre nl rhythm;
or mingle with it as in exa mple 3 10 of Chapter XV; again it can be super posed
~pon other rhythmic pedals (see exa mpl e 43 of Chapter VI). Let us co nsid er
now the following fragm ent : eumple 60
Th e clarinet sings the principal melody (do not forget that it sounds a t one
lower th a n the nota tion). The light formulas of the violin create a seco nd ary
counterpoint. The harmonics with vibrato of the violoncello, wh ic h sound two
octaves higher than the notation in round notes, are a first rhythmic pedal ,
whose airy sonority en velops and unifies all the rest in its mysterious hal o;
here is the rhythm of this pedal: example 61
We recognize the succession of its valu es. already commented upon in Chapter V.
In At B. C, D, four expressions of the rhythmic pedal. In H and It the first two
repetitions of the twenty-nin e chords.
Let us look anew a tlhe chords of the piano: Crom the first to the second cross,
they are" chords on the dominant" with appoggiaturas, according to the effect
of the stained~gla ss window of Chapter XIV (article I) - from the third to the
fourth cross, they use the third mode of limited transpositions (see
Chapter X V I) - from the fifth to the sixth cross, the second of these modes.
Let us notice also that the melodic pedal of the violoncello is written in the
whole-tone scale, the use of which can be tolerated when it is thus mixed with
harmonic combinations which are foreign to it.
Let us point out finally that the formulas divided by rests in the vio lin (a sort
of pedal) are written in " bird style, .. as is the principal so ng of the .clarinet (a
model of this style). We shall speak of it agai n in Chapter IX (" Bird Song ").
CHAPTER VII
Rhythmic Notations
I) First Notation
There are four m ethods of notating these rhythms whose th eory we ha ve detailed
since Chapte r I I. The Hrsl consists of writin g the exact values, without
measure or beat, while saving the use of the bar-line only to indicate periods
and to make an end to the effect of accidentals (sharps, Oats. etc.). This nota-
tion is evidently the best for the composer, si nce it is the exact exp ressio n of his
musica l conception . It is excell en t for one alone or a few performers in a
group. As I remarked in the Preface of my Quatuor pour la fin du Temps, inter-
preters who feel a little strained by the rhythms can mentall y count all the short
valu es (Lhe sixteenth-notes, for example). but only a t the beginning of their
work; this procedu re could make the performance in public disagreeably dull
and would become a real pu zzle for them ; they ought, in cou rse of time, to
keep in themselves the feeling for the valu es , without more (wh ich will permit them
to observe the dynamics, acceleratio ns, retards, all that which makes an inter-
pretation alive a nd sensitive).
I have used this fi rst not a tion in m y works for orga n (La Na liuiU du Seigneur,
Us Corps gloritux), in my vocal works (Poimes pour M i - voice and pia no
version, Chants de terre tl de del), a nd in several movements of my Quatuor pour
fa fin du Temps.
2) Second Notation
In th e orchestra , things are complicated. When all the performers play the
same rhythms a nd these rhythms gather into normal measures, one can pil e
up metric changes; that is what Stravinsky did in Ie Sacre du Printemps. These
changes of meter are very tiring for the orchestra conductor, I used this second
notation in my Oflrandts oubliees.
3) Third Notation
Still in the orchestra, ir all the performers play the same rhythms and th ese
rh ythms do not gather into normal meters, it is necessary t o divide the music
into short measu res ; a numeral written at the head of each measure indica tes
- 29-
the number of beals in it. These beats are equal or uneq ual in duralion; it is
necessary then to have recourse to some rhythmic signs, placed above the
beats to indicate their exact duration. In the versio n of my Poemu pour Mi
for voice and orchestra - upon the advice of Roger Desormiere, orchestra
conducto r a nd inventor of these signs - I used the following rhythmic signs: example 63
one can notate the must difficult rhythms . This nolation necessitates prelim-
inary agr eement between musicia ns and conductor and a rather forbidd ing
efTort at the Hrst reading. The thing is nevertheless very possible.
4) Fourth Notation
The easiest for performers since it disarra nges their habits in no way. It con-
sists, by means of syncopes, of writi ng in a normal meter a rhythm which has no
relation to it. This procedure is indispe nsab le when it is a question of having
performed by several musicians a superposition of several rhythms, complicated
and very dilTerent from each other. In order to produce the elTect, it suffices
to multiply the indications of slurs. dynamics. and especially acce nts exactly
where one wants them . T his notation is false, since it is in contradiction to
the rhythmic conception of the composer; but if the performers observe the
indicated accents well, the listener hears the true rhythm. J used this notation
in several movements of my Quotuor pour to fin du Tt.mps.
Here is a rhythmic fra gment as it was co nceived by the composer; it is in the
first notation : example 65
Another fragm ent as it was conceived by the composer; it is again in the first
notation : example 68
The same, written in a false meter, with exact accentuation; it is in the fourth
notation : example 69
I add that one will fmd ill my works and in the examples of this treatise some
metrical passages conceived in some meters which are absolutely independent
of my rhythmic system. Moreover, - let us repeat it - whether my music
is measured or not, the values th ere are always notated very exactly: fh t. per-
Jormer has then only to play the vaiues indicated.
- 30 -
In appendix to the present chapter and to all those on rhythm, here nrc some
supp lementary examples which do not at all obey the laws of my rhythmic
system: e~pl"A,B,C.D.E.FJG
I) Intervals
Let us encroac h a little upon the domain of Chapter X II I and recall that a very
fin e car clea rl y perceives a n F-sha rp in th e natural resonan ce of a low C. example 70
This F-sharp is endowed with an attraction t oward the C. which becomes its
normal resolution. example 71
We are in the presence of the fi rst interval t o choose: the desce ndi ng a ugmented
fourth. example 72
We shall not fo rget , fin all y. cer tai n returnin g chromatic formul as which wou ld
be the joy of a Bela Bartok : example 74
2) Melodic Contours
Keepi ng our cho ice of int ervals thoroughl y in mind. let us look now at some
beloved melod ic co ntours and endeavor t o draw th e essence of them. In the
shadow of th e fi ve notes which open Moussorgsky's Boris GodounolJ .' example 75
The three notes written by Debussy at t he beginning of his Ref/ets dans l'eau: eumple 85
I have bracketed the returning chromaticisms. Here again we find the added
valu e (at the crosses) and an interpretation of the Hindu r agavardhana (see
Chapter II) : ezample 93
3) Folk Songs
In old French songs. and especially in Russian folk lore. we find some remarkable
melodies. Let us remember them. to pass them through lhe deforming prism
- 33-
of our language. The Russian song, Point n'etail de vent, haunted my youth;
we Hnd there aga in the five nOles of Boris that inspired our first formula of
melodic cadence: czaDlple 100
One can also create false folk songs, without forgetting the little refrain in
onoma topcs : cumpl. 101
4) Plainchant
We shall make use of them, forgetting their modes and rhythms for th e use of
ours. A single example of this kind of transformation; from a fragm ent of th e
Introit de Noll: example 108
The stra nge choice of timbres. th e sixth mode of limited tra nspositions (see
Chapter XVI), the repetitions of the melodic dominant, the fm a l melod ic
descent, the foundation of chords repeating themselves in groups of eleven
eighth-notes, and filiall y the rhythmic variations of the shrill carillon of the
pedal acce ntuate the change. Let us notice that this pedal carillon is based
upon the fragment : example 110
in which we recognize our first formula of melodic cade nce (see example 76 of this
chapter); and let us not forget that it sounds an octave higher than the notation .
More than to the melodic co ntours of plainchant, we shall appl y ourselves to
its forms: Anthems, Alleluias, Psalmodies. Kyrie, Sequence, etc. They will
be treated more at length in Chapter XII.
5) Hindu Ragas
Hindu music aho unds in cu rious, exquisite. unexpected melodic contours which
the native improvisers repeat and vary following the rules of the raga. Here
are two ravishing examples of them, end ing on repeated notes : examples 111 and 112
A theme in which the added value (see Chapter III) and Hindu melodic co lor
are united: example 113
Bird Song
Paul Dukas used to say, .. Listen to the birds. They are grea t masters." t
confess not having awaited this advice t o admire. analyze, and notate some
songs of birds. Through the mixture of their songs, birds make extremely
refined jumbles of rhythmic pedals. Their melodic contours. those of merles
especially. surpass the human imagination in fanta sy. Since they use untem-
pered intervals smaller tha n the semi Lone. and as it is rid iculous se rvilely to copy
nature, we are going to give some examples of melodies of the " bird" genre
which will be transcription, transformation, and interpretation of the volleys
and trills of our little serva nts of immaterial joy.
A first example, drawn from my Quatuor pour fa fi n du T t mps : e:u.mple 114
See too in Chapter VI , article 7, example 60 (" Liturgie de cristal "), also drawn
from m y Quatuor j read there the so fan ciful melody of the clarinet, particularl y
typical of the bird style.
The call of a merle: esample 116
Four ornamental variations of a theme and its" commentary " (see Chapter XI ,
article 2) which were suggested to me by the improvisations of a merle: e:u.mple 117
Melodic Development
I) Elimination
The thematic fragments are bracketed ; one sees that they are of eight notes,
then of four notes, then of two notes. On this bass ascent crashes a veritabl e
flood of chords in sixteenth-notes that I cannot quote here. Afterwards, the
theme is cut in two: example 122
while borrowin g its harmonies from the chord of resonance (see Chapter XIV).
Amplification is the procedure exactly opposite to the preceding.
2) Interversion of Notes
This procedure, analyzed by Marcel Dupre in his remarkable TraUt d' improut-
sation, has already been foreseen in Chapter VIII. Let us take again the
fragment used there in contrary and normal movement: example 124
We find there aU the notes of the fifth mode of limited transpositions: example 1%5
Let us try to present the notes of this mode in a large number of different
orders : example 126
- 36 -
One co uld multiply the combinations. Let us notice, in the last two, the added
values at the crosses and the descents elongated by the addition of the dol at A, B,
and C (see Chapter I II).
T he low notes of the theme pass to the extreme treble, the treble to the extre-
mel y low, in a brupt leaps. Alban Berg used t his procedure in the Suitt lyrique;
certain passages of Andre J olivel 's Mana bear evidence of a na logous preoccu-
pations : esample 127
I) Song-Sentence
and the sentence is ended in absolute pianissimo. Another example: eumple 132
In AI, the a ntecedent of the theme ; in At, the consequent of the th eme. In B,
the middle period, developing the fra gment Y bracketed in the (heme ; Y is
repeated six times upon difTerent degrees - th e first time a melodic variant,
the secon d time a rh ythmic varia nt. In C, the flllal period, an issue of the
theme; it repeats X twice and Z once upon other degrees - Y, developed in t he
middle period, IS absent here.
- 38 -
2) Comme ntary
3) Binary Sentence
it uses Crom X to X the second mode oC limited tra nspositions (see Cha pter XVI ).
Afterwards, rest atement of the t hem e. The seco nd comm entary develops t he
same fr agment as the fi rst : example 136
Departing from a lower point, it rises higher a nd ends in the initi al key in the
extreme t reble.
4) T e rnary Sentence
The Lerna ry senten ce is divided t hus: al) theme; al) co nsequ ent of the th eme;
/r ) comme nta ry ; btl conseque nt of the commenta ry; c1) theme; eI) consequ ent of
the theme. An example of the ternar y sentence: enmple 137
Let us set up a list of melodic periods. Each example of the list will comprise
one or several connected periods. In paragraph 6 of Chapter XIV, entitled
.. A Look at Other Styles, ,. we shall try t o draw the essence from the procedures
of contemporary composers. Here, in the sa me way, we sha ll see some shadows
of former t imes noat by, we shall sa lute some grea t names of mod ern tim es ;
but all these borrowings, like t hose of the paragraph 6 just mentioned, will be
passed through the deforming prism of our language, will receive from our
st yle a difTere nt blood , an une xpec ted melodic and rh ythmic color in which
fanta sy a nd resea rch will be united to des tro y the least rese mblance t o the
model. examples 138 to 150
Examples 138 and 139 evoke Ravel ; who wou ld have believed that '} Examples
140 and 141 have Adam de la Halle for a patron; that is even more unlikely.
140, by its OPI)osition of dynamics , ca lls t o mind t he alterna tions of solo and tutti .
The two periods A and B of 141 co uld have bee n used for a refrain; let us note
their curious rh ythmic symmetry; B res ponds with ascending interva ls to the
descending intervals of A and vice versa. 142 mixes Mozart a nd Manuel de
Falla. 143 unites Bela Bart6k and Andre Jolivet. with a touch of bird st yle
(see Chapter IX). 144 a nd 145 are completely bird style. Th e repeated notes
of 146 are allied to Hindu music. 147 a nd 148 proceed from Russia n songs .
147 is written in the seco nd mode of limited transpositions; its measure A co n-
tains a nonretrog radable rh yt hm (see Chapters XVI and V). E xamples 149
and 150 refer to Rameau; they are fa r awa y from him I
Example 150 is a complete sentence in fi ve periods, whose shape has some
analogy to that of a rigadoo n. AI, the first period , starting upon X; AI, th e
first period repea t ed a nd concluding on the third degree. Period H, starting
upon X in retrograde and modula tirr.; to the domi nant. Restatement of the
period A. slightl y varied. Period C, develop ing es peciall y X, wh ich will be used
to concl ude in a rapid 'a rpeggio; the bracket ed notes Y. of the fi rst period , are
res tated here in a new order.
-
CHAPTER XII
I) Fugue
An example of stretto in triple ca non at the octave, at one notc's distance: example 152
From A forward, use of the third mode of limited tra nspositions in its third
transposition.
2) Sonata
1\11 free in strumental forms are derived more or less from th e four movcments
)f the sonata. The sonata -allegro synthesizes the whole sonata. I-laving
written some absolutely regular sonata-a llegros, we shall state that one thing
in that form has become obsolete: the recapitulation. Then we sha ll tr y once
more to keep what is most essentia l : the development. There are tWO in a
sonata-allegro : the middle, modulating development; the terminal develop-
ment, generally built over understood domi nant and tonic pedals. We sha ll
be able to write pieces made of this terminal development alone ; I tried it in
.. les En/ants rfe Dieu .. of ta Nalivile du Seigneur. Analysis of this piece :
a) first eleme nt over a domi nant pedal in B major. Development by amplifi-
cation of the second measure of the theme: example 153
- 41 -
b) A great fortissimo cry, upon a sort of schematic augmentation of thc theme.
c) A tender phrase, forming the conclusion, established over a tonic peda l in B
major : eumple 154
We ma y also start directly upon the central modulati ng development and end
upon a large se ntence forming at once the conclusion, the fi rst complete ex po-
sition of the principal theme, and the definite estab lishment of the principnl
tonality; I tried it in .. Gom bat de la Mort et de la Vie" of its Corps giorieux.
Analysis of this piece:
a) First clement of the development. Theme in C minor, in one voice: e:u.mple 155
This form resembles the precedi ng. I used it in the ninth part of my NafiviU
du Seigneur: "Dieu parmi nous." An analysis of this piece :
a) Condensed exposit ion of the three themes in eight measures. First theme,
rhythmic: example 156
This first theme is divided into A and B; A is writte n in the fourth mode of
limited tran spositions; B is written in the second of these modes; B co ntains
three quarter-notes and three eighth- notes (dim inution of the three quarter-
notes), a rhythm which reca lls to us the Hindu ragavardhana and which will be
the basis of the final toccata. Like Bach's chorale. Adam's Fall (for orga n),
- 42 -
like the descent of Arianc, the light, t o the midst or the darkness where t he
wives of Bluebeard su ffered (in the opera of Paul Dukas), this clement B assim-
ilates rhythmic precip itation and the passage from treble to bass into t he idea
of fall ; hut it is a question of the glorious and ineffa ble fall of the second per-
son of t he Holy Trinity into a human form ( if it is permissible to employ this
term on the subject of the Inca rnation of the Word I).
The second theme, melodic and harmo nic, exp ress ing the lovc for J esus Christ
of th e communicant, of the Virgin, of the entire Church : example 157
(Without the value added by the dot, at the crosses - see Cha pter ItT - which
transforms its rh ythmic pace, this theme could have been written in ~ time.)
T hird theme, melod ic, a Magni ficat, alleluia tic praise in bird st yle: e:u.mple 158
the whole toccat a is built upon the element B of the first theme: e:u.mple 160
whose four quarter-notes are developed at length, re pea ted, triturated, hesi-
tati ng in the bass aroun d F-Ilatura l before conclud ing on th e E (tonic) in a
triumphant glee.
Th e form used in the seventh part of m y Quoluor pour 10 fin du T emps :" Fouillis
d'orcs-tn-ciel, pour I'Ange qui annonct la fin du T em ps." An alys is of this
piece:
a) Exposition of the first theme (melod ic) : example 161
Then, developme nt of C b y elimination. ( In exam ples 164 and 165 the clarinet
sounds a tone lower than the nota tion.)
e) Second variation of the first theme. Arabesqu es in the violin and viano are
o pposed t o the cla rinet in the low reg ist er and the col iegno of the violoncello.
I) Combinatioll of the commentary of the second t heme : example 166
and a clarinet recall , in equal values , of the sixth movemen t of th e Qualuor : example 168
5) Plainchant Forms
On e can hardly use th e themes of plainchant more and better than Charles
Tourn cmirc in his Orgue mystique. Leaving these themes and the ir me lod ic
co ntours (see Chapter VIII ) for a little, we s ha ll lurn to wa rd the pla inchant
forms. Alle luias a nd great anthems will a llu re us from th e vc ry first. My
.. S ubliliti des Corps giorieux " (Les Corps g/orieux) is a large ornamented
anthem in onc vo ice without any harmonizatioll ; eac h period in it is tcrmi
!l Olled by a formula of melodic cadence repeated in echo : example 170
Le t us poi nt out (a t the crosses) the ad ded va lues in the song; it is divided into
li ttle groups of five sixtee nth-notes (a prime number). The vocal ise which
fo llows accentuates aga in th e rapid, s uppl e, joyous, triumphant pace of the
passage. In the pia no, a sort of e normous ca rillon , irradiated, usi ng an inter-
pretation of the Hindu rh yt hm, ragauardh ana (see Cha pte r II). At A, domi
Ila nt chord with appoggia turas (see Chapter XIV), prov ided with an cllect
of inferior reso na ncc at B. At C. the chord of resona nce with the ellect of a
sta inedglass window (aga in , sce Chapter X I V). Farther on, th e initial vocalise
is a mplified (at A) : ezample 172
Notice. in the so ng, the intervals of the two melodic descents : at A. desce nding
major s ixth ; at B, desccnding augmented fourth . In the piano, a domin ant
c hord with appoggiaturas (see Chapter XIV, article 1) used in its ditTerent
in versions at C. D, E. Still in the piano: close entrances, X i the t hematic
fragment (which is our first formula of melod ic cadence in Chapt er VIII ) cha nges
rh ythm at each cntry.
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A fourth exa mple, in which the voice turns around a melodic dominant (G. sharp).
with a sUllny gaie ty morc and more delirious: eumple 174
The work ends with t his las t in crease of joy : example 175
The volleys in bird style (at A) contrast with the powerful solemnity of the
chords. B, preceded at C by the ir cffect of inferior reso nance. At D. chord of th e
dominant seventh with added sixth (see Chapter XI II ). At E. last volley,
like a blow of instan ta neous light !
Let us see now how one can blend allelu ialic vocalise with psalmod y. After-
wa rds we shall stud y two plaincha nt forms: the Kyrie a nd th e seq uence.
Withou t forgetting that the voice should fi rst sin g and afterwards lurn t o
t he cxigcnces of the text a nd im itate the inOeclions of s peech, we may occa-
s iona ll y adopt a certa in system of decla mation more easily appl icab le if we
ourselves write the poems of ou r voca l works: first, all that seems to belong
to th e domain of the recitative is psalmody (the words utlered at a very ra pid
pace on a repeat ed note, th e punctuation underlined by formulas of voca lized
melod ic cadences); second, any word es peciall y important, moving, rich in
mean ing, is ado rned with a long or even very long vocalise. An exa mple
of psalmody eumple 176
7) Kyrie
In the pla incha nt masses, some K yries a re divided thus : fi rst. K yrie eleison
(th e Father) three times: A, B, A; second. Christe d eiSM (the Son) th ree times:
C. D. C; third, Kyrie deiSM (the Holy Ghost) t hree times: E, F; the last K yrie.
longer. takes up the period E agai n, repea tin g it t wice; it is followed by a
melodic co nclusion. The music assumed at the word e/eison (" have pity upon
us! ") remains the same for the nine invocat ions. My" Mystere de la S ainte
Triniti .. will give us an exam ple of this form . This organ piece is written in
three vo ices, supplementary homa ge to the Trinity, the form itself being t ri-
pa rtite: t hree times three. The top voice si ngs a distant cou nterpoint. q uasi-
atona l, made of upbeats a nd termi nations; the bass unfolds a long rhythmic
peda l (see in Chapter XV examp le 3 10, drawn exactl y from t he" Mystere
de la Sain te Trilliti tt) . I quo te here onl y the middle voice, which has the-prin-
cipal song. example 178
- 46 -
This first tercel, A. B. A, is in D. In it the music of X (eleison) remains the
same, The second tercel, C, D, C, touches upon the key of A. The third tercel,
E, F, E : eumpl. 179
8) Sequence
I) Added Notes
With the advent of Cla ude Debussy, one spoke of appogg iaturas without reso-
lu tion, of passing notes with no issue. elc. In fa el, one found them in his first
works. In Pellias et M i lisande. les Estompes, Its Preludes . les Images fo r the
piano, it is a q uestion of fo reign notes. w ith neither preparation nor resolu-
tion , without pa rticular expressive accent. which tranquilly make a part of
the chord , chang ing its co lor, givin g it a spice. a new perfume. These notes
keep a charaeL(' r of intrusion. of suppleme nt: th e bee in the fl ower ! They
have, nevertheless, a certa in citizenship in the chord, either because th ey have
the same sonority as some cla ssified appoggiatura. or because lhey issue from
the reso na nce of the fu ndamen tal. They arc added noh.s.
The most used of t hese notes is the added sixth . Ramcau foresa w it; Chopin ,
Wagner made use of it (and also some writers of a fa cile a nd light temperament,
nota bl y Masse net a nd Chab rier, which proves to what poi nt it is nat ura l I).
Deb ussy and Rave l installed it definitively in t he musica l lan guage, Here
it is on t he perfect chord : example 183
In the resona nce of a low C. a very fi ne ear perceives an F-sha rp : es ample 186
and there will be an attraction between the F~s harp and the C, the form er
t en8ing to resolve itself upon the latter. example 188
- 48 -
At the head of th is para graph, I want to write these two chords from P ellias:, example 189
The added notes are ind icated by the crosses. The same chords with new
added notes: example 191
The first two measures contai n four quarter-notes, the third four d o tte~ quarter-
notes, without the eighth- note's having changed in va lue. Another example
of added notes : eumple 193
Very striki ng use of the added sixth in the ninth chord example 195
Agai n, usc of the a ugmen ted fourth added t o t he p<'rfcct chord a t A, of the added
s ixth at B; at the crosses, added va lues; at the last cross, lengthening by t he
dot , slacke nin g t he rhythmic descent : example 198
Let us make multicolor work, bring forth an efTect of a stained-glass window and
arrange the different inversions of the chord with such appoggiaturas over a
common bass note (C-sharp or D-nat) . eumple 204
The same, transforming the appoggiaturas into added notes: example 206
Nearly all the noles perceptible, to an extremely fme ear, in the resonance of
a low C, figure. tempered, in this chord. It.ample 208
the chord of reso nance gives all the notes of the third mode of limited transpo-
sitions : example 211
A progression alternating our chord and its first inversion: e.ample 212
To this chord and this mode belongs the melodic formula: eUJDple 215
4) Effects of Resonance
Paul Dukas often spoke of .. effects of reso nance." Effects of pure fantas y,
similar by a very dista nt analogy to the phenomenon of natura l resonance. One
will find remarkable ones, mingled with learned variations of rhythm, in the
Dames rituelles and especially in the Mana of Andre Jolivct.
Superior resonance: example 217
At A (a rpeggio of the clarinet and chords of the piano) : chord on the dominant
(see article 1 of this chapter). At H : inferior resona nce. At C : bird-style
melodic contours.
A last effect of resonance : example 221
5) Clusters of Chords
See example 217 of the preceding paragraph. Another quotation : example 222
In the gentle cascade of blue-orange chords surrounding with its distant carillon
the melody, quasi-pJainchant, of the strings, let us notice: in A, superposed
fourths; in B. a progression upon t he chord of resonance (see example 212 of
this chapter); in C, the second mode of limited transpositions.
- 52 -
engendered the" Danst generate ., of Daphnis (Ravel) and a pol ylonalit y par-
ticularly .dear. t o Milhaud. It is curious to sec how, since the Orfeo and the
extraordinary madrigals of Monteverd i, the harmon ic scie nce has evolved fmlll
one composer to another. In our turn, let us look at the works of our contem-
poraries and try to draw the essence fr om th em. Two examples of this trans-
forming" look. " A measure of Debussy: '" example 224
7) Natural Harmony
Ha rmonic lita nies. (The harmonIc li tany is a melod ic fragment of two or several
notes repeated wi th di fTerent harmonizatio ns.) E xamples 247 a nd 248 are
dra wn from " Bail avec M i "; 246 fig ures in .. Un re flet dans Ie vent. " 249 in
.. Louan ge a l'lmmortalite de J isus. " 250 in " Fouillis d'arcsenciel. pour
l' Ange qui annOfICe fa fi n du Temps. " examples 252 to 276
Various co nnec tions. E xample 253 is written in t he se venth mode of lim ited
transpositions, exam ple 256 in the second of these modes, 258 fig ures in
,. Ie CoUier." 262 is in A major, in spite of its poiyton ai appearance. 269 is
made from 268. 272 superposes t wo modes of limited t ranspositions: mode
number th ree (up per stall) upon mode num ber two (l ower stall); one will fm d it
aga in, t ranspospd, a nd with a difTerent rhy thm, in " A rc tncitl d' innoctnct. ..
274 is poiytonal. 276 is a co ntraction of the theme of Debussy's I\-t elisa nde. esamples rn to 283
Superposit ions of perfect and a ugmented fourths, of perfect and diminjshed
fifths. 277 fi gures in .. Vocalise, pour l'Ange qui annonct la fin du T emps "; it
superposes perfect fourths; a t t he cross, from the boltom upward, perfect fourt h,
a ugmented fourth , perfect fou rth. The following examples superpose perfect
and diminished fifth s. In arra nging the chords of 282 and 283 in spaced posi
tio ns. one . Hn ds the same supe rpositions. esample. 284 to 287
Examples of longer duration. T hey give a qu ite small glimpse of the gushing
out of chords described in pa ragra ph 7. Example 287 curiously mixes th ree
harmonic st yles: A evokes Ravel, B, Stravins ky, C, Honegger. esamples 288 to 293
( I ) TranI/aJar " noll. - T he ilxleenth-110l e movemenl undu t he luond eight h -note I, t he retrograde .', Ih ll t under
t he ftnt .
- 54-
(example 289); measure B contracts the reso nance of example 290 (drawn from
the same work) . Example 291 is a transformation of three Ravel-like chords
(example 292, Ravel , Ma Mere l'Oye). Finally, example 293 uses: at A. the
co nnections of 288; at C. those of 291; at B t the dominant chord with appo~gia-
turas (see example 204, article 1 of this chapter). ezamplet 294 to 301
Dissonances or foreign notes, they arc all the same. With OUf com plicnted
chords, is a dissonance possible? And, in this mu ltitude of added noles, what
becomes of the old foreign notes: pedal, passi ng note, embellishment, appoggia-
tura ? They are indispensable to the expressive and con trapuntallifc of mmic;
let us preserve them by en largi ng them. The pedal will become the pedal
group; the passing note, the passing group; the embellishment, the embell ishment
group. Each of these groups will co ntain several foreign notes, formin g a com-
plete .. whole music" (rhythm, harmony. melod y) and being analyzed as : a
single pedal. a single passing note, a single embellishment.
We shall forget the a nticipation and the escape lone which have only been the
prophecy of the added note. The suspension. also, has erased itself litlle by
little bdore the appoggiatura. This last, the most important and the most
express ive of tht: foreig n notes in the classic style, will become the combin ation:
u phea t-acce nt-termi nation .
Instead 01 one sustained note, foreign to the chords which surround it, we shall
have a repeated music (repetition and sustaining are eq uivalent), foreign to
another music situated above or below it; each of these musics will have its own
rhythm. melody, harmonies. esampl.302
In this exa mple, the music of the upper stafT rep.e ats itself from measure to
measure, independent of the music of the lower staff; it is a pedal group. The
entire passage is in A major. At the same time it is polymodaJ and superposes
two mod es of limited transpositions: the third mode for the upper stafT: e:umple 303
and the second mode for the lower stafT : esample 304
Mozart is the distant herald of them. Schonbe rg a rrd Alban Berg used them
with a rare emolio na l inte ns ity. But it is Arthur Honegger es pecia ll y wh o has
ca rried them to their ma ximum of efTect (see notab ly J udith , /-I ora c( uicforiw:r.
Antigone, Dans( des morls).
Let us preserve what is most esse ntial in th e a ppogg ia tura: the ex pressive accent.
Let us pre pare t his accen t by a n immense upbeat and resolve it by an imme nse
termination; its ex pressive power will be augmented in the same proportion.
We thus obtain the combin a tion: upbeat-acce nt-terminatio n. Th e upbeat and
the termin ation ma y be se parated from the acce nt by a rest , and even exis t in
the absence of any acce nt. In the embe ll ishment gro up, departure and arrival
took place actuall y on the same long note; here. the last note is short, difTerent
from the first, and all the notf!S are foreign. T he embellishment group, like th e
pedal group and the passing group , could possess its own harmonies; the co mbi-
nation upbea t-a\.:cen t-termi lla tion is, on the co ntrary, exclusively melodic.
Finally - and here is the principle - our combi natio n tu rns arou nd the exp res-
sive acce nt, which is its ccn ter and reason for being. whe reas the embellishmen t
gro up docs not havc a n acce nt. exam ple 307
The direct movement and the cruelty of the chords give to t his exa mple a great
expressive strength. The accent B is lacerating. In A, upbeat and rh yt hmic
precipitation ; ill C, termination. eumple 309
- 57-
At B, accent. Tne upbeat A and the t ermination C are cut by rests; impress ion
of effort for one, of exha ustion for th e other. In sp ite of this cutting into
parls, an example of more vigoro us character than the preceding. Exception-
ally, the combination begins and en ds on the same note: E. example 310
Here , the acce nt B is distant and the upbea t A more calm . In C, a very long
t ermination in quasi-atona l style. In D. a termination not preceded by an
accent. Let us nOlice, in the bass, the rhythmic succession: example 311
Ba sed on OUf present chromatic system, a tempered system of twelve soun ds, .
th ese modes are formed of several symmet rica l groups, t he last note of each
group always bei ng common with the first of the foll owin g group. Atthe end of
a certain number of chromatic transpositio ns which va ries with each mode, they
are no longer transposa bl e, the fourth transposition giving exac tl y the same
notes as the first, for ex ample, the fifth giving exactly the sa me notes as t he
second. etc. (When I say " the same notes, " I speak enharmonically and always
accord ing to our tempered system. C-sha rp bei ng equal to D-nat.) There are
three mod es of this t ype. There are four other modes, tra nsposab le six times.
and presenting less interes t, for the very reaso n of their too great number of
transpositions. All th e modes of limited transpositions cu n be used melodica lly.
and especially harmonicall y, melod y and harmonies never leaving t he notes of
the mode. We spoke in Chapter I of the charm of impossibilities ; their impos-
sibility of transposition makes their strange charm. The y are at once in the
atmosphere of several tonalities , without polyfonalify, the composer being free to
give predomi nan ce to one of the t onalities or to leave the to nal im pressio n unset-
tled. Their series is closed. It is mathematicall y impossible to fmd others of
them, at least in ou r tempered system of twelve sem itones. In the tempered
syst em in qu arter-ton es , extolled by Haba and Wischn egradsky, 1here exists a
co rresponding series (unfortunately, I can not busy myself here with it. no more
- 59 -
tha n with the other particularities of q uarter-tone music. no more t han wi th the
relat ions between tempered a nd u ntem pered music. all q uest ions which will
impassion t he musicians of the fut ure, bul passi ng t he bo undaries of t his work).
I add that t he modes of lim ited transpos itions have nothing in common wit h the
t hree great moda l systems of India , Chi na. a nd an cient Greece. no more t han with
the modes of pla inchanl (rela ti ves of the Gn:ek modes), all these scales being
transposable twelve times.
The firs t mode is divided into six grou ps of t wo notes each ; it is tra nsposab le
twice. It is the whole-tone scale. Cl a ud e Deb ussy, in Pel/ias el M eJisande,
and after him Pau l Dukas. in Ariane et Barbe-Blwe. have-made such remar k-
a ble use of it t hat t here is noth in g more t o add . Then we shall carefully avo id
making use of it , unless it is co ncea led in a superpos ition of modes wh ich re nders
it un recognizable, as in example 43 of Chapte r VI, paragraph 3.
Here arc t he seco nd and third t ranspositions: examples 313 and 314
The fourth t ra nspositio n gives exactl y t he same notes as the fi rst (enha rmoni-
call y spea king) : example 315
T he fifth t ranspos ition gives the sa me not es as the second , the sixth the same as
the third , a nd so on. One can b egin t he scale on the seco nd degree; we shall
th us have in each gro up the interva ls of a t one. a sem ito ne (in stead of a semitone,
a t one, as prev iously); bu t t hat changes no th i n ~ in the chords created by t he
mode, and we fall again, enharmonically, into tbe notes of the fi rst transpos i-
tio n : example 316
Mode 2, fi rst t ra nsposition , in parallel succession of chords (each vo ice rea lizes
th e eufre mode, start ing on a difTerent degree) : example 317
- 60 -
This success ion nJtcrna tcs the six-four chord with added au gmc ilted fourth and
t he domina nt seve nth chord wi th added sixth (s('t' Chapter X III ).
Co ntrary motion, sa llle tra nsposition: nample 318
Cho rd co ntaining alllhc notes of the mode, ir, it s s('co nd tra nspos ition : example 320
Vahous fOrmulas of cade nce belo nging to the sero nd mode: es.ample. 321 to 324
The first formuJ:l. is the t yp ic;ll cadence of the mode , first transposition; we h3\'('
already seen it ill Chapter VI I I (example 77, .. fa Vierge el (,EII/alli " ) . Th e
second formula uses the mode in its seco nd t ransposi tion . The third formu[n
is a progress ion of harmony; at A, first term, third trans posi tion; at the cross,
added va lu e, givi ng more force to t he pre pa ra tion of the accent; at B, second
term, first transpositio n, rhyt hmic variation; at th e cross. \'al uc elongated by
add ition of the dot, slackening the descent. The fourth formu la uscs the seco nd
tra lLspositio ll.
I have a lready pointed out. in the exa mp les of the preceding chapte rs. fr eque nt
bo rrowi ngs from the second mode. i\ew exa mples of its usc: examples 32S to 321
Th e thre{' exa mples do not leave the notes of the mode in its lirs l tra nsposi tion.
T he third example co ntain s, in t he piano, an interesting formu la of accompa-
nimen t (sec Chapter X IV, paragrap h 8) ; com parc its melodic movement with
exa mp le 11 3 of Cha rkr VI II (" rAnge aux par/ums "). n .ample 328
This last exa mple uses mode 2: at A, in its th ird tra nsposit ion ; at B, in its first
tra nspos itio n.
Here are the second, third, and fou rth tran sposi tions: example. 330 to 332
Thc Hfth transposit ion gives the sa me notes as thc Hrst, the sixth the sa me notes
as t he second, and so on, according to the ph enomenon observed in mode 2.
One can begin the sca le on t he seco nd or on the third degree, but (as we have seen
also for the secon d mode) there follows only n new order of tones and semi tones
-61-
for each group, no change of the notes constituting the mode or oC th e chords
called for by it.
Mode 3, first transposition, in parallel succession of chords (each voice realizes
the en tire mode s tarting 0 11 a diIT(,fc nl degrer) example 333
Chord co ntainin g all th e notes of til(' mod(', sa me tra nsposi tion example 336
Two cadence formulas, the fi rs t in the fou rth transposition: example 337
This fragmen t does nol leave the notes of the mode in its fi rst tra nsposi tion .
The cluster of chords, wh ich is repea led from measure to meas ure in the uppe r
sla fT of the piano. co nslilules a peda l grou p (see Chtl pler XV) . Anolh er use of
l he third mode: example 340
Use of the cade nce formu las of examples 337 and 338, of thc co nlrary motion
of example 334. At A, fourth transposition; at B, fi rst tra nspositio n ; a t C,
seco nd transposition. The thrrc letters D indica te notes foreign 10 lhe mode,
forming e ffects of superior and inferi or reso nan ces (see Chapter XIV, article 4).
5) Modes 4, 5, 6, and 7
These modes are transposable six times, like the interva l of the augmented
fourth. They are divided into two symmelrical groups. The re are fo ur of
t hem, which carries the total number of modes of lim ited transpos itions to
seve n. One canno t find others of them transposable six times , because all
t he other combinations dividing the octave into two symmetrical g roups must:
commence the sca les of modes 4, 5, 6, and 7 upon other (iegrees than the lirsl
(wh ich changes the order of t he intervals, but not the notes or the c ho rds of the
modes - we have al read y established that); or fo rm a rpeggios of classified
cho rds; or form truncated modes 2, such as : examples 341 aDd 342
Th is mode 5, being a truncated mode 4, has the right of quotation here onl y
because it engenders the melodic formula (already seen in Chapter X) : example 348
and the chord in fou rths, analyzed in Chapter XIV, paragraph 3 : example 349
Both the chord in fourths and l he melodic fo rmula co ntain all the notes of
mode 5.
Same mode, paraliel succession of chords over a sustained augmented fourth: example 353
F or the usc of mode 6, see in Chapter Ill , paragraph 2. exa mple 12 (" Its Bet
getS "), which uses the mode in its fifth transposition; and in Chapter VIII,
paragrap h 4, example 109 (0< la Vierge et f' Enfant " ), wh ich uses the mode in
its first transposition.
Finally. here is mode 7 example 354
I have used this mode in t he fourth part of I' Ascension' .. Priere du Christ mon
Lalli vers son pere." Let us recall example 253 of the list of chord connections
(Chapter XIV, paragraph 8) : e:xample 356
which uses aU the notes of mode 7 in its fifth transposition: e:u.mple 357
As previously, nil t he exa m ples of t his cha pter usc t he chose n mode melodica ll y
a nd harmonicnl1 y. tha t is to say, all their notes bel ong to t he Illode. E ve rywhere
I poin t o ut the c ha nge of mode a nd the notes foreig n to the mode.
We have a lread y remarked lhat l he modes of limited tra nspos itions a rc " in the
at mosphere of severa l to nali ties at ') Ilce, Wil!IO U! polylonalify. t he composer
being free to give predom inance to one of the tonalities or t o leave t he t onal
impress ion un settled ." T hus, mode 2 in its fi rst tra nspos ition : example 358
ca n hesitate bet ween t he four major tonal ities of C, E 031, F-sharp. and A.
Usc of this tonal indecision of mode 2, same tra nsposi tion (to ab ridge, 1 quote
onl y th e so ng of the violoncello and the chords, leaving aside the accompa ni-
ment form ula of the piano) : eKUnple 359
We do not leave the notes of t he mode; the three stops on t he six-fou r chords
of A, F -sharp , a nd E-flal major accentuate the un settledness.
By the frequent return of t he ton ic of the chosen key or by t he use of the domi-
na nt seve nth ehord in that key (t his last means being t he most effi cacio us), we
mi x the mode wit h the major tonalit y. eumple 360
The song of the fi rst two measures is in mode 2, third transposition ; the notes e ,
g' (t onic and third), which accompany it, do not make a part of the mode.
- 65 -
l\'1 casure X is in mode 3, seco nd transposition; its expressive and profou ndl y
efTorl soo thes itself on thc fifth , b ' to f-sharp ', domi nant of E.
g ri C\'O US Tonal
impr('ssioll of E minor.
In the sa me ordl'r of ideas. here is a small fragment in mode 2. th ird tra nsposi-
tion. the b-flat" exce pted (upper stafT). superposed upon chords made of perfect
fourth s foreign to the mod e (lower staff) : example 362
Our modes can mod ulate to themselves or borrow from themselves in thei r dif-
ferent transposi tions. Example 137 of Chapter XI (Les Oflrandts oubliees). in
which mode 2 bo rrows from itse lr in almost eve ry chord. bears witness to this.
Anot her exa mple: example 363
First measure: dominant seve nth of F-sharp major, mod e 2 in its second trans-
position : example 364
Seco nd measure perfect chord of F-sharp major. mode 2 in its Hrst transpo-
sition : esample 36S
The e-sharp'" in the seco nd meas ure does not belong to the mode. Very intense
tonal impression of F-sharp major, a nd modu latio n of the mode to itseJr without
the tonality 's giving wa y. The peda l. played in droplet-like stacca to. sounds an
octave above the notation; the true bass is thus in the left hand .
Last example. using exactl y the same efTeet. but in a more striking fa shion : example 366
At A - upper statT : mode 2, second tra nsposition ; lower stafT : third invers ion
of th e dominant seventh chord of F-sharp major. At B - upper stafT: mode 2.
first transposition; lower stafT : first in vers ion of the perfect chord of F-sharp
maj or.
Melodic co nt ours somewhat like Moza rt. The harmonies of the lower slafl
a re simple and lonal ; the modes mingled there sutnce to commu nicate Lo them
infi nite tenderness a nd divine Jove. The numerals indica te the modes. We
thus pass successively through : mode 2 (third transposition). mode 2 (second
transposi t ion). mode 6, mode 2, mode 6, mode 2 (second transposition), mode 2
(first transposition). mode 4, mode 2 (second. then third. then second transposi-
tions). It is evident that we are in G maj or.
CHAPT ER XVIII
Our modes call be mi xed with major tonality; we have j ust see n it. Also. t hey
can oppose it - it seems to me useless to give examp les of it. 1 have a lread y
sa id that lhey have not hing in common with the three grea t modal sys tems of
India, Ch ina, and ancient Greece, no more t han with modes of pla in chant - and
it is these difTere nt modes that I call " modal mu sic." Ours call be opposed to
o r mixed with a ll. In parag raph 8 of Chapler X II , ex a mple 182 (If It Vub~")
mi xes the seco nd mode of limited transpositions (t he so ng) with tonal harmo nics
and the seve nt h mode of plaincha nt or t he mode on G.
Exa mpl e 310 of Chapter XV (" It MysUre de fa Sainte Trinili ") shows us how
one ca n mix our modes with atona l music; the principal melody, which is give n
to the intermed iate vo ice, is written in the seco nd mode of limited transpositions
(third transposition for the fi rs t measure, fi rst tra nsposition afterwards); the
upbeat and the termin ations of the upper voice and the rh ythmic pedal of thc
bass are written in ato nal style; general se nsa tion of the key of D.
Ou r modes ofTer the listener the atmosp here of several tonali ties at once, without
polytonality - that has bee n said in Chapter XVI. The chords, the co mbi na-
tions of notes which t hey ca ll for, can be made equivoca l with poly tonal so no-
rities; the modal force always absorbs th em. By polymodality (see
Chapter XIX), we superpose our modes, and there aga in , we are present at the
hatching of pol y tonal aggregations, completely d rowned in the chose n pol ymo-
dality.
F or quart er-tone music, I pause to repeat (see Chapter XV I, article I) that the
tempered qua rter-to ne sys tem. extolled by Haba and Wischn egradsk y. otters us
a series of modes of limited transpositions which co ntinues ours; let us cite ,
among these modes, th e scale of eight so unds in three-quarters of a tone, of
whir:h each degree form s with its neighbor an interva l of three-quarters of a tone
or a neuter second (smaller by a quarter of a tone than the major seco nd). T his
system, comprisi ng twenty-fou r sounds, twenty-four intervals, twen t y-four
trans posi tions, entirely new melod ies and chords. necessitates a special notation
a nd special inst ru me nts; I can not t hen ex tend myse lf more at length on a ques-
tio n which alone wou ld fill several t rea tises.
CHA PTE R X IX
Polymodality
In a ll t his cha pter, it will be onl y a question of modes of limited tra nspos itio ns.
We shall see the superpos ition of these modes, or polymodali ly; t hen the co n-
nection of one polymodali ly to another, or polymodaf modulation.
In each example the modes will be used melodicall y and harm onicall y; th en,
when I say" upper sta fT, such and such a mode, " all the notes of t he upper stafT
belong to t he mode, and" lower sLa tT, such and such a mode, .. all the not es of
the lower sta fT belo ng to t he mode.
We have already pointed out, in the co urse of the preced ing chapters, several
superpos itions of our modes. See in Chapter VI, article 4, example 49 (" Action
de grdces ") which superposes mode 3 (seco nd tra nsposi tion) upon mode 2 (fi rst
tra nsposi tion) - except for the last measure wh ich is in mode 6 and crea tes thus
a modu lation from polymodali ty to modality. Th is fragment is a model of
rh yt hmic ca non.
See in Chapter XV, article I , exa mple 302, (" La sons im palpab/es du r elle .. )
which superposes mode 3 (third transposition) upon mode 2 (first t ra nsposition).
T he music of t he up per sta ll of this fragment is a model of pedal group.
Anolher example. Upper sta ll: repetitions of a fragment of five chords in
mode 3 (third tra nsposition); lower sta ll : repetitions of a fragment of four
chords in mode 2 (first transposition). These two pedal groups of unequal
length a re repea ted, one a bove the other, until they meet aga in at the point of
depa rture : esample 311
The following example proceeds from the same principle. With this d ifTerence :
t he pedal groups there undergo rhythmic variants . Upper sta fT : repetitions
of a fragment of seven chord s in mode 3 (third tran sposition); lower sta ll : repe-
titions of a fra gment of fi ve chords in mode 2 (first tra nsposition) - this second
fragm ent is a bbreviated at each repetition ; its t otal duration is of ten, then
nine, then seven, then fi ve eighth-noles. eu.m.ple 312
- 69 -
Again mode 3, first transposition (upper slafT), upon mod e 2, seco nd trans-
position (lower 51afT). Th e second measure t ransposes the polymodality a
lon e lower: eu.mple 373
Super position of mod e 2, second t ra nsposition (upper stafl of the piano). upon
mode 7, first t rans position (so ng and lower 5ta fT of the pian o): e:umple 374
Sec again in Chapler XlV, article 4, example 217 (" Cloches cl'angoisse et
form es d'adieu ") wh ich superposes mode 6, first tran spos itio n (cluster of
chords B), upon mode 2, seco nd t ransposition (cluster of chords C).
See in Chapler V I, art icle 3, example 43 (" I'Ange aux par/urns ") wh ich super-
poses three rhythmic peda ls, the second being the retrog rade of t he first, the
third being non retrogradable. This exa mple unites polyrhythm and po lymo-
da lity. In fa ct it uses: upper stafT : mode 2, first tra ns position; middle stafT :
mode 3, third tra nsposition; lower stafT : the whole-tone sca le. (This las t is
transformed by the pol ymodal sonority, a nd that excuses its use, forbidden in
our lan guage - see Chapter XVI.)
3) Polymodal Modulation
At B, mode 3, third transpos ition (vo ice a nd upper sta fT of the piano), upon
mode 2, th ird transposition (lower s ta fT of the piano). Here are the two modes : example 378
Let us notice, in the last measure of example 376. at the cross, the lengthening
of the rhythm ic descent by the addition of the dot, and ill its fi rst three meas-
ures the use of the often quoted rhythmic succession: example 379
We have already seen this fragment in Chapter I II , exa mple 14, apropos of the
preparation of the rhythmic accent elongated b y the added value. It super-
poses: at A. mode 3, first transposition (upper stafT of the piano) , upon mode 2,
- 70 -
second tra nsposition (lower slafT); at B, mode 2. second transposition (upper
stafT of the piano). upon mode 3, first transposition (lower stafT). This second
polymodalit y is exactl y th e inverse of the preceding. In the last measure of
the exa mple, a new invers ion; we find again the first polymodalily.
Third casco Modulatio n to a difTerent polymodality, using at least one new
mode : eza mple 381
In order to read this examp le well, let us remember that the part of the pedal
sounds a n octave higher than the notation, that the true bass is the co untcr-
point in sixteen th-notes of the left hand , a nd finall y th a t th is true bass has a
very pa rticular timbre du e to the harmonics (fifth and third) which the mix-
tures give it. As for the chords of the right hand, the sixteen-foot doubl es
them at the lower octave. At A, mod e 3 in the hands (first t ra nsposition) over
mode 2 in the pedal (fi rst tran sposition). At a, the same polymotlality lowered
a semitone; mode 3 in the ha nds (fourth t ra nsposition) over mod e 2 in the
pedal (th ird tran sposition); the sixteenth-notes cause to be heard some notes
foreign to mod e 3; in all this fragment B, not a single E natural, the union of
our two modes using all the notes of the chromatic scale except one, the E.
The arriva l of this note will au gment the elTect of th e following modulation.
At C, new po lymodal it y : mode 2 in the ha nds (second t ra nsposition) over th e
whole-tone sca le in the pedal; th e si xt eenth-n otes repeat th e e xpect ed E .
Another exa mple of modula tion to a dilTerent polymodality : ezample 382
At A, m ode 3, first tra nspos ition (chords in sixteenth-n otes), upon mode 2,
second transposition (voice and chords in eighth-notes); at a, the sa me th ing
lowered a tone. At C, new polymodality : mode 2, second trans position (si x
teenth-not es), over mode 7, first transposition (eighth-notes). At D, the sa me
mode 2 (sixteenth-notes) over mode 3, second tra nsposition (eighth-notes); at E.
chord of the tritone.
OLIVIER MESS IAEN
(born 10 December 1908. in Avignon, Vaucl use)
Catalogue of Works
After eac h work , I have indicated the place a nd the year of its composition, the name of its
publisher. The works which arc characteristic of m y musical la nguage are marked with a n
ast erisk, the works very characteristic with two asteris ks .
Several numbers of this ca t alogue t reat secu lar subj ects; some arc in t he doma in of pure
m usic; most' of t hem are attached to t he medit ation of th e T ru ths of our Ca tholic faith,
borro win g from lh e inexhaustible sources of the Bible, the Missa l, the Fathers of the Church,
T he Imitation 0/ Christ. The two cycles for voice and piano ent itled Poemes pour Mi and
Chants de T errt tf de Ciel have unfor t unately been quoted very li ttle in t he present work.
Since th ey are part icularl y " true " in se ntiment and t ypical of m y manner, 1 ad vise the
reader who desires to und erstand my m usic better to begin by rea ding tnem.
PIANO
La dame de Sbalott (G renoble. 19 17).
La tristesle d'un grand ciel blanc (Paris, 1925) .
* Preludes (Fuligny, Aube. 1929. D urand , publisher).
La colombe - Chant d 'extase dans un paysage trisle - Le nnmbre Icgc r - Instants
defunts - Les sons impalpables du ri ve - Cloches d 'an go isse et larmes d 'adieu -
Plainte calme - Un re net dans Ie vent.
* (PianoOf!randes
Les oubliees (Fuligny, Aube,
reduction bythe co mposer.)
1930 , Durand, publisher),
INSTRUMENTAL MUSIC
** QualU Of pour II. fln du Temps (Goriitz, Silesic, 1941 . Durand , publisher).
(For violin , B flat clarin et, violoncello and plano - written while a prisoner.)
Liturgic de cristal - Voca lise, pour rAnge qui annonce la fin du Tem ps - Abime des
oiseau x - Intermede - Loua nge a rternite de J esus - Danse de la fureur, pour
les sept trompettes - Fouillis d'arcs-c n-ciel, pour I'Ange qui ann once la fin du Temps -
Loua nge a I'Immorlalite de Jesus.
VOCAL MUSIC
Deux Ballades de Villon ( Paris, 1921 ).
(For vo ice and piano.)
pitre l' scs a mis - Ballade des pend us.
Trois Melodies (Pa ris. 1930. Du rand. publisher).
(For sop rano and p iano.)
Pourquoi? - Le sourire - La fian cee perdu e.
La mort du Nombre (Paris, 1930. Durand , publisher).
(For soprano, tenor, violin and piano - poem and music by Olivier Messiaen .)
Messe (Neussargues, Ca ntal, 1933).
(For 8 sopranos and 4 Violins.)
K yrie - Gloria - Credo - Sa nct us - Agn us.
* Vocalise (Pa ris, 1935. Leduc, publjsher : Hettich collection)
(For soprano and piano .)
** Po emes pour (Petiche t, Isere, 1936 . Durand . publisher).
Mi
(For soprano and piano - poems and music by Olivier Messiaen.)
P remier Li vre: Action de graces - Paysage - La maison - I!pouva nte.
Deuxieme Livre: L'l!pouse - Ta voix - Les deux guerriers - Le collier - Priere
exa ucee.
o sacrum convivium! (Paris, 1937. Durand , publisher).
(For mi xed chorus in four part s. a cappelia - or for soprano a nd orga n.)
** Cha nts de Tene et de Ciel (Pet ichet , Isere. 1938. Durand, publisher).
(For sopra no a nd piano - poems and music by Oliv ier Messiaen.)
Bail avee Mi (pour rna femme) - Antienne du silence (pour Ie jour des Angcs gard iens) -
Danse du bebe-Pilu le (po ur man pet it P asca l) - Arc-en-ciel d 'innocencc (pour mon petit
Pasc~l l ) - Minuit pile et face (pour la Mort) - Res urrec tion (pour Ie jour de p aques).
CbQ!Un pour une Jeanne d' Arc (Neussargues, Ca nta l, 191\ ).
( For a large and small chorus, mixed, a cappella .)
Te Dcum - Impropcrcs.
-73 -
ONDE MARTENOT
ORGAN
ORCHESTRA
Maj est e du Christ demandant sa gloire a son Perc - Alleluias sereins d'une arne qui
desire Ie ciel - A lh~lui a sur la trompette, alleluia sur la cymba Ie I - Priere du Ch rist
montant vers son p ere.
** Poemes pour Mi (Paris, 1937. Durand, publisher).
(Orchestral version - for dramatic soprano and orchestra.)
Premier Livre: Action de graces ~ Pa ysage - La maison - ~pouvante .
Deuxieme Livre : L'~pouse - Ta voi x - Les deux guerriers - Le co llier - Priere
exaucee.
PEDAGOGICAL WORKS
Vingt lecons de solfege modernes (Neussargues, Can tal, 1933. Lemoine, publisher) .
(Only five of these lesso ns are by Olivier Messiaen).
Vingt l~ns d' harmonie (Paris, 1939.
Leduc, publisher).
(In the styles of several composers important to the history of harmony. from Monteverdi
to Ravel).
** Technique de mon langage mwical (Neussargues, Cantal, 1942. Led uc, publisher).
(With the present publication, available in English as The Technique 0/ My Musi cal
Language).
rulTto NS MUS ICALES ALPIIONSE LED UC 175. rue Sainl rr OTlO rt 75040 PARIS CEDEX or . nl.(I)429689"