Musical modulation

“ But since the seventeenth century our conception of music has gradually, from melodic, become harmonic; we hear vertically as well as horizontally; we hear the beauty of all chords as sounded together, and, unconsciously, we fill in the harmonies to every melody we hear. It would have been natural if the keyed instruments had adapted themselves to this altered musical conception, and had resigned the original conception of the scale to make way for harmonic conveniences. ”

“ The air column in the tube of the French horn, and the sounding-board of the pianoforte develop the vibrations caused by the lips and strings into musical tones pleasing to the ear. The tuning-fork alone can scarcely be heard, while the induced vibrations it sets up through properly adjusted resonance may be audible far away.
The vocal cords alone cannot make music any more than can the lips of the cornet player apart from his instrument. The tone produced by the vibrations alone of the two very small vocal bands must, in the nature of things, be very feeble. ”

“ A succession of tones without harmonic regulation is not a perfect element in music; neither is a succession of tones which have harmonic regulation but are void of rhythm. The beauty and expressiveness, especially the emotionality, of a musical composition depend upon the harmonies which either accompany the melody in the form of chords (a group of melodic intervals sounded simultaneously) , or are latent in the melody itself (harmonic intervals sounded successively) . Melody is Harmony analyzed; Harmony is Melody synthetized. ”

“ As he follows the pointer up and down the new scale he is soon taught to understand that a new sound is wanted to be the te of the new doh, and thus learns, by the 'feeling' of the sounds, not by any mere machinery of symbols, what modulation is. When he has been made familiar with the change from scale to scale on the modulator, he finds in the printed music a sign to indicate every change of key. Thus the changes between tonic and dominant in the following chant are shown as follows (taking the soprano part only) ”

“ Instruments alone cannot make music, any more than a steam derrick can build a bridge. If we wish to seize the true spirit of the modern musical art, we must, after all, leave orchestra, and piano, and sensuous value behind, and ascertain to what use composers have turned all these resources, and to what manner of expression, embodied in what kind of forms, they have been spurred by the romantic spirit. ”

“ When science comes and the nature of sound itself is understood as a property, instruments are invented and improved by the husbandry of mind until a great variety of musical instruments are developed; thus symphony grows from the soil of time. What, then, is symphony? It is a succession of melodies, every one of which is produced by a group of instruments, one of which may be that of the human voice. Now, as these instruments play in unison, one or another is selected to play the leading melody, and the other instruments are made to play subsidiary melodies in harmony with the leading melody. ”

“ But play the diatonic scale on the piano, or strike a random chord here and there, and though the thing means nothing, the ear is bound to take some pleasure in it. Musical sound gives us pleasure in and by and for itself, independently of our finding even the remotest mental connection between its parts. This connection may be great, or small, or practically non-existent; and the greater it is, of course, the more complicated becomes our pleasure; but it is not essential to our taking physiological delight in music considered purely as sound. ”

“ This is what makes modern harmony seem so much more difficult than it really is, for when the music comes to be heard, these formidable-looking intervals resolve themselves into something quite natural and generally not difficult of apprehension by a musical ear. Unfortunately we are compelled to learn music through the medium of a keyed instrument, generally through the most unmusical of instruments, the piano, and we learn theory largely through the eye and the reason instead of through the ear. ”

“ By far the greater number of our rules of composition are not dictated by any physical law traceable in acoustics, but only by human taste, which is continually undergoing modifications in the course of time. Thus, most of our great composers have caused some alterations in our theory of music. It is not only possible, but probable, that in a hundred years' time we shall have admirable musical compositions very different in form and construction from our present ones. ”

“ The cure for the trouble is brought about by the introduction of materials such as carpets, tapestries, and the like, which act as absorbers of sound and reduce the time of reverberation.
When music is played in an auditorium with a prolonged reverberation, the tones following one another blend and produce the same effect as that of a piano when played with the loud pedal in use. A reverberation is more advantageous for music than for speech, since the prolongation and blending of the musical tones is desired, but the mixing of the words in a speech is a distinct disadvantage. ”

“ The cycle of movement will then be repeated numerous times per second, with the result that a very pure foundation tone musical note will be produced.
The Diaphone is tuned like ordinary flue pipes and will keep in tune with them; the pressure of wind (and consequently the power of the tone) may be varied without affecting the pitch. The form of the pipe or resonator affects the quality of the tone; it may be flue-like or reedy in character, or even imitate a Pedal Violone, a Hard and Smooth Tuba, an Oboe, or a Clarinet. ”

“ Recourse to discord will always be demanded in music; but it is a question as to what extent aperiodic sounds or noises are necessary. We have learned to accept the hisses, scratches, rattles, thuds, and bangs of countless varieties in musical tone. Some such accretions are present in the tone production of every instrument now in use. They have arisen as impediments in construction, but have come to be accepted as characteristics of the instrument and therefore have added greatly to the individuality of each instrument. ”

“ For instance, the note produced by 60 vibrations per second will chord with one produced by 120—each node of the former coinciding with each alternate node of the latter. 60 and 90 will also chord; 60 and 70 will produce discord; 60 and 65, worse discord. And so on. The science of musical composition lies in the management of sound-pulsation, and is governed by certain rigid mathematical laws—which laws the composer need not understand.
Air-movement may, of course, take place without sound-vibration, for air is only incidentally a sound-conductor. ”

“ The execution of a rare melody demands as a prime condition an instrument of wide compass and delicate construction, and one of even more rich and varied capabilities is needed to render those grand harmonies which are woven in the modulation of sonorous chords. A skilful hand may draw a scale from wooden blocks set upon ropes of straw, but the great musician must hold the violin, or must feel the keys of the organ under his fingers and the responsive pedals at his feet, before he can expect to interpret fittingly the immortal thought of the composer. ”

“ The mathematical ratio referred to on page 134, if strictly carried out in tuning a keyboard instrument would cause the half-steps to vary slightly in size, and playing in certain keys (especially those having a number of sharps or flats in the signature) would therefore sound out of tune. There would be many other disadvantages in such a system, notably the inability to modulate freely to other keys, and since modulation is one of the predominant and most striking characteristics of modern music, this would constitute a serious barrier to advances in composition. ”

“ The finer the instrument, the lighter the touch it will vibrate to. Indeed it must have a light touch to respond clearly with musical harmonies; any other touch would blur. With a fine piano or a violin, whether the effect is to be piano or fortissimo, the touch should be only with the amount of force needed to give a clear vibration, and the ease with which a fortissimo effect is thus produced is astonishing. It is only those with the most delicate touch who can produce from a fine piano grand and powerful harmonies without a blur. ”

“ Harmony arranges musical sounds with reference to their union, and is regulated by artistic and æsthetic rules and requirements. It has endless modes of transforming, inverting and intensifying its materials, thus continually affording new means of development. All the intervals and chords used in music had to be discovered, one by one. It often took more than a century to bring into a general use a chord effect introduced by some adventuresome spirit. ”

“ For, in the first place, a settled scale is not only a vehicle for melody, it is also a means of modulation, and this latter function comes more into evidence as music becomes more complex and the need of modulation increases. ”

“ Colored stuffs will sing in lights of different colors, but refuse to sing in others. The polarization of light being now accomplished, light and sound are known to be alike. Flames have a modulated voice and can be made to sing a definite melody. Wood, stone, metal, skins, fibers, membranes, every rapidly vibrating substance, all have in them the potentialities of musical sound.
"Radium receives its energy from, and responds to, radiations which traverse all space—as piano strings respond to sounds in unison with their notes. Space is all a-quiver with waves of radiant energy. ”

“ As the pressure is increased, the air, passing through the holes, assumes a rhythmical beat, which soon becomes metamorphosed into musical notes. It is evident, therefore, that, by means of this instrument, the number of vibrations which produce a definite tone can be measured with absolute accuracy by any one who has an ear capable of appreciating a musical note. ”

“ The fact that these pieces invariably close on the tonic or keynote proves that all the modulations are referred to the fundamental tone of the chord, and gives evidence of a musical feeling and sense of harmony such as only human beings are usually supposed to possess. ”

“ The discovery of the microphone by Professor Hughes has enabled us to understand the reason of this failure. The transmitter of Reis was based on the plan of interrupting the current, and the spring was intended to close the contact after it had been opened by the shock of a vibration. So long as the sound was a musical tone it proved efficient, for a musical tone is a regular succession of vibrations. ”

“ It will be observed that in the matter of so handling the volume of musical sound, prolonging it and slightly coloring it by the use of the pedal or by skillful emphasis of touch, the pianist’s attention is directed ever to the after-sounds, so to speak, of his instrument. He is interested, not in the sharp, clear beginning of the sound, but in what follows it. He finds in the very deficiencies of the instrument possibilities of great musical beauty. ”

“ In primitive states of music rhythmic sounds were heard, defined by the pulses but with little or no change of pitch, and sounds varying in pitch without regularity of impulse. A high degree of intellectuality was reached before our modern scales were evolved from long-continued attempts at making well-balanced successions of sounds. As musical art advanced rhythm and melodic expression became united. ”

“ The only condition necessary to the production of a musical sound is that the pulses should succeed each other in the same interval of time. No matter what its origin may be, if this condition be fulfilled the sound becomes musical. If a watch, for example, could be caused to tick with sufficient rapidity—say one hundred times a second—the ticks would lose their individuality and blend to a musical tone. And if the strokes of a pigeon’s wings could be accomplished at the same rate, the progress of the bird through the air would be accompanied by music. ”

“ As a rule harmonics are employed on sustained notes, tremolando, or here and there for brilliant effects; they are rarely used in extremely simple melodies. Owing to a certain tonal affinity with the flute they may be said to form a kind of link between string and wood-wind instruments.
Another radical change is effected by the use of mutes. When muted, the clear, singing tone of the strings becomes dull in soft passages, turns to a slight hiss or whistle in loud ones, and the volume of tone is always greatly reduced. ”

“ Surely, it would be wiser to limit ourselves in our accompaniments to those harmonies which are as independent of “period” as the tunes themselves, for example, those of the diatonic genus, which have formed the basis and been the mainstay of harmonic music throughout its history, and upon which musicians of every age and of every school have, in greater or less degree, depended; and further, seeing that the genuine folk-air never modulates, never wavers from its allegiance to one fixed tonal centre, to avoid modulation, or use it very sparingly. ”

“ Modulations are really governed by the same laws which apply to any succession of harmonies whatsoever, and the possibilities of modulatory device are in the end chiefly dependent upon intelligible order in the progression of the parts. It is obvious that a large proportion of chords which can succeed each other naturally—that is, without any of the parts having melodic intervals which it is next to impossible to follow—will have a note or notes in common; and such notes are as useful to connect two chords in the same key as they are to keep together a series which constitute a modulation. ”