Casos de uso del paciente con la aplicación de Salud

Sibelius states in his lecture fragment (1896):

“Our oldest type of Finnish folksong presents a tonal system that lacks both tonic and dominant, as we understand them, as well as a final tone as in the old Greek keys, but contains just five tones – D E F G A – joined by two further tones B and C, when the melody assumes an intensified character. The tuning method for our five-string kantele supports this view.

Of course, learned theoreticians might – in many cases though not always – express this tone sequence D E F G A [B] as an upper pentachord resting on a similar lower one, with G as its point of departure. Hence we are dealing with a ninth chord as the harmonic basis for melodies of this type.”183

In this lecture fragment there are three points. Firstly Sibelius presents his view on the “tonal system” of the oldest Finnish folk-tunes and its instrumental resources.

Secondly Sibelius describes the melodic organization of the old folk-tunes. Besides “just five tones”, i.e. a pentachord (D E F G A), there is also a wider formation with the tones of “an intensified character” (D E F G A + B C). In this study this kind of heptachord where there is an inner hierarchy is placed into the category of an extended pentachord (see section 4.2.3).

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Thirdly Sibelius suggests a harmonization for “an upper pentachord” – whether extended or not. In this harmonization, besides the upper pentachord (D E F G A), there is “a similar lower one” (G A B C D).184 _With

regard to Sibelius’ term “ninth chord” it may be assumed that the composer at the same time considered the melodic pentachord harmonically as a dissolved D-rooted minor triad (Fig. 4.1–1a) and the lower pentachord as either a dissolved or sustained G-rooted major triad (Fig. 4.1–1b).185

Accordingly, in this study the melodic term “pentachord” is considered to be a horizontal dimension of the vertical or harmonic term “triad”. The pentachord D E F G A operates in the melodic surface (i.e. in the surface level), while the triad D–F–A operates in the level of harmonic basis, or harmonic reduction (i.e. in the deep level). In the Figures below, these two levels of scrutiny are usually shown one below the other.186 _{If the}

accompanying triad (G–B–D) is sustained in the surface level, its appearance is similar in the deep level.

These triads add up to a “ninth chord” G–B–D+D–F–A (Fig. 4.1–1c). It may be called regular, because it stands in root-position as a regular stack of thirds. The sum of them may be called a sum-chord, here a G-rooted sum- ninth chord that has a dominant-type structure, including a minor seventh and major third. The postfix “-type” is used in connection with dominant- type chords standing on degrees other than the dominant of a key (see Fig. 4.3–3). In connection with dominant-rooted chords this postfix is unnecessary. Non-dominant type sum-chords on any degree are specifically mentioned.

184 _{”Similar” does not necessarily mean ”identical”. Therefore instead of the minor pentachord G A}

B flat C D, the lower pentachord may also be considered the major pentachord G A B C D. In it the pitch B natural is in accordance with the B natural in the extended pentachord.

185 _{I have used Hindemith’s term. In connection with melodic construction Hindemith 1969:112}

speaks about the “concept of melodically dissolved harmony”. Kirnberger 1982[1771]:210 Ex. 11.9 uses the term “arpeggiation” for this phenomenon.

186 _{In relation to Schenkerian concepts Vordergrund–Mittelgrund–Hintergrund (“foreground–}

middleground–background”) both the surface and the deep level stand in the Vordergrund, i.e. in the immediate level of musical structure. In this study the term “layer” is not used as a synonym for the term “level”.

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Fig. 4.1–1 a–c. Music-examples derived from Sibelius’s lecture fragment.

4.1.1 THE LECTURE FRAGMENT’S POTENTIAL

Concerning the first point where Sibelius presents his view on the “tonal system” of the oldest Finnish folk-tunes, according to Sibelius the old Kalevala-tunes lack “both tonic and dominant, as we understand them, as well as a final tone as in the old Greek keys” (see section 4.1). In connection with the runo melodies Sibelius did not call the “five tones – D E F G A – joined by two further tones, B and C” D Dorian church mode (see chapter 3.3). Near the end of his audition lecture Sibelius states: “As I noted above, the Finnish tonal system lacks the final note in the same sense as the church modes. Rune melodies end either on one tone or the other – a clear sign that there is no basic tone [tonality]”.187

Although this may be the case in ancient runo melodies, the melodies by Sibelius based on a pentachord do not conclude randomly. In these – in my opinion – the lowest of those “just five tones” (e.g. D E F G A) functions as the tonic (see chapter 3.3). Therefore from now on the lecture fragment is also handled in terms of D Dorian. Since in his compositions Sibelius often uses so-called “Gregorian” or “church” modes in a manner different from the composers of Medieval and Renaissance periods, those prefixes may be left out.

As a result of his viewpoint on the tonal structure of folk melodies Sibelius did not consider the tone D of the pentachord D E F G A to be its tonic or the tone A its dominant. He also shrank from using these terms in connection with the lower pentachord. Thus Sibelius did not declare this dominant-type “ninth chord” as a dominant chord in C major. Yet it is also possible to associate this tonal possibility with the fifth-related combination of pentachords (see section 4.3). This aspect is seized upon later (see chapter 11.3).

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Concerning the second point, earlier in his audition lecture Sibelius had defined the diatonic system as “seven tones within an octave”.188 _{Since the}

extended pentachord (see section 4.1) does not reach the ambitus of the octave from its lowest tone, it is not identical with the D Dorian mode. As such, an extended pentachord (i.e. heptachord in which there is an inner hierarchy) stands between a pentachord and a heptatonic scale that also includes the octave of the tonic. Heptatonic scales will be scrutinized below (see section 4.2.1).

Concerning the third point, Sibelius’ suggestion for harmonizing old folk- tunes implies additive harmony (see chapter 3.5). Sibelius reflected: “If these melodies originated in a far distant time – a time when perhaps no conception of harmony existed – harmonization assumes a quite different character. In that case the composer must clarify for himself the basic mood of the folksong and then allow harmonies to pour out accordingly – to create, so to speak, the milieu in which one imagines the [melody] folksong to have arisen”.189

In his lecture fragment Sibelius implies a pentachordal melody that is not notated, but in which the pitch-content is defined. Harmonically this is a dissolved D-rooted minor triad (Fig. 4.1–1a). In additive harmony this functions as a layer (i.e. a sub-chord that in this case is a sub-triad) in the “milieu” that also contains a lower layer G-rooted sub-triad (Fig. 4.1–1b). In additive harmony the components of Satz that are here an assumed pentachordal melodic line (or simply: line) and its accompaniment are based on different sub-chords (see chapter 3.5), not on one and the same chord, as would be the case in non-additive harmony (see section 4.5.2, chapter 5.3.1). In Sibelian Satz both additive and non-additive harmony are encountered. Of these the latter type is the more common.

The properties of this sum-ninth chord from the point of view of dissonance treatment are dealt with later (see section 4.4.1).