Zarlino, the Senario, and Tonality

Author(s): Robert W. Wienpahl

Source: Journal of the American Musicological Society, Vol. 12, No. 1 (Spring, 1959), pp. 27-41
Published by: University of California Press on behalf of the American Musicological Society
Stable URL: http://www.jstor.org/stable/829515 .
Accessed: 10/10/2013 17:29

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp

.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact support@jstor.org.

University of California Press and American Musicological Society are collaborating with JSTOR to digitize,
preserve and extend access to Journal of the American Musicological Society.

http://www.jstor.org

This content downloaded from 130.239.76.10 on Thu, 10 Oct 2013 17:29:45 PM

All use subject to JSTOR Terms and Conditions
 Zarlino,the Senario,and Tonality
BY ROBERT W. WIENPAHL

MOST IMPORTANTadvancesin
T HE
I6th-century harmonic
monie la quale consiste nella positione della
chorda che f! la terza, ouer la Decima
theory
were made primarily by one man, sopra la parte graue del la cantilena. Ande,
Gioseffo Zarlino (1517-90), and it is ouer che sono minore et l'Harmonia che
safe to say that probably no theorist nasce e ordinata o s'assimigliaalla propor-
tionalita o mediatione Arithmetica, ouer
since Boethius was as influential upon
sono maggiori et tale Harmonia e ordinata
the course of the development of ouer s'assimiglia alla mediocrita Harmon-
music theory. He was a man of tre- ica. Et da questa varieta dipende tutta la
mendous talents, well versed in the diversita et la perfettione dell'Harmonie;
Greek and Hebrew languages, phi- conciosiache e necessario (come dir6 al-
losophy, mathematics, astronomy, troue) che nella compositione perfetta si
and chemistry, to say nothing of ritrouino sempre in atto la quinta et la
music. While he was a composer and Terza ouer le sue Replicate, essendo che
maestro di cappella at St. Mark's, his oltra queste due consonanze l'Udito non
chief claims to fame are his three ex- pub desiderar suono che caschi nel mezo
ouer fuori de i loro estremi che sia in tutto
cellent treatises: L'istitutioni har-
differente et variato da quelli ..
moniche (first published in Venice
in 1558, and then followed by nu-
TRANSLATION
merous reprints, I562, 1573, etc.);
Dimostrationi harmoniche (Venice, ... The variety of harmony in such com-
and binations does not consist solely in the
1571, etc.); Sopplimenti musicali
(Venice, 1588). The complete set between variety of Consonances which are made
two parts but also in the variety
was republished then in 1589, en- of the
Harmony which consists of the
titled De tutte l'opere del R.M. Gio-
types of intervals which make up the
seffo Zarlino da Chioggia.' It is the third, or the Tenth above the lowest part
complete edition that we have con- of the song. Either it is minor and the
sulted for this study. Harmony which arises is establishedby or
It is well to begin the discussion corresponds to the Arithmetic proportion,
or it is major and such Harmony is estab-
by setting forth Zarlino's dichotomi-
zation of the modal system in his lished by or corresponds to the ordinary
treatment of consonance and the Harmonic, and on this variety depends all
the diversity and perfection of Harmony.
common triad. For it is necessary (as I have said else-
Thus, Zarlino has the following to where) that in the perfect composition
say concerning the use of conso- there always be found in effect the Fifth
nance in composition:2 and Third or their compounds [i.e., the
. . La varietadell Harmoniain similiac- ioth and I2th] there being nothing beyond
these two consonances which the ear de-
compagnamentinon consiste solamente sires, no sound within or
nellavarietadelle Consonanzeche si fa tra beyond their
due parti ma nella varieta anco dell' Har- limit which may be in any way different
1 De tutte from them. ...
l'operedelR. M. Gioseffo Zar-
lino da Chioggia (Venetia: F. de Senese,
1589).
It can be seen from this that the
2 L'istitutioni harmoniche, Cap. 31, P. 222. common triad is considered by Zar-
27

This content downloaded from 130.239.76.10 on Thu, 10 Oct 2013 17:29:45 PM

All use subject to JSTOR Terms and Conditions
28 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
lino as the most importantof all con-
sonant combinations. This attitude is
reflected in the increasing inclusion
of the third in the final chord. We
examined some 5,179 pieces of music
from the period 5oo00 to i7oo and
found that the period of greatestuse
of the final third was from I580 to
I620; some 93.8%oof all final chords
included the third, and it is safe to
say that actual practice exceeded
written practice. Certainly theory
and practice are hand in hand.
Zarlino continues:3
Ma perche gli estremi della Quinta sono
invariabili et sempre si pongono contenuti
sott' una istessa proportione (lasciando
certi cosi ne i quali si pone imperfetta),
pero gli estremi della Terze si pongono
differenti tra essa Quinta. Non dico pero
differenti di proportione ma dico differenti
di luogo; percioche (come ho detto al-
troue) quando si pone la Terza maggiore
nella parte graue l'Harmonia si fa allegra;
et quando si pone nell'acuto si fa mesta.
Di modo che dalla positione diversa delle
Terze, che si pongono nel Contrapuntotra
gli estremi della Quinta ouer si pongono
sopra l'Ottava, nasce la varieta dell'Har-
monia. ...
TRANSLATION
But because the limits of the Fifth are in-
variable and always are included under the
same proportion (allowing certain types
to be classed as imperfect) yet the limits
of the Thirds are different within the
Fifth. I do not say different in position,
for (as I have said elsewhere) when the
major Third is placed in the lower part
of the Harmony it is happy and when
placed in the upper part it is sad. So that
from the different positions of the Third,
which is placed in counterpoint between
the extremes of the Fifth or placed above
the Octave, is born the variety of the Har-
mony. ....
This is one of the earliest discus-
sions of the effect produced by the
major and minor chord and is com-
3 Loc. cit.
This content downloaded from 130.239.76.10 on Thu, 10 Oct 2013 17:29:45 PM
All use subject to JSTOR Terms and Conditions
pletely in keeping with our own
feeling today. It should be pointed
out, however, that Zarlino does not
speak of the combination as an entity
but rather as a positioning of two
types of thirds. It is evident that he
appreciatesthe value of happinessor
sadnessas one belongingto the third
itself, since he states that it may be
found between the limits of the fifth
or placed above the octave. In clari-
fication of this idea he states:4
Se adunquenoi uorremo uariarl'Harmonia,
& osseruarepi'I che si pub la Regola posta
di sopra nel Cap. 29. (ancora che nelle
compositioni di pidi voci non sia tanto
necessaria,quanto C in quelle di due) e di
bisogna, che noi poniamo le Terze dif-
ferenti in questa maniera;c'hauendo prima
posto la Terza maggiore, che faccia la
mediatione Harmonica, poniamo dapoi la
minore, che fard la divisione Arithmetica.
TRANsLATION
If then we want to vary the harmony, and
observe as far as possible the rule set forth
above in Cap. 29 (although this may not
be as necessary in compositions for several
voices as in those for two) it is merely a
matter of placing the different Thirds in
this fashion; having first employed the
major Third, which constitutes the Har-
monic division, we then use the minor,
which arises from the Arithmetic division.
Since he is speaking primarily
about compositionin two parts,as he
states in parenthesis, it is clear that
he fully appreciatesthe shadingvalue
of juxtaposedthirds.
It should be noted in what ways
Zarlino refers to the positioning of
intervals, both in these passages and
those which follow, because there is
a definite change taking place in the
consideration of vertical combina-
tions.
Up to the time of Zarlino the
tenor was held to be the most im-
portant voice, the determiner of the
4 Ibid., p. 221.
 ZARLINO, THE SENARIO, AND TONALITY 29

mode, and all intervalswere figured anze collocate secondo la natura del Nu-
in relation to it, both above and be- mero sonoro; cioe, la Quinta tramezata, 6
low. With Zarlino,however,we can diuisa harmonicamentein una Terza mag-
find many statementswhich show giore, & in una minore; il che molto diletta
all'Udito. Dico le Consonanze esser poste
directly or indirectly that this is no in essi secondo la natura del Numero
longer the case. We consider the sonoro, percioche allora le Consonanze
above quotationsas indicationsof his sono poste ne i lor luoghi naturali;.. . Ne
desire to construct composite inter- gli altri Modi poi, che sono il Terzo, il
vals above a bass tone, especially in Quarto, il Quinto, il Sesto, l'Undecimo, &
the second quotationbeginning "Ma il Duodecimo, la Quinta si pone al contra-
perche. . . ." It is unfortunate that rio; cioe, mediata arithmeticamenteda una
Riemann miscopied this particular chorda mezana; di modo che molte uolte
udimo le Consonanze poste contra la nat-
passage,5after the parenthesis,where ura del nominato Numero. Per ilche, si
it continues, ". . . pero gli estremi
delle Terze. . ." Instead of the come ne i primi la Terza maggiore si sot-
topone spesse uolte alla minore; cosi ne i
plural "delleTerze" he used the sin- secondi si ode spesse fiate il contrario; &
gular "della Terza." From this mis- si ode un non s6 che di mesto 6 languido,
take he drew the erroneous deduc- che rende tutta la cantilena molle; ...
tion that Zarlino was speaking of
only one kind of third and its posi- TRANSLATION
tion above and below the keytone, The reason is that in the first [case] the
from whence he decidedthat Zarlino Major imperfect consonances frequently
was the earliestrepresentativeof the appear above the final note, as in the case
dualistic theorists like Hauptmann, of the Modes, or Tones, such as the First,
Second, Seventh, Eighth, Ninth, and the
Ottingen, and himself, who consider Tenth; [do not forget that these are Zar-
the minor key as an inversionof the lino's new numberings7] as we saw else-
major. We need not go into this where; such Modes are very cheerful and
theory here, but it is well to point lively; because in them we often find the
out that the third quotation, begin- Consonances placed according to the na-
ning "Se adunque.. . ," continuesto ture of the Sonorous Number; that is, the
refer to the differentthirds, proving Fifth is divided harmonically into a major
that Zarlino did not merit the du- Third and a minor [4:5:6]; which is very
bious honor conferred upon him by delightful to the ears. I say that the Con-
Riemann. sonances are arranged according to the
Further proof of this may be had nature of the Sonorous Number, for then
in the following statement by Zar- the Consonances are put in their natural
places;... In the other Modes, which are
lino, in which he now carrieshis de- the Third, Fourth, Fifth, Sixth, Eleventh,
ductions in harmonyinto the larger
fields of the modes:6 7 De tutte l'opere, Lib. IV, Cap. X, p. 399.
Authentic Modes
La cagione ', che nelle prime, spesso si I Ionian. Final C
odono le Maggiori consonanze imperfette III Dorian. Final D
V Phrygian. Final E
sopra le chorde estremi finali, 6 mezani de VII Lydian. Final F
i Modi, 6 Tuoni, che sono il Primo, il IX Mixolydian. Final G
Secondo, il Settimo, I'Ottauo, il Nono, & XI Aeolian. Final A
il Decimo; come uederemo altroue; i quali Plagal Modes
Modi sono molto allegri & uiui; conciosia II Hypoionian. Final C
che in essi udimo spesse fiate le Conson- IV Hypodorian. Final D
VI Hypophrygian. Final E
5 H. Riemann, Geschichte der Musiktheorie VIII Hypolydian. Final F
(Berlin, 1920), pp. 393ff. X Hypomixolydian. Final G
6 L'istitutioni, Part III, Cap. Io, p. 192. XII Hypoaeolian. Final A

This content downloaded from 130.239.76.10 on Thu, 10 Oct 2013 17:29:45 PM

All use subject to JSTOR Terms and Conditions
30 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
and the Twelfth, the fifth is placed con- fundamental, minor third, fifth, oc-
trariwise; that is, divided arithmetically tave, fifth, fifth (i.e., C, El, G, c, g,
by the middle tone; so that many times we g'). This is, of course, the minor har-
hear the Consonances arranged contrary
mony.
to the nature of the Number in question. Thus, the example (omitted above)
In the first [the Modes first referred to],
the major Third is frequently placed be- in the first quotation, which he labels
low the minor; while in the second it is Harmonica and Arithmetica, is de-
frequently heard otherwise [i.e., the minor
rived from these two series. Below,
Third below the major]; and there is he places the superparticular ratios,8
heard a sad or languid effect, which makes Sesquiquarta (5/4 or major third)
the whole melody soft; . . . and Sesquiquinta (6/5 or minor
third).
This is the first recognition of the Zarlino's whole theory of conso-
fact that there were actually only nance, then, is related to a series of
two types of modes, those which had six numbers, from one to six, or the
a tonic major third and were cheer- arithmetical series 1: 2: 3:4: 5:6. This
ful, and those which had a minor is not used, however, as was de-
third and were sad. He then affirms scribed above with the constant de-
the identity of each group of modes nominator of six. But rather, it is the
with the major and minor triad re- source for all possible ratios involv-
spectively, although they are identi- ing these six numbers. This is really
fied by the placement of the thirds an extension of the Pythagorean sys-
rather than by the term "chord." It tem, which stated that all the perfect
is remarkable that Zarlino did not go consonances were derived from
one step further and call them major the first four numbers; thus, I: z is
and minor modes, but it was more the octave, 2:3 the fifth, and 3:4 the
than one hundred years before these fourth. Zarlino calls his series the
labels were applied. Senario. Therefore,9
We should like to call attention, Delle del numero Senario et delle
before proceeding, to the repeated sue proprieta
parti et come tra loro si ritroua la
use of the terms "harmonic" and forma d'ogni consonanze musicale.
"arithmetic."
"Harmonic" applies to the division TRANSLATION

of the monochord according to the From the propositions of the number Six
various string length ratios, expressed and from its parts and the relation be-
tween them is found the form of every
by the series: i, V, 1/3, ?, V, V,
which produces the first six partials; consonance.
thus, fundamental, octave, fifth, dou- The perfection of consonances, as
ble octave, major third, and minor derived from the Senario, is related
third (i.e., C, c, g, c', e', g'). The to the
simplicity of the numbers
major harmony, therefore, corre- making up the ratio:'"
sponds to this series, due to the posi- Et C in tal maniera
tion of the major third below the semplice la Diapason,
che se ben e contenuta da sue Suoni di-
minor.
versi per il sito, dir6 cosi; paiono nondi-
"Arithmetic" refers to the arith-
metical division: thus, 1:2:3:4: 5:6, in s "Superparticular" refers to a ratio in
which the denominator, 6, remains which the antecedent exceeds the consequent
by one.
constant; i.e., 6/6, 5/6, 4/6, 3/6, 2/6, 9 L'istitutioni, Cap. I5, Chapter heading.
i/6. This produces respectively the Ibid., Cap. 3, p. 184.
o10

This content downloaded from 130.239.76.10 on Thu, 10 Oct 2013 17:29:45 PM

All use subject to JSTOR Terms and Conditions
 ZARLINO, THE SENARIO, AND TONALITY 31
meno al senso un solo, percioche sono sua proportione, che sono 5 & 3, sono
molto simili; & ci6 aviene per la vicinita capaci d'un mezano termine, che e il 4-
del Binario all'Unita....
TRANSLATION
TRANSLATION The major sixth is a composite Conso-
And it is in such a simplefashionthat the nance,for the minimumlimits of its pro-
Octave derivesits soundfrom its position, portions,which are 5 & 3, have a middle
thus let me say, however,that it seemsto term which is 4.
be a singlesound;for they [the two tones
of the octave] are much alike and are a It is unfortunate, perhaps, that Zar-
resultof the proximityof Two to One. lino, as well as others both ancient
and modern, became enamored of
The octave, therefore, is the most the Senario
system, because it
perfect because of the proximity of blinded him to certain fundamental
two to one.
principlesof inversionwhich other-
By carrying out the various ratios wise might have been obvious. The
the following consonances are ob- minute that he considered sixths as
tained: 2: I equals the octave, 3:2 the
composite intervals, he banished the
perfect fifth, 4:3 the fourth, 5:4 the idea that they were also inversions of
major third, and 6:5 the minor third. thirds. At any rate, he continues: 13
It will be noted that these are super-
particular ratios and that they form Vedsi contenuto
oltra di questo I'hexachordomag-
the basic consonances because of this giore, in tale ordine tra questi
close relationship; i.e., their com- termini 5 & 3, il quale dico esser Con-
sonanzacompostadella Diatessaron& del
ponent numbers do not differ by Ditono: perciochee contenutotra termini,
greater than unity (Unita), for, as he che sono mediatidal 4.
11
says:
TRANSLATION
... Ma la Vnita, benche non sia Numero,
tuttauia e principio del Numero; & da essa There may be seen in this major sixth
contained within its limits 5 & 3, what I
ogni cosa, 6 semplice, 6 composta, 6 cor-
porale, 6 spirituale che sia, uien detta Vna. call a Consonance composed of the Fourth
and the Major Third: for it is contained
between its boundaries by means of the
TRANSLATION number 4.
. . But Unity, although not itself a
Thus, the perfect fourth equals
Number, nevertheless is the source of
Numbers; & everything, whether it be 3:4 and the major third 4:5. It has a
neatness which could easily appeal
simple, compound, corporal, or spiritual,
comes from this Unity.... to the orderly mind.
Figure 114 shows one of the nu-
From this it can be seen that the merous
graphic demonstrations of
major and minor sixth are not con- ratios; in this case, for the Senario. A
sidered by Zarlino to be basic con-
comparison of this with a figure of
sonances, since their ratios are re- similar function by Salinas, which
spectively 5:3 and 8:5. follows shortly, will show why the
Of the major sixth he speaks as latter made a clearer statement of in-
follows: 12 terval compliments.
L'hexachordo maggiore ' Consonanza Concerning the minor sixth, Zar-
composta, percioche i minimi termini della lino has this to say: 15
13 Ibid., Cap. 15, p. 33.
11 Ibid., Part I, Cap. 12, p. 29. 14 Ibid., Cap. 15, p. 32.
12 Ibid., Cap. 16, p. 34. 15 Ibid., Cap. 16, p. 34.

This content downloaded from 130.239.76.10 on Thu, 10 Oct 2013 17:29:45 PM

All use subject to JSTOR Terms and Conditions
32 Prima
Ver&
?roprietded a delefue
Senario
momero parti; & come
tra
ritro&a
lorofi laforma
d'ogni muficale,
(onfonan(a
Cap.
XV.
N c oi c H molt fianoleproprictd del,numero Scnario;nondimcno.
pernonandar troppoinlungo,racconter6 quellechefannoalpro
w pofito;&laprimafara',
neinfeParti,chefonoproportionate
folamente
cheegliCtrai Numcripcrfetti
il Primo; & contic-
tralorointalmodo;chepigliandonc
Duequal fliugliono , hannotalrclatione,chenedannolaragione, 6 formiadi una
delleProportionidelic muficaliconfonanze;6 femplice,6 compoftach'ella fia; co-
%mefipu6uederencllafottopoftafigura.

,
pcntc.
Diapafon
dia

C 04P
aonics .

c. /o e0 ? :S u
._.+
Ail tf

SonoancoralefuePartiintalmodocollocate&ordinate,cheleFormediciarcuna
delleDuemaggiori confonanze,
femplici clqualidai Mufici
ucngonchiamate Pecrfet-
te; effendo
c6tcnutetraIcpartidelTcrnario,fono
in duepartidiuifeinHarmonica
pro
untcrmine
portionalit:i,da mczano: conciofia prima
cheritrouandofi laDiapafon
nel-
la forma& Ctra2&z.fcnz'alcun
proportione,che mezo,e dopoidalTcrnarinpollotra
ii4.&il 2. in duepartidiuifi; indueconlbnanze,nellaDiactciTron
primamcn-
tc, cheliritrouatra4.&3.&nellacjo.,Diapcntc trail 3.&il 2.Qicftapoifiritro-
collocata
ua tra6. & 4. diuifadal s. indueparticonfonanti;cioa',in unDitono contenutotrav.
&4. &inunScmiditono contcnuto tra6. &j.*Hodctto,chefrmodiuife in Dueparti
in
Figurei

This content downloaded from 130.239.76.10 on Thu, 10 Oct 2013 17:29:45 PM

All use subject to JSTOR Terms and Conditions
 ZARLINO, THE SENARIO, AND TONALITY
Alquale aggiungeremo il minor Hexa-
chordo, che nasce dalla congiuntione della
Diatessaron col Semiditono, ... Imperoche
ritrouandosi tal proportione tra 8 & 5. tai
termini sono capace d'un mezano termine
harmonico, ch'e il 6; il quale la divide in
questa maniera 8.6.5. in due proportioni
minori; cioe, in una Sesquiterza & in una
Sesquiquinta.
TRANSLATION
Similarly we shall figure the minor Sixth,
which is born of the union of the Fourth
with the Minor Third, . . . For such pro-
portions are found between 8 & 5 whose
limits contain a middle harmonic number
which is 6; which divides it in this way
8:6:5, in two minor proportions; that is, in
a Fourth & in a Minor Third.
Here he seemingly goes outside of
the Senariobut managesto excuse it
in this way: 16
Et benche la sua forma non si troui in atto
tra le parti del Senario; si troua nondimeno
in potenza; conciosiache ueramente la
piglia dalle parti contenute tra esso; cioe,
dalla Diatessaron& dal Semiditono; perche
di questa due consonanze si compone: la
onde tra'l primo numero Cubo, il quale e
8 uiene ad hauerlain atto.
TRANSLATION
And although its ratio is not found in
actuality within the parts of the Senario,
they are nevertheless found potentially;
because indeed the elements of the parts
are contained within; that is, in the Fourth
& in the Minor Third: wherefore it is
composed of two consonances: so that
actually this 8 is a Cube of the first num-
ber.
And further on:17
.. .Per6 dico .. . che nel Senario; ciol, tra
le sue Parti, si ritroua in atto ogni Semplice
musical consonanza, & anco le Composte
in potenza. ...
TRANSLATION
. . However I say . . . that as every
16 Ibid.
17 Ibid., p. 35.
This content downloaded from 130.239.76.10 on Thu, 10 Oct 2013 17:29:45 PM
All use subject to JSTOR Terms and Conditions
33
Simple musical consonance is found in
actuality in the Senario, so the composite
are found potentially....
And elsewhere, he irrevocably
seals the union which cut him off
from the invertibility of sixths and
thirds."s
... L'hexachordo maggiore, & anco il mi-
nore, nascono dalla congiuntione della Dia-
tessaron col Ditono, 6 Semiditono; come
diligentemente habbiamo dimostrato nel
secondo Ragionamento delle Dimostrazioni
harmoniche.
TRANSLATION
. . . The major sixth, and also the minor,
are a product of the union of the Fourth
with the Major Third, or Minor Third; as
we have carefully demonstrated in the
second Rule of the Dimostrazioni har-
moniche.
However, in spite of this statement
and his reference to the Dimostra-
zioni harmoniche,it is in the latter
work that he gives some hint that he
may have understood the inverti-
bility of intervals; for, in the Ra-
gionamento Terzo, he gives the fol-
lowing rules: 19
Delle Consonanzae ordinate in cotal guisa,
"
dal fine del Semiditono quello del Ditono
ui e la differenza del Semituono minore; &
dal fine del Ditono quello della Diates-
saron ui e quella del Semituono maggiore.
II fine della Diatessaron da quello della
Diapente si troua differente per il Tuono
maggiore; & il fine della Diapente da
quello dell'Hexachordo minore e differ-
ente per il Semituono maggiore. Dal fine
di questo Hexachordo al fine del maggiore
ui cade la differenza del minor Semituono.
Et dal fine della Diapente a quello dell'-
Hexachordo maggiore ui e la differenza
del Tuono minore. Dal fine dell'Hexa-
chordo minore al fine della Diapason si
troua la differenza del Ditona. Et dal fine
dell'Hexachordo maggiore a quello dell
istessa Diapason ui e quella del Semiditono.
Is Ibid., Cap. 16, p. 30.
19 Dimostrazioni harmoniche, Proposta 40,
p. 184.
34 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
Simigliantementeil fine della Diapason da
quella della Diapason diatessaron e dif-
ferente per la Diatessaron, & da quello
della Diapason diatessaron a quello della
Diapason diapente casca la differenza del
Tuono maggiore. Vltimamente dal fine
dalla Diapason diapente vi e la differenza
della Diapente; & da quello della Diapason
diapente al fine della Disdiapason si troua
la differenza della Diatessaron.
TRANSLATION
Concerning consonances and how they are
arranged.From the end of the minor third
to that of the major third there is a dif-
ference of a minor half step; and from the
end of the major third to that of the
fourth it is a major half step. From the
end of the fourth to that of the fifth is
found a major whole step; and from the
end of the fifth to that of the minor sixth
there is a difference of a major half step.
From the end of this sixth to that of the
major sixth there is a difference of a minor
half step. And from the end of the fifth to
that of the major sixth there is a difference
of a minor whole step. From the end of
the minor sixth to that of the octave there
is a difference of a major third. And from
the end of the major sixth to that of the
same octave is a minor third. Similarly
from the end of the octave to that of the
octave and a fourth there is a difference of
a fourth, and from that of the octave and
a fourth to that of the octave and a fifth
there is a difference of a major whole step.
And finally from the end of the octave to
that of the octave and a fifth there is a
difference of a fifth, and from that of the
octave and a fifth to the end of the double
octave there is a difference of a fourth.
This is as close as Zarlino comes to
the realization of invertibility. Rie-
mann thought that he clearly un-
derstood the principle, in justifica-
tion of which Riemann points to the
word "Replicate" (which will be
found in the first quotation shortly
after the parenthesis). This he trans-
lates as "Oktavversetzungen" or "in-
version."20 However, we believe that
20 Riemann, loc. cit., p. 371.
This content downloaded from 130.239.76.10 on Thu, 10 Oct 2013 17:29:45 PM
All use subject to JSTOR Terms and Conditions
the following statement by Zarlino
clearly shows that by "replicate" he
meant compound intervals in contra-
distinction to simple intervals.21
La onde dico, che gli Elementi del Con-
trapunto sono di due sorti; Semplici &
Replicati. I Semplici sono tutti quelli In-
tervalli che sono minori della Diapason;
com'e l'Vnisono, la Seconda, la Terza, la
Quarta, la Quinta, la Sesta, la Settima, &
l'Ottaua; cio , essa Diapason. Et li Repli-
cati sono tutti quelli che sono maggior di
lei; come sono la Nona, la Decima, la
Vndecima, la Duodecima, & gli altri per
ordine.
TRANSLATION
Therefore I say that the Elements of
Counterpoint are of two types: Simple &
Compound. The Simple are all those inter-
vals which are smaller than the Octave;
such as the Unison, the Second, the Third,
the Fourth, the Fifth, the Sixth, the Seventh,
& the Octave; that is, the Diapason. And
the Compound are all those which are
larger than the Octave: as are the Ninth,
the Tenth, the Eleventh, the Twelfth, &
the others in order.
At this point we should again like
to digress briefly in order to discuss
similar views held by Zarlino's
contemporary, Francisco de Salinas
( 1513-90). We do not know whether
the two men ever met, but it seems
highly probable in view of the fact
that Salinas came to Rome in 1538
and remained in Italy until 1561. At
least, if they did not meet, the simi-
larity of their basic theories indicates
that Salinas was acquainted with Zar-
lino's writings.
Salinas's treatment of consonance
is also based upon the Senario and is
clear and concise. The accompany-
ing figure (Figure 2) is of consider-
able interest since it helps to clarify
the explanation. Thus, concerning
the Senario, Salinas says.22
21 L'istitutioni, Part III, Cap. 3, p. 183.
22 De musica libri VII (Salamanticae: M.
 ZARLINO, THE SENARIO, AND TONALITY
Et quo clarius Senarii virtus elucescat non sufficient and this is evident from the fore-
solum in eo omnes formae consonantiarum going figure. [See Figure 2 below.]
simplicium inveniuntur singulis ejus parti-
bus ad proximas et ad quamcunque ejus The examplehappensto be for the
partem comparata consonantiam facit sim- arithmetic
plicem aut compositam, ut non tantum in
sex primis simplicibus sed etiam in sex
primis (cum aequa) multiplicibus inven-
iantur, in tripla sicut in sesquialtera, in
quadruplasicut in dupla, in quintupla sicut
in sesquiquartaet in sextupla sicut in tripla
et sesquialtera. Neque ultra sextuplam in
proportione septupla consonantiam inven-
iri, sicut neque in sesquisexta ultra ses-
quiquintam .... Sciendum est, intervalla
nunc secundum Arithmeticam divisionem
disponi nunc secundum Harmonicam. Di-
visione Arithmetica aequales esse differ-
entias ac spacia, inaequales vero propor-
tiones ... talem autem divisionem in primo
Senario reperiri satis et praecedenti figura
liquet.
TRANSLATION
And to what extent the real value of the
Six begins to shine forth not only in all
forms of simple consonances to be met
with in their single parts in the closest and
most immediate comparison .. . but in all
parts in relation to the whole and in each
part united in consonance, simple or com-
posite, where it is met with not only in six
simple ratios, but also six multiple ratios,
in i:3 just as in 2:3, in x:4 just as in 1:2,
in 1:5 just as in 4:5 and in 1:6 just as in
1:3 and 2:3. And neither beyond 1:6 in
the ratio 1:7 is a consonance to be found,
just as not in 7:6 beyond 6:5 . . It is un-
derstood, intervals are distributed now ac-
cording to the Arithmetic division and
now according to the Harmonic. Arith-
metic divisions may be equal in difference
and also in space, unequal indeed in pro-
portion. ... for such a division moreover
right from the first the Six is found to be
Gastius, 1577), Lib. II, Cap. 12, pp. 61-62. The
Senario concept continued to be quoted in
later years, as by Descartes, CompendiumMu-
written in
sices, h168, published in 1650;
English trans. Renatus Des-Cartes Excellent
Compendium of Musick (London: T. Harper,
1653), pp. 9-Io. And Kircher, Musurgia uni-
versalis (Romae: F. Corbelletti, 1650), Lib.
III, Cap. V, p. 100oo.
This content downloaded from 130.239.76.10 on Thu, 10 Oct 2013 17:29:45 PM
All use subject to JSTOR Terms and Conditions
35
division,but the principle
would be the same for the harmonic,
concerning which he states:23
Et mirum est quanto suaviorem efficiant
auribus concentum hae consonantiae, sic
Harmonica medietate divisae, quam Arith-
metica ut in priori chorda dispositae sunt.
TRANSLATION
And it is wonderful how smooth these
combinations are to the ear, whether di-
vided in the Harmonic manner, or the
Arithmetic, as the intervals are distributed
above.
It scarcely seems possible that
Salinas could have looked at the
graphic representationwithout real-
izing the principle of inversion, es-
pecially when, in a later chapter,he
continues as follows:24
. Inter duo Diapason extrema ita dis-
positae sunt consonantiae, ut quae ad al-
terum eorum sit Semiditonum, ad alterum
Hexachordum maius esse reperiatur; &
quae Ditonum Hexachordum minus; &
quae Diatessaron,Diapente .. unde prope
similem concentum auribus effeciunt. Et
mult6 manifestius experimur Diapente, &
Diatessaron esse tamquam
" germanasgemel-
las eodem partu editas Diapason;& soldim
quantitate differre, quoniam altera minor,
altera maior sit.
TRANSLATION
... Between the two extremes of an Oc-
tave are distributedthe consonances,where
on the one hand may be found the Minor
Third, and on the other the Major Sixth;
and the Fourth and Fifth .. . whence they
produce an almost similar effect on the
ears. And many effects are experienced in
the Fifth and Fourth being like twin
brothers within the parts of the Octave;
and only differing in size, because it may
be either minor or major.
23 Salinas, op. cit., p. 63.
24 Ibid., Cap. 25, p. 90.
36 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

6z DE MVSICA.

cVM DIA:
a APEN T~E,Dis
faon,
diaparon
ne cum
'Kaye ,

J DI
paron
Zl450t& t
ron c

tone
ciaparon.
IDa- ADs
H-xt Dia
pe ?w
chor umm paron. yarony
malur peaynto
rete 'Dio D ria /' Liab
tro rt ann. tem r ron PCnttc
*
arn

S5 + 2 s
.A C E -?
t• e ft
Huiusfigure explicatio.
Bafiihulus fgurx tribusfpacijsquartuorlineisinterceptis , conflat :quorum fuperius
continet chordx n xquas partesdiuifriniclaiones;proximum p3rtium,feuinci(iotiunu-
niero;infi mumfonos literi(c lauesvocant pradici)defignatos.Co terum finguix inter
C-collatx incifioncs,feuparte quasproportiones,atqueinteruallaconflituant; id dire-
c' illisfubiec'inumcri,&fonorumclauesdocent.Sed quinumeriquasproportionesef
ficiant,tatisin primnolbro dictumeft.qubus autemfonisqux proportionabusrcfpondi
tiainteruallacontincantur,idbinxab ncifionumpundis egrcdi:ten linex ( qux cum
Baritriangulumconftituunt)oflendunt:anguloenim,qucmconcurrentesconfiituunt,
nomina interualloraminfcriptafint. Vnum hoc admonenduscft hIli#
Le.tor,chord
principiumdefiderari:diuifa enim efi in fex partesxquales,quarurnfxta comprehendi-
turinter numeros6.& 5,quintainter .& 4,quartainter4.&1,tertia inter ;.& 2,fecun
dainter 2.& s,primainter I,& chordx principium,quoddlcfidratur.nec huic tan
turm & fequenti,& plurimisalijs,quxefatm a'numcro nci, int,verr princaipiui
figurax,fed ewf,nequodfpicium relinquereturvacuum, quod prxrcrchordmi
deeftlquod fa-tum
nihil contincret.id enimnon modo fuperuacincumn futurum,fed& fi;uram dcformatu
rum videbatur.inmultisetiamfigurisillud ob chartx angufviamn ncccllfrio prxternmate
dum f it.Quare admonitumLe-'toremhoc capitevolutniu,non in hifkcc tant"mrnlibr?a,
fed & apudBo'tium,& quotlibetaliosMuficomin plkrifqlfiguriNcliordx principiaidefi
dcrari;eiufqucrcivrucumfignum clc,il flatima numerofiguraincipist.Prxtereane ea-
dceminteruallain fequentitr'pofruftrarepetitavideantur,fciendlum eft, interualianunc
fecund'rmArithmeticanm diuifonem difponi,nuncfecundtnmHarmnonicam.Diui(ione
Arith-
Figure 2

This is actually considerably In the foregoing study of conso-

clearer than Zarlino's statement. nance it is interesting that, for the
In either case, while the final con- most part, the treatment is intervallic
clusion is never reached, it is symp- rather than chordal. Yet, in the first
tomatic of the new harmonic think- two quotations at the beginning of
ing and shows a definite break from this study Zarlino is dealing with the
the past. chordal combination of the third and

This content downloaded from 130.239.76.10 on Thu, 10 Oct 2013 17:29:45 PM

All use subject to JSTOR Terms and Conditions
 ZARLINO, THE SENARIO, AND TONALITY
fifth. It should be noted that at this
time the term chord (Italian: la
chorda) refers usually to interval,
but also occasionallyto a single tone,
rather than a chord in our sense.
Nevertheless, he is chord-conscious
as the following passagewill demon-
strate: 25
' possible, or their Compounds.
Oltra di questo da auertire, che quella
si
Compositione puo chiamarPerfetta, nella
quale in ogni mutatione di chorda, tanto
uerso '1grave, quanto uerso l'acuto, sempre
si odono tutte quelle Consonanze, che
fanno uarieta di suono ne i loro estremi.
Et quella e ueramente Harmonia perfetta;
ch' in essa si ode tal consonanze; ma i
'
Suoni Consonanze che possono far di-
versita al sentimento sono due, la Quinta &
la Terza, ouer le Replicate dell' una &
dell' altra; percioche i loro estremi non
hanno tra loro alcuna simiglianza, come
hanno quelli dell' Ottava; essendo che gli
estremi delle Quinta non mouono l'Vdito
nella maniera,che fanno quelli della Terza,
ne per il contrario; ... dobbiamo per ogni
modo (accioche habbiamo perfetta cotale
harmonia) cercare con ogni mostro potere,
di fare udir nelle mostre Compositione
questa due consonanze pid che sia possi-
bile, ouer le loro Replicate.
TRANSLATION
Another thing which you should heed is
that that composition is called Perfect in
which every change of harmony, whether
up or down, always includes a variety of
sounds within its limits. And such is in-
deed truly the Perfect Harmony which
includes in itself such Consonances; but
the Tones or Consonances which can pro-
duce this diversity of feeling are two, the
Fifth and the Third, or the compound of
25 L'istitutioni, Part III, Cap. 59, pp. 299-
300. The Harmonia perfetta had many follow-
ers. Lippius, Synopsis musicae novae (Argen-
torati: Ledertz, 1612), p. 16, states: "In
practica observa Triadem harmonicam." G.
Doni, Compendio del trattato dM'generi, e
de'modi (Rome: Fei, 1635), p. 387, says "In
quanti modi si possa practicare l'accordo per-
fetto nelle Viole." And Mersenne, Harmonie
universelle (Paris: Cramoisy, 1636-37), First
Book of Consonance, ". .. que l'on appelle
ordinairement Harmonie parfaite."
This content downloaded from 130.239.76.10 on Thu, 10 Oct 2013 17:29:45 PM
All use subject to JSTOR Terms and Conditions
37
each; for their limits do not have any
similarity to each other, as do those of the
Octave; since the limits of the Fifth do
not incite the ear in the way which those
of the Third do, nor contrariwise; . . .
we ought in any case (in order that we
have such a perfect harmony) to find out
how each of us can use in our Composi-
tions those two consonances as much as
The Harmonia perfetta, or the
combinationof the third and fifth, or
their compounds,is indeed a chord,
and this is the first referenceto such
a vertical structure.
Zarlinothen continues:26
E ben vero, che molte volte i Prattici
pongono la Sesta in luogo della Quinta, &
e ben fatto. Ma si de auertire, che quando
si porr" in una delle parti la detta Sesta
sopra'1 Basso, di non porre alcun' altra
parte; che sia distante per una Quinta
sopra di esso; percioche queste due parti
uerrbono ad esser distanti tra loro per un
Tuono, ouer per un Semituono; di mani-
era che si udirebbe la dissonanza ... Os-
seruara adunque il Compositore questo,
c'h6 detto nelle sue compositione; cioe, di
far pitt ch'ello potra, che si ritroui la
Terza, & la Quinta, & qualche siate la Sesta
in luogo di questa, 6 le Replicate; accioche
la sua Cantilena uenghi ad esser sonora &
piena. ....
TRANSLATION
It is indeed true that many times Com-
posers use the Sixth in place of the Fifth,
& this well done. But be forewarned that
when one uses in one of the parts the said
Sixth above the Bass, not to allow any
other part to be a Fifth above this; for
these two parts should not have the space
between them of a Tone, or a Semitone;
so that the dissonance can be heard. ....
The Composer will then observe this that
I have said in composition; that is, as much
as possible, let the Third be met with, &
the Fifth, & sometimes the Sixth in place
of this, or the compounds; so that the
Song may be sonorous & full.
This statement is interesting for
26 L'istitutioni, Cap. 59, pp. 300-301.
38 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
two reasons: (i) he is dealing with a
first inversion chord but makes no
attempt to explain it as a harmony
different from the same chord with
a fifth--thus, again indicating that he
did not grasp the invertibility of
chords; and (2) he speaks of using
a "Sixth above the Bass."
The idea of building intervals
above the bass is a new one, at least
as far as theory is concerned. It
would seem that it had been done in
practice for some considerable time,
since practice usually precedes
theory. At any rate, in the chapter
just before the above statement, Zar-
lino speaks in the following man-
ner: 27
. . I Musicinelle lor cantilenesoglionoil
pii dlle uolte porre Quattroparti, nelle
qualidiconocontenersitutta la perfettione
dell'harmonia. Et perche si compongono
principalmentede cotalai parti, perb le
chiamaronoElementalidellacompositione,
alla guisade i quattroElementila onde si
come '1Fuoco nutrisceet e cagionedi far
produrreogni cosa naturaleche si troua
ad ornamentoet a conservatione del Mondo
cosi ii Compositoresi sforzaradi far che
la partepiu acuta dellasua cantilenahab-
bia bello, ornatoed eleganteprocederedi
manierache nutriscaet pascal'animoche
ascoltano.Et si come la Terra e postaper
fondamento de gli altri Elementi; cosi
1'Bassoha tal proprietY, che sostiene,stabi-
all' altre
lisce,fortifica,&da accrescimento
conciosiache e"
parti; posto per 'Basa
fondamentodell'Harmonia;onde detto
Bassoquasi,Basa,&sostenimentodell'altre
parti.Ma si come auerebbe,quandol'Ele-
mento della Terra mancasse(se cib fusse
possible) che tanto bell' ordine di cose
ruinarebbe, &si guastarebbe la mondana,&
la humanaHarmonia;cosi quando'1Basso
mancasse, tuttala cantilenasi emperebbedi
confusione,& di dissonanza,& ogni cosa
andarebbein ruina. Quando dunque il
Compositorecomponer' 1'Bassodella sua
compositione,procederaper mouimential-
quanto tardi, & separatialquanto,ouer
27 Ibid., Cap. 58, pp. 293-94.
This content downloaded from 130.239.76.10 on Thu, 10 Oct 2013 17:29:45 PM
All use subject to JSTOR Terms and Conditions
lontani piiu de quelli, che si pongono nell'
altre parti; accioche le parte mezani pos-
sino procedere con movimenti eleganti, &
congiunti, & massima mente il Soprano;
percioche questo e '1 suo proprio. Debbe
adunque esser' il basso non molto diminu-
ito; ma procedere per la maggior parte con
nell' altre parti; & debbe esser' ordinato di
maniera, che faccia buoni effetti, & che
non sia difficil da cantare; & cosi l'altre
Parti si potranno collocare ottimamente ne
i propij luoghi nella cantilena. Il1Tenore
segue immediatamentel'Bassouerso l'acuto,
ilqual' e quella parte, che regge, & governa
la cantilena, & C quella, che mantiene '1
Modo, o Tuono, nelquale ? composto; ...
osseruando di far le Cadenze a i luoghi
proprij, & con proposito.
TRANSLATION
. .. The Musicians in their song settings
most of the time put them in four parts,
in which they say are contained all the per-
fections of the harmony. And because it is
composed of such parts, for that reason
they call the Elements of the composition
after the manner of the four Elements
whence as the Fire is fed and is the cause
of producing every natural thing which is
found in the ornamentationand conserva-
tion of the world so the Composer strives
to make the upper part of the song more
beautiful, ornate, and elegant in a way
which feeds and maintains the listening
spirit. And as the Earth is held to be the
fundament of all the other elements; so
the Bass has such a propriety, which sus-
tains, stabilizes, fortifies, and gives support
to all the other parts; because it is the Base
&
and fundament of the Harmony; whence
it is called the Bass, as a Base and support
of the other parts. But as when an Element
of the Earth is missing (and this may be
possible) which may ruin the good order
of things and spoil the worldly and the
human Harmony, so when the Bass is lack-
ing, the whole song is filled with confusion
and dissonance and everything goes to
ruin. When then the Composer composes
the Bass of his composition, he will pro-
ceed in a manner somewhat more slow,
and different as far as possible, from the
other parts; so that the middle parts can
proceed with elegant and united animation,
 ZARLINO,THE SENARIO,AND TONALITY
and particularly the Soprano; since this is
its right. The bass then ought not to be
diminished much; but proceed for the
most part with notes of somewhat greater
value than those which are used in the
other parts; and ought to be ordered in
such a fashion that it may produce a good
effect, and that it be not too difficult to
sing, and all the other Parts should be well
arranged in their proper places in the
song. The Tenor follows immediately the
Bass in the upper part and is that part
which rules and governs the Song and is
that which maintains the Mode or Tone
in which it is written . . . observing when
to make the Cadence in its proper place
and position.
The latter part is very interesting,
for he still refers to the tenor as the
"part which rules and governs the
Song" and "maintains the Mode or
Tone;" which is the view generally
held up until this time.28
Nevertheless, four pages later Zar-
lino qualifies this view, since it is not
really in keeping with the rest of the
statement.29
Ma si debbe anco ouertire, che quantunque
il basso possa alle uolte tenere ii luogo del
Tenore, & Cosi l'una dell' altre parti, quel
dell'altra; nondimeno si de fare, che '1
Basso finisca sempre sopra la Chorda rego-
lare & finale del Modo, sopra '1 quale C
composta la cantilena, & cosi 1' altre parti
Si lor luoghi proprii; percioche da tal
chorda haueremo, giudicare il Modo. Et
se bene il Tenore uenisse a finire in altra
chorda, che nella finale, questo non sarebbe
di molto importanza; pur che si habbia
proceduto nella sua modulatione secundo
la natura del Modo del Cantilena..
TRANSLATION
But also one should be warned, that al-
though the bass may be able in turn to
take the place of the Tenor, and thus the
one take the part of the other, and vice
28 E.g., Pietro Aaron, Trattato della natura
e cognizione di tutti gli toni di canto figurato;
in Oliver Strunk, Source Readings in Music
History (New York, 1950), p. 209.
29 L'istitutioni, Cap. 59, p. 298.
This content downloaded from 130.239.76.10 on Thu, 10 Oct 2013 17:29:45 PM
All use subject to JSTOR Terms and Conditions
39
versa; nevertheless if this is done, the Bass
always will finish so as to govern the
Tone and final of the Mode upon which
the piece is composed, and thus the other
parts in their proper places; since by such
tone we can judge the Mode. And if in-
deed the Tenor comes to finish on another
note than on the final, this will not be of
much importance; although it may have
proceeded in its modulation according to
the Mode of the Song....
This certainly seems to complete
the final reduction of the importance
of the tenor.
Before proceeding to the last part
of Zarlino's harmonic theory, as re-
spects the needs of this study, we
should like to digress briefly and en-
large somewhat on the above topic
of maintaining the mode or tone of
a composition.
In the middle of the i6th century
there was a growing desire for the
expressive treatment of the text in
what Adrian Coclico described as
musica reservata, a style of treatment
which could scarcely fail to disrupt
the character of the modes, which is
precisely what happened. It is inter-
esting to read what another contem-
porary of Zarlino's had to say
concerning this problem. We are
referring to Nicolo Vicentino (ca.
1511-72), who was one of the first
theorists to experiment with the res-
toration of the Greek modes and
genera which he considered as more
expressive, since the Greek philoso-
phers had ascribed great powers to
their music. At any rate, he was well
aware of the need for digression
from modal restrictions in order to
better express the affections of the
text. Thus, he says: 30
Quando comporra cose Ecclesiastiche, &
che quelle aspetteranno le risposte dal
Choro, 6 dal'Organo,come saranno alcune
30 N. Vicentino, L'antica musica ridotta alla
moderna prattica (Roma: A. Barre, 1555),
Lib. III, Cap. 15, p. 48.
40 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
altre compositione Latine che ricercher-
anno mantenere il proposito del tono, &
altre uolgari lequali hauranno molte diuer-
sit' di trattare molte & diuerse passioni,
come saranno sonetti, Madrigali, 6 Can-
zoni, che nel principio, intraranno con
allegrezza nel dire le sue passioni & poi
nel fine saranno piene di mestitia, & di
morte, & poi il medesimo uerra per il con-
trari6; all'hora sopra tali, il compositore
potr' uscire fuore dell'ordine del Modo, &
intrerb in un'altro, perche non haura ob-
ligo di rispondere al tono, di nissun choro,
ma sara solamente obligato dar l'anima,
a quelle parole, & con l'armonia di mos-
trare le sue passione, quando aspre, &
quando dolci & quando allegre, & quando
meste, & secondo il loro suggietto; & da
qui si cauera la ragione, che ogni mal
grado, con cattiua consonanza, sopra le
parole si potra usare, secondo il loro ef-
fetti, adunque sopra tali parole si potra
comporre ogni sorte de gradi, & di ar-
monia, & andar fuore di tono & regersi
secondo il suggietto delle parole uolgare,
secondo che di sopra s'ha detto; . . . &
sara molto in proposito per hora dire della
commistione de toni, che ne canti figurati
si ritruoua, laquale da adintendere che nis-
suno compositore ha offeruato ne osserua
il tono, e le sue compositione le dimostre-
ranno a ogniuno, che cognoscera la natura
& i termini, & le compositione demodi....
TRANSLATION
If one composes ecclesiastical works, &
those which are to be sung by a Chorus,
or for Organ, as will any other Latin com-
positions which seek to maintain the pur-
pose of the tone, & other common pieces,
there may be many diverse ways of treat-
ing many & diverse passions, such as in
sonnets, Madrigals, or Canzoni, which in
the beginning may deal with joyfulness in
speaking of the passions,& then at the end
will be full of sadness, & of death, & then
the same thing in reverse; now for such a
work the composer will have to go out-
side of the ordinary Mode, & enter into
another, so that he will not be obliged to
answer to the tone, but will only be obli-
gated to give the spirit to the words, &
with the harmony to show forth the pas-
sions, when harsh, when sweet, when joy-
This content downloaded from 130.239.76.10 on Thu, 10 Oct 2013 17:29:45 PM
All use subject to JSTOR Terms and Conditions
ful, & when sad, & according to the sub-
ject; & from this the reason will be seen,
that any bad degree [altered tone] can be
used with an imperfect consonance over
the words, according to their effects, so
that above such words can be composed
every type of note, & of harmony, & one
can go outside of the tone and govern
himself according to the subject of the
common words, according to what has
been said above; ... & there are many at
the present time to speak of the mixture
of modes, which may be found in canti
figurati, in which the composer has paid
no intention toward observing the mode,
and his compositions demonstrate this to
everyone, who recognizes the nature &
limitations of the mode....
Such desire for expression could
only result in the dissolutionof the
diatonic modes and, coupled with
the basic affections by which Zar-
lino had dichotomizedthe expanded
modal system, it is evident that the
church modes were on the decline.
In the period I540 to I580 only 34%
of the musicanalyzedsubscribedto
a relativelypuremodalstandard; the
remainderbeing monal (a mixture
of modaland tonalelements81)and
tonal.
Ourfinalconsideration is thatcon-
cerning the part played by disso-
nance, a factor concomitantwith
that of expression.We need not go
into the problem with the same de-
tail as we did in regardto conso-
nance, suffice it to say that all inter-
vals not in the Senario, actually or
potentially, or their compounds,are
classed as dissonant;in addition, of
course, the fourth is also handledas
a dissonance.Again, we state that it
is not the purpose of this study to
dealwith rulesof counterpoint;there
are sufficientbooks availableon this
subject. Rather, we want to point
out aspects of the evolving theories
sl See the author's article, "English Theor-
ists and Evolving Tonality," Music & Letters
XXXVI (I955), p. 378.
 ZARLINO, THE SENARIO, AND TONALITY 41
of harmony which indicate the generallyheld. It is also indicativeof
changeswhich will lead to a concept the growing awarenessof the verti-
of tonality. cal concept. In analyzing the music
The importanceof consonance as of the period I500 to I700 we
the basis of composition was, of pointed earlier to the almost uni-
course, emphasizedby all theorists versal use of the third in the final
and made abundantlyclear by Zar- chord during Zarlino'stime. In ad-
lino, who says:32 dition to its significanceas the Har-
Le Compositionesi debbono comporre monia perfetta is the added impor-
tance of the inclusion of the final
primieramentedi Consonanze & dopoi per
accidente di Dissonanze. third for the use of the passingpen-
ultimate dominantseventh. Zarlino's
TRANSLATION
feeling for functional harmony is
Compositionsought to be made up pri- clearly supportedby the practice of
marily of Consonance & thereafter per- the times, as exemplifiedby the in-
chance by Dissonance. ,
creasinguse of the V7 and the I in
He then continues:33 the final cadence. During the forty
years from I580 to I620 the music
... La Dissonanza fa parer la Consonanza, examinedshows a total use of the V7
la quale immediatementela seque, pid in almost ten per cent of all closes,
diletteuole. and of the I 6 in eleven per cent. In
TRANSLATION both cases this representsa five fold
increase over the preceding forty
S.. Dissonance prepares Consonance, &
what follows is therefore more delightful. years. The greatestuse of the V7 in
the periodaroundi6oo is to be found
The principle of this statementis with the English composers, who
that dissonanceenhancesthe value of used it in some 22.2z%of all final
consonance and exists for this pur- cadences. If I may quote from my
pose. Furthermore,it prepares the article referred to above: "The im-
consonance, and here, we feel, is an portanceof the V, in delineatingthe
implication of considerable impor- tonic triad can scarcely be overesti-
tance for the further developmentof mated and, coupled with England's
tonality. It suggeststhat Zarlinoun- over-all tonal feeling, is of the great-
derstoodthe basic principleof func- est significancein the mutual inter-
tional harmony. (We have already relationshipof tonality and the au-
indicated that he was the first theo- thentic dominant-seventhcadence.""4
rist to begin a serious consideration In summation, Zarlino's Senario
of chordal structure with his Har- forced a dichotomization of modal
monia perfetta, or common chord.) theory which closely paralleledactual
The increasinguse of both the V7 practiceand pointedthe way toward
and the I in the final cadenceshows the major and minor tonalities.
that Zarlino'sopinion was pretty
San Fernando Valley State College
s32L'istitutioni, Part III, Cap. 27, p. 212.
33 Ibid. 34 Op. cit., p. 382.

This content downloaded from 130.239.76.10 on Thu, 10 Oct 2013 17:29:45 PM

All use subject to JSTOR Terms and Conditions