Phone

§r. It forms no part of a compies work to introduce new words on is personal responsibility; but the terms ‘‘tone”’, ‘‘clang”, and ‘‘ sound” being already appropriated, a distinctive and exact equivalent had to be employed in rendering the German “Klang” as used in modern musical theory. The Greek word go», in the English form phone, appeared to be a fairly acceptable neologism.—A phone, then, will be understood as signifying not only a tone with its overtones and undertones (Tyndall's ‘‘clang”), but! specifically the major triad (generator and higher partials [2] 3 [4] and 5) or over-phone, and the minor triad (generator and Jower partials [2] 3 [4] and 5) ‘or under-phone, [N.B. Over-phone and under-phone are also called over chord and under-chord respectively.— In the subjoined statement of the modern theory of chords, RIEMANN is followed.] §2. There can be no doubt, that the consonance of the major triad (major consonance) is referable to the series of higher partials (see Acoustics), i, e.that a major triad, however the tones may be ‘set or inverted, is to be conceived as a consonance in which certain higher HONE. 147 partials of the root are reinforced by actual tones. E. g., ——— on __en___ois 2 siege os ae oe agwe Moreover, the generator accompanying each phone represented above, is always present as a resultant tone. But the series of partials not only completes itself downwards to the generator by means of the resuitant tones, but continues itself upwards by the aid of the upper partials of the primary overtones. ‘hose overtones, above the 8th, which are represented by composite numbers (9 3% 3, 15 3%5, me) uecorceved as overtones of overtones (secondary overtones); i. e. as integral constituents of the primaries (the gth overtone as the 3rd of the 3rd primary, the 15th as the 5th of the 3rd primary, etc.), and, sounded as notes of an actual chord, appear as di onances; that primary ‘overtone, whose overtones they are, has the character of a generator, 2 over phones thus being simultaneously represented. Only the ratio of the octave (2:1) is never di onant. Striking out from the series of overtones the doublings in the octave, there remain, to represent the major consonance of the cover-phone, only (1) the generator, (2) the twelfth, and (3) the vafteenth, hence, the primitive form of the major triad is not, properly but in os speaking, the open — ee eae harmony: mony: —The consonance of the minor triad is not derivable from the series of higher ee. but is referable to a series of lower partials (undertones) diametrically opposed to the former (comp. Acowsfics), ‘The lower partials 1, 2, 3, 4, 5, 6, 8, 10, 12, 16, etc., in fact all tones of the lower series corresponding to lower octaves of the Ist, 3rd, and sth lower partials, are constituents of the minor triad below. ¢, of the C under-phone: in just the same sense as the same numbers in the higher series are constituents of the its di onances also Cover-; have a parallel exphone: planation, § 3. PHONIC — RZPRESENTATION Klang’ ver tretung) is the peculiar significance attaching to any tone or interval, according as it is conceived as belonging to a particular phone. For instance, the tone C has a very different meaning, in the logic of progre ion, when conceived as fierce in the Ab: major chord, from that as fierce in the A-minor chord; in the former case, it is most closely related to D and the Dymajor chord; in the latter, to B, and the chords of Z-major and Z-minor. Every tone may form an integral part of 6 different phones; for instance, the tone C in the C over-phone (C-major chord) as major root, in the / over phone as major quint (over-quint), in the 43 over-phone as major tierce (over-tierce), in the C under-phone (Fminor chord) as minor root, in the G under-phone ((-minor chord) as minor quint Tander-quint), and finally in the £ under-phone (A-minor chord) as minor tierce (under-tierce): Major chords Minor chords Whenever the tone C enters into any other chord as a di onant tone, or is substituted for some chord-tone as a feependet or altered tone, it is neverthele always to be conceived as belonging to one of the above 6 phones, i.e, to the one most nearly related in any given case. § 4. THE RELATION oF TONES is a modern conception, based on the affinity of tones belonging to the same phone. Tones dclonging to the same phone are directly related; to c, for ine ‘stance, are directly related g, f, ¢, ap, a, and dy’; for c: g belongs to the chord of C-major or C-minor, ¢:¢ to the chord of C-major or A-minor, ¢: ap to the chord of 4h-major or F-minor, ¢: a to the chord of F-major or A-minor, and €:4 to the chord of Ab-major or Cminor, Directly related tones are con‘sonant all other, or indirectly related, tones are di on an i. The mutual relalation of the former is more easily un- ‘ derstood than that of the latter. Di‘© yactly related phones are (1) those simi - far ones (both either major or mitior) in -°S which the phonic. root of sthe one is directly velated.to: the phonie root of the other [phonic root generator, i, e. the fundamental tone in major triad, or the guinf in a minor triad]; (2) those di imilar ones (one major and the other minor) of which the one is the under-phone of some chord-tone of the other; namely, for the major chord, the under-phones (minor phones) of its phonic root, quint, and tierce; for the minor chord, the over-phones (major phones) of its phonic root, quint, and tierce; to which must be added the under-phones of the respective leading tones. Thus, the following chords are directly related to the C-major chord:— G-major, F-major, E-major, Ap-major, £o-major, F-minor, C-minor, A-minor, and Z-minor; whereas, to the 4-minor chord, are directly related the chords of:—D-minor, E-minor, F-minor, Czminor, C-minor, F#-minor, £-major, A-major, C-major, and F-major.—The relation of the tones depending on that of the the tonics (tonic phones), it follows, that any key is directly related to C-major (or A-minor), whose tonic is one of the phones (chords) given above as directly related to the chord of C-major (or A-minor). §§. PHonic pro cre i on (A’lang’folge) is the progre ion between two ‘chords with reference to their significance as phones, The ordinary method of marking the phones (major and minor triads) by the Roman numerals I, Il, III, IV, etc. (comp. Chord) is inadequate from the standpoint of free tonality; e.g. this pa age: iv Il v t es VI G:v" is hardly intelligible with such a figuring; although it in no way signifies a modulation into another key, one must perforce consider the 49-chord as in f-minor, and the D-chord as in G-major. For such progre ions, a figuring with reference to a scale is simply impo ible; they are referable to free tonality, an idea but recently recognized, whose scope extends far beyond’ the bounds of diatonic harmony, “Tonality PHONIKON—PE mows neither diatonic nor foreign chords, but only a tonic phone and referable (related) phones. In the above example, the C-major triad is through‘out the tonic phone, to which the others are referable; the.4p-major chord is its under-tierce phone, the D-minor chord is its second over-quint phone, and the G-major chord its over-quint phone. The first progre ion (C-major to Ap-major) reaches over to the undertone side; the second (4p-major to G-major) springs acro to the overtone side; the other two lead back to the tonic phone. _If we term a progre ion between 2 similar phones a. stride (Schritt), and one between 2 di imilar phones a change ( Wechsel), we can distinguish 4 species of phonic progre ion in which the mutual relation of the roots is a quint-relation. It is of widely different significance for the tonality, whether a stride from the tonic goes to overtone side or to the undertone side; starting from a major chord the /after, and from a minor chord the former, signifies a contradiction of, or opposition to, the phonic principle; strides or changes to contra phones (i.e. phones belonging to the opposite side) will be indicated by the prefix contra. ‘Thus(1) the progre ion from C-major to G-major, or A-minor to D-minor ( £ under phone to A under-phone) is a simple quint-stride; (2) C-major to F-major, or A-minor to E-minor (£ under-phone to B under-phone) is a contra quint-stride; ey, of *e-a (see § 6), is a simple quint change; ¢-*f, or *e-8, is a contra quint change.’ In all species of phonic progre ion the simple changes are, like that above, easily intelligible; whereas the contra-changes are much more difficult to understand—The_ tierce-progre ions are, for example, the simple tierce-stride c-e, or *e"c; contra tierce stride, c-ap, or °e-°gt; simple tierce change, c-'c, or *-c; contra tierce change, -°ap. Any direct progre ion to a remoter phone makes the want of an (omitted) connecting link sensibly felt; it will be easy to modulate to such an intermediate phone, i.e. to transfer to it the significance’ of a tonic phone. §6. PHonic FIGURING (Kanc’schli el) [according to RIEMANN). (1) No scale-degrees are marked or taken note of; small letters are used to mark the’ root-tones of the phones, with an ° prefixed for an under-phone; thus ¢ YSHARMONICA, 149 Grmajor triad, ¢¢ Feminor triad. —(2) To these letters are affixed: numerals, marking intervals added to the phones; not, however, counting from the ba note, but from the phonic root; Arabic numerals [read up!] for over-phones (major triads), Roman numerals [read down! for under-phones (minor triads). Thus 1 (1) phonic root; 2 (II) major second; 3 (III) major tierce; 4. (IV) perfect quart; 5 (V) perfect quint; 6 vp major sext; 7 (VII) major sept—(3) The sign after a numeral denotes the raising of the interval by a semitone; denotes its lowering by a semitone, ' Examples:,— 3 Se ee See ee ae Pho’nikon, A metal wind-instr. with a globe shaped bell; inv. by B. F. Czerveny of Koniggratz in 1848.