Chapter 3 - Results

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Table of contents — Introduction — Chapter 1 — Chapter 2 — Chapter 4 — Conclusion — Bibliography — The Spreadsheet — Summaries of analysed works — Thesis in PDF

Contents

• 3.0 Compiling the results

• 3.1 Overview

• 3.2 Cadences

  • 3.2.1 Plagal cadence
  • 3.2.2 Deceptive cadence
  • 3.2.3 Half-cadence and Phrygian half-cadence
  • 3.2.4 Cadence irrégulière
  • 3.2.5 Interrupted cadence

• 3.3 Chords

  • 3.3.1 III (generally in a III-V-I context)
  • 3.3.2 VII (generally in a VII-V-I context)
  • 3.3.3 Minor V
  • 3.3.4 V/V
  • 3.3.5 V/IV
  • 3.3.6 Other borrowed dominants - V/II and V/III
  • 3.3.7 Borrowed subdominants
  • 3.3.8 A word on keys

3.0 Compiling the results

Once the analysis was complete and the results logged in the spreadsheet, pattern analysis began. The search was separated into two categories: cadences of note and chords of note. Within each category, Excel’s “Advanced Search” tool was used to find and select all the cells containing the keyword cadence or chord and give them a certain colour. The rows could then be sorted by colour, automatically grouping every instance of each cadence or chord together. This made it easier to quickly compare the words of all passages containing the same cadence or chord and determine whether the meaning or emotion expressed was in any way consistent. The results are detailed below.

3.1 Overview

The obvious and overwhelming first observation is that there is not enough data to allow for any firm conclusions to be drawn. Had the text associated to each category been unequivocally identical, there would have been some foundation for certainty, despite the small number of results. However, as can be expected, there is variation within the categories, and the data pool is not large enough to distinguish coincidence from correlation. At first glance, though the emotion expressed is not necessarily consistent within a category, an unusual chord or cadence suggests that some strong emotion is being expressed. Looking at words associated to perfectly ordinary and common harmonic progressions, however, shows that strong emotions are expressed all the time; this is French opera after all. Nevertheless, there are certainly trends that appear, which, though not conclusive, suggest that a more extensive study might yield more satisfying results. In particular, it often appears that a given chord or cadence has a strong significance for a specific composer; this meaning may not be common to all the works analyzed but is very consistent for one of the four composers studied.

In all the trends and correlations detailed below, it is important to note that the conclusions only pertain to the results compiled. Words like “generally” or “always” are used for convenience, but only ever apply to the works studied. There are patterns found, but they are not strong enough to expand any conclusions beyond the scope of this study. The classification of the results relies primarily on the Roman numeral analysis; basso continuo analysis is discussed when relevant. Basso continuo figures are written between square brackets for clarity.

3.2 Cadences

Figure 1 - Overview of cadence types observed in the dataset ¹

3.2.1 Plagal cadence

As one of the more common non-dominant-tonic cadences, the plagal cadence occurs often enough to correlate to sentiments of love and tenderness, particularly in an honorable or sacred context.

For example, Jacquet de la Guerre includes a plagal movement in “Sémélé” when the narrator explains that Jupiter has made the solemn vow to yield to all the wishes of his faithful lover—the tell-tale descending fourth in the bass falls exactly on the words “amante fidele.”

Figure 2 - Plagal cadence in first recitative of “Sémélé” ^{2 3}

As is the case in the example above, the figures in this category predominantly end with [5.3 - 5.3], showing a marked preference among the composers studied for writing both the subdominant and the tonic chords in their root position. This makes the bass move by a fourth down or a fifth up, strongly highlighting the plagal movement.

3.2.2 Deceptive cadence

As Rameau is the only composer to use this cadence in his works (aside from Campra who uses it once), there are too few deceptive cadences recorded in this study to detect any patterns in the emotion attached to them. However, these cadences seem to accompany moments where a character pauses in the middle of a statement before rephrasing the sentiment with more emphasis; the deceptive cadence marks the pause, after which the stronger statement ends on a perfect cadence.

For example, when Télaïre goes to Pollux to beg him to rescue his brother from Hell, she first asks him to act as the gods command but pauses and corrects herself; she wants him to act as her very tears and his own virtue implore him. In this passage, the effect of the unexpected VI chord is strengthened by the immediate key change thereafter, supporting Télaïre’s new attempt. Her phrase ends on a strong, perfect cadence, to contrast with the uncertain, deceptive cadence preceding.

Figure 3 - Deceptive cadence in Act I, Scene 5 of Castor et Pollux ^{4 5}

3.2.3 Half-cadence and Phrygian half-cadence

These two cadence categories both end on a dominant chord. As a dominant chord is not a stable end point, phrases ending in one typically accompany questions. Within this study, these questions tend to be of significant emotional import.

In Idoménée, Ilione, the daughter of the king of Troy, is secretly in love with Idamante, the son of the Cretian king who has just conquered her people. She is ashamed of this and vows she will not give in to her love. When she asks how anyone could think that she could succumb to the weakness of her love for the enemy, her question is punctuated by a phrygian half cadence.

Figure 4 - Phrygian half-cadence in Act I, Scene 1 of Idoménée ⁶

It is important to note, however, that although a question is almost always associated with a half-cadence, the opposite is not true; a half-cadence can very well appear when no question is being posed. This is the case in Clérambault’s cantatas analyzed here. Indeed, Clérambault uses phrygian half cadences when the text describes sweet and frail things, such as when a thousand cherubs fluttered silently about Apollo. The image is strengthened by the brief melismatic passage in the voice, illustrating the flight of the little gods.

Figure 5 - Phrygian half-cadence in first recitative of “Apollon” ^{7 8}

The basso continuo figures in this category always end with [7_6 – 5.# or 5.3], as this disposition is what defines the phrygian half-cadence. Very often, these figures are preceded by a [6], associated with a minor V chord. This creates a descending line from the seventh to the fifth degree, contrasting the flattened seventh of the minor V chord with the raised leading tone of the dominant on which the phrase ends.

3.2.4 Cadence irrégulière

As mentioned above, only Rameau makes use of the irregular cadence, as he is the only one to have described it. He uses it in moments of intense and tragic emotion, particularly of love unrequited or lost.

Towards the beginning of act I of Castor et Pollux, Télaïre expresses her pain over the death of Castor, her lover, to her friend Phébé. Thélaïre states that “Castor était mortel, Castor eut tous mes voeux” and the word “voeux”, in this case indicating her love and devotion, is accompanied by an irregular cadence. It is worth noting that a plagal movement immediately precedes the irregular cadence, making use of the lowered seventh degree. The absence of the brightness of the leading tone in this phrase lends it even more softness, strengthening the connotation of immense love and tragedy.

Figure 6 - Cadence irrégulière in Act I, Scene 1 of Castor et Pollux ⁹

This cadence is always figured in some variation of [6.5.3 - 5.3], as this disposition is how Rameau defines his irregular cadence.

3.2.5 Interrupted cadence

Unfortunately, the interrupted cadence as described in this study is one for which the results are simply too few for any trends to be noticed. It can be noted, however, that only Campra made use of this cadence, and only the V going to V/IV, not the V going to V/V.

3.3 Chords

Figure 7 - Overview of chord types observed in the dataset ¹⁰

3.3.1 III (generally in a III-V-I context)

This cord is only used by Campra, and the logged instances of its use do not show any trends in the text associated to it. It is, therefore, of no perceivable significance in this study. However, the basso continuo analysis of harmonic progressions containing a III chord ([3 – 6 – 3]) indicate that it is generally used to create a descending line from the third degree to the first.

3.3.2 VII (generally in a VII-V-I context)

As is the case in subsection 3.3.1, the logged instances of the use of a VII chord do not show any trends in the text associated to it, so it is of no perceivable significance in this study. However, the figures of harmonic progressions containing a VII chord ([5.3 - 6 – 5.3] or [5.3 - 5 - 5.3]) indicate that the VII chord is generally used to create an ascending chromatic line from the lowered seventh degree to the tonic.

3.3.3 Minor V

This chord is used almost exclusively in the context of a phrygian half-cadence. Its meaning, therefore, cannot be analyzed separately from that of the cadence.

3.3.4 V/V

Any link between harmony and text found within the V/V category is tenuous at best, as there does not appear to be a text-to-harmony correlation common to all four composers. Campra’s use of the chord, however, is promising; in the examples found in this study, he associates this secondary dominant to words of glory and sacrifice. For example, he uses a V/V when Neptune commands Idoménée to offer him the sacrifice he promised in exchange for his life. Here, the V/V chord is all the more striking for being used in its first inversion, placing the raised fourth degree in the bass just as Neptune says the word “mais” - “but.” The surprising B natural efficiently highlights the sharp turn in the conversation.

Figure 8 - V/V at the very end of Act II, Scene 2 of Idoménée ^{11 12}

The figures associated to the V/V – V pair are usually [6 - 5.3], showing that the secondary dominant appears in its first inversion. This creates the characteristic chromatic pattern in the bass, where the raised fourth degree goes up to the fifth.

3.3.5 V/IV

The V of IV chord does not appear to have a common meaning across the works studied. However, Rameau and Clérambault seemed to associate it to a specific emotion.

In Rameau’s case, V/IV chords tend to appear when a character is expressing pain or making a supplicating plea. For instance, Rameau makes use of one when Télaïre begs Pollux to go to Hell and bring Castor back, saying “J’allais, Seigneur, tombant à vos genoux.” Rameau makes the effect even more powerful by replacing the expected minor IV (in a minor mode) with a major IV, filling the word “Seigneur” with light. The bass line also follows an ascending chromatic line, imitating a physical gesture of supplication.

Figure 9 - V/IV in Act I, Scene 5 of Castor et Pollux ¹³

Later, it is Phébé’s turn to implore Pollux with the exact opposite plea: to forgo sacrificing his own life for his brother’s and instead stay, for her sake. Again, the V/IV appears when Phébé refers to her own supplication, saying “Voyez aussi couler mes larmes.” Again, the bass melody is evocative: it first goes up a half step, then falls to repeat the same pattern, suggesting the very sobs Phébé is referring to.

Figure 10 - V/IV in Act III, Scene 2 of Castor et Pollux ¹⁴

For Clérambault, on the other hand, the V/IV has a very strong correlation to pleasure and tenderness. This is already apparent in the fact that all but one of Clérambault’s V/IV chords recorded here appear in “Zéphyre et Flore,” by far the sweetest of the cantatas of the studied collection. For example, the chord appears when the narrator describes how, after hearing her complain of his inconstancy, Zéphyre flies to Flore’s feet and uses many sweet sighs to assure her of his love. The V/IV exactly marks the shift between the florid description of his flight to the more sensual telling of his loving attentions. This effect is strengthened by the characteristic flattened seventh in the voice.

Figure 11 - V/IV in the first recitative of “Zéphyre et Flore” ^{15 16}

Figures show that, like the V/V, the V/IV usually appears in its first inversion, with the bass going from the third to the fourth degree. In Rameau’s case specifically, the V/IV usually has a [5-] figure, explicitly asking for the lowered seventh that characterizes the chord.

3.3.6 Other borrowed dominants - V/II and V/III

Despite the few occurrences of these types of chords in the works analyzed, the correlation with their associated text is very strong for Rameau and Jacquet de la Guerre, though the meaning is different for both.

In Rameau’s case, borrowed dominants, much like the V/IV, are used in cases of supplication. He uses them to create an ascending line in the bass, again imitating a pleading gesture. When Phébé pleads with Pollux not to sacrifice his life for his brother’s, she tells him that if her eyes have any power over him, he should be moved by her tears. Her words are accompanied by a chromatic ascending bass line, which Rameau creates by using first a V/III, then a V/VII.

Figure 12 - V/III and V/VII in Act III, Scene 2 of Castor et Pollux ¹⁷

For Jacquet de la Guerre, borrowed dominants occur in descriptions of pleasure—this is evidenced by the fact that, within the works analyzed here, only the cantata “L’Isle de Délos,” which describes an island where everything is devoted to pleasure, contains such chords. A striking usage of a V/II chord occurs in the second recitative of this cantata, where the singer describes the sweet music that can be heard on the banks of the quiet stream. The chord lasts a whole measure and is used in its first inversion, resting on a G# in the bass which contrasts pleasingly with the tonic G that appears two measures later.

Figure 13 - V/II in the second recitative of “L’isle de Délos” ¹⁸

There are no preferred inversions for these chords in the data collected. They are used both to create chromatic lines in the bass and to give weight to the bass line by making each chord a root position.

3.3.7 Borrowed subdominants

As evident in the spreadsheet, the occurrences of IV/IV chords all coincide with a plagal or a deceptive cadence, so the specific meaning of that chord cannot be separated by that of those two cadences.

3.3.8 A word on keys

Key analysis was not the point of this research, as the guiding research question only concerned harmony. As such, the literature review did not cover French baroque theory on key characteristics, so a complete key analysis will not be attempted here. However, keys are indissociable from harmonic analysis, and the key of each passage was carefully logged in the spreadsheet. This information could be used for a key analysis later.

As it stands, looking at the keys only as they are associated to cadences and chords shows that there is no detectable correlation between them. Within the data collected here, specific cadences or chords are not more common in certain keys, nor are keys an indication of what cadence or chord will be prevalent. A larger sample may yield more conclusive results, but as this study stands no conclusions can be drawn.

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