The Problem of “Le Mineur Inverse” and Its Riemannian Origin from the Point of View of Vincent d’Indy

Проблема «инверсионного минора» и ее риманианские корни в интерпретации Венсана д’Энди
Abstract

The article explores the specific concept of the “inverted minor” suggested by Vincent d’Indy. The reference point for the French musician was the theory of undertones by Hugo Riemann, whom d’Indy esteemed. With that, elaborating ideas of the German theorist, d’Indy extends the principle of symmetry of the series of overtones and undertones to the structure of scales (major and minor), as well as to the functional system of modes. The minor scale is built downward (the highest-pitched tone of the scale becomes the reference tone and the starting point), and the triad build from the fifth sound from the top (the second reference tone of the mode) is considered to be the dominant (opposite to the Riemannian understanding of this chord). However, d’Indy’s system, logic in theory, turns out to be inapplicable in practice without a number of reservations: thus, analysing Beethoven’s music and his own, d’Indy defines the actual pitch position of a minor as if its tonic is not the highest-pitched tone of the scale, but the fifth from the top (which corresponds to natural auditory perception, but does not correspond to the principle of complete symmetry of all components of the major and minor modes proclaimed by d’Indy). Seeking to avoid reproaches for arbitrary construction of quite an unusual scale, d’Indy substantiates the logic of the “inverted minor” from the historical point of view. As an example he gives folk tunes and addresses the reader to the medieval monody; he also points out Beethoven’s attempts to revive the modal system of eight church tones in his late quartets. According to his lectures, collected in the Cours de composition musicale, d’Indy considered his mission as a composer and a teacher to follow the similar way, liberating the creative practice from the dominance of the artificial minor

References

1. Kirillina, L. V. (2009). Betkhoven. Zhizn’ i tvorchestvo [Beethoven. Life and Oeuvre], Vol. II. Moscow, Nauchno-izdatel’skiy tsentr “Moskovskaya konservatoriya”. (In Russian).

2. Deruchie, A. (2008). The French Symphony at the Fin de siècle: Style, Culture, and the Symphonic Tradition, Ph. D. in Musicology Thesis. Montreal, Schulich School of Music, McGill University.

3. Dukas, P. (1948). La Deuxième Symphonie de Vincent d’Indy. In Les écrits de Paul Dukas sur la musique, avant-propos de G. Samazeuilh, 608–10. Paris, Société d’édition française et internationales.

4. Indy, V. d’. (2019). Chansons populaures du Vivarais op. 52. In Écrits de Vincent d’Indy, Vol. 1: 1877–1903, rassemblés et présentés par Gilles Saint Arroman, 422–46. Arles, Actes Sud / Palazzetto Bru Zane.

5. Indy, V. d’. (1912). Cours de composition musicale. Premier livre, rédigé avec la collaboration de Auguste Sérieyx. 6e Édition. Paris, Durand et Cie.

6. Indy, V. d’. (1933). Cours de composition msusicale. Deuxième livre — seconde partie, rédigé avec la collaboration de Auguste Sérieyx. Paris, Durand et Cie.

7. Indy, V. d’. (2019). Méthode Ergo pour l’étude simultanée de l’harmonie et du contrepoint. In Écrits de Vincent d’Indy, Vol. 1: 1877–1903, rassemblés et présentés par Gilles Saint Arroman, 2601. Arles, Actes Sud / Palazzetto Bru Zane.

8. Kieffer, A. (2016). Riemann in France: Jean Marnold and the “Modern” Music-Theoretical Ear. Music Theory Spectrum, Vol. 38, No. 1, 115.

9. Riemann, H. (n. d.). Vereinfachte Harmonielehre oder die Lehre von den tonalen Funktionen der Akkorde. Zweite Auflage. London, Augener.

10. Saint Arromain, G. (2019). Introduction. In Écrits de Vincent d’Indy, Vol. 1: 1877–1903, rassemblés et présentés par Gilles Saint Arroman, 11–75. Arles, Actes Sud / Palazzetto Bru Zane.

11. Saint-Saëns, C. (1922). The Ideas of M. Vincent d’Indy. In C. Saint-Saëns. Outspoken Essays on Music, authorised translation by Fred Rothwell, 151. London, Kegan Paul, Trench, Trubner; New York, E. P. Dutton.

12. Vallas, L. (1950). Vincent d’Indy, T. 2: La maturité, la vieillesse (1886–1931). Paris, Albin Michel.

13. Venturino, S. (2019). Beyond the Rhine: Harmonic Dualism in Vincent d’Indy’s Cours de composition musicale, Abstract. Available at: https://www.esm.rochester.edu/theory/ files/SMT-Abstract-2019‑Venturino.pdf (accessed 01.10.2020).

14. Venturino, S. (2019). Beyond the Rhine: Harmonic Dualism in Vincent d’Indy’s Cours de composition musicale, Handout. Available at: https://www.esm.rochester.edu/theory/ files/Venturino-Handout-ETC-25‑October-2019.pdf (accessed 01.10.2020).