Second step
In music, a second step is the progression of a voice with a pitch of one second . As a rule, the following tone is an adjacent tone in the respective scale , so that mostly the gradual ascending or descending of a voice on a scale is meant. However, tones that are not related to the conductor can also be achieved by taking seconds. Since many melodies are based on scales, especially in sung music, the second step is of great importance for traditional songs. However, the second step also acquired a special function in the harmonic movement - as a lead, passage or resolution of dissonances - which led to special possibilities of interpretation in art music.
Second step in scales
In succession, seconds form the scales of the various pitches. They consist of a sequence of whole and semitone steps, whereby the position of the semitones determines the gender, for example major and minor in the tonal system or one of the church modes .
| In the major scale, the semitone steps are between the 3rd and 4th and between the 7th (also called leading tone ) and 8th degree | |
| In the tonal system of classical occidental music, the space of an octave is filled by 12 semitone steps. (See also twelve-tone music ). The descending scale contains the passus duriusculus . | |
| The octave can also be filled with 6 whole steps. (Tone systems of other musical cultures also use third or quarter tones to divide an octave.) | |
| The f sharp divides the octave scale into exactly two halves, which are formed by 6 semitone or 3 whole tone steps. This is why this interval is also known as the tritone . Functionally, the distances c-f sharp and f sharp-c represent a diminished fifth or an excessive fourth. However, both intervals sound the same. |
- The theme on which the Aria and all 30 variations of the Goldberg Variations BWV 988 by Johann Sebastian Bach are based are components of the G major scale. On these eight notes he worked out 14 canons BWV 1087.
- The second theme of the first movement of the violin concerto by Ludwig van Beethoven (1770–1827) begins with the third step of the ascending scale in D major.
- In the Carnival of the Animals by Camille Saint-Saëns (1835–1921) the squirrels are characterized by extensive ascending and descending scale runs.
The chorale It is enough of the cantata O Ewigkeit, du Donnerwort, BWV 60 , by Johann Sebastian Bach begins with an ascending scale of large seconds that crosses the tritone.
| The soprano steps through the tritone (green bar). In the bass there is a short scale in large second steps (blue bar), its target tone forms a tritone interval with the tenor (green brackets). Furthermore, there are seconds (brown and blue) and a cross position (red) that is frowned upon in the so-called “pure” tone setting . |
Second step as a musical creative tool
Examples of the passus duriusculus
The passus duriusculus plays a special role in the music of the baroque period. Examples:
As a Chaconne theme for Johann Sebastian Bach (1685–1750), it is usually extended by a semitone step down so that it strides through the space of a fourth. In addition, the tone sequence is rhythmized differently and varied at the beginning and at the end. In vocal music, it is mainly used for lament themes:
- The first chorus of the cantata Weinen, Klagen, Sorge, Zagen, BWV 12 , was reworked by Bach as the Crucifixus of the Mass in B minor BWV 232:
| BWV 12/2: In addition to the passus duriusculus , which is performed in its pure form in the bassoon , ab- (brown) and ascending (yellow) form small seconds and jumps in the tritone spacing (green) as well as the second or seventh spacing (blue) important features that shape the character of the piece | |
| BWV 232 / Crucifixus: Although the musical substance of the original is still there, Bach practically made a new composition through numerous changes. Most noticeable is the rhythmization of the Chaconne theme through tone repetitions (see Prime ). |
- Furthermore, the passus duriusculus appears as a Chaconne theme in the cantatas of Jesus, who thou art my soul, BWV 78 , Lord, do not go into judgment with your servant , BWV 105, Why are you grieving yourself, my heart, BWV 138 , and Der Friede be with you , BWV 158, as well as in the Capriccio on the departure of the fratello diletissimo BWV 992, in the Toccata in F sharp minor BWV 910 and in the Prelude in A minor of the Well-Tempered Clavier BWV 889.
The passus duriusculus occurs in Bach as a motive outside of chaconne topics:
- In the final chorus of the cantata Christians, etch this day, BWV 63 is the text "that Satan may torment us" set to music as a chromatically descending scale in the tritone space.
- In the recitative O Christendom of the cantata Praise be to you, Jesus Christ, BWV 91 , Bach composed an ascending chromatic scale for the bass to the extent of a decime based on the words “through this valley of tears”.
- The first chorus of the St. John Passion BWV 245 is characterized by second lead, broken organ points and chromatics. From bar 10/2, shortly before the choir starts, there are descending chromatic scales in the wind parts and in the continuo bass.
- Versus V of the choir cantata Christ was in Todes Banden, BWV 4 begins with a passus duriusculus in basso continuo .
- The first part of Canon 2 No. 6 of the Musical Sacrifice BWV 1079 consists of an ascending and descending chromatic line.
- From the chromatic second part of the theme of the art of fugue BWV 1080, Bach develops numerous variations of chromatic motifs in the course of the individual fugues.
Already in the 4th fugue it expands this chromatic material with the notes of its name a, b, b, c. In the unfinished triple fugue he uses the tone sequence bach as a third theme.
Examples of scales as a characteristic of pieces of music
- In the final chorus of the cantata Nach dir, Herr, sucht mich , BWV 150, by Johann Sebastian Bach with the heading “Ciacona”, the Chaconne theme is an ascending pentatonic scale in B minor.
- The choir Let's go now in the third part of the Christmas Oratorio BWV 248 by Johann Sebastian Bach is characterized by ascending and descending scales that can also stride through more than an octave.
Ornaments
Secondary steps form the ornaments of the baroque and classical periods such as trills , bulging trills and mordent . In addition Sekund- be suspensions often in final clauses, especially in recitatives used. Depending on the key, leads can be semitones or whole steps or only semitone steps, then also outside the ladder. These ornamentation techniques were so natural in the Baroque era that the composer did not write them down. Johann Sebastian Bach was accused by contemporary critics of having written out many decorations and thus restricted the freedom of the interpreter .
Sigh motif
The “sigh motif” is a second step down or up, in which the first note is strongly accentuated and the following note is tied in, unstressed and played more quietly. This group of two is often linked in ascending or descending chains, with the accented tone of the following group being a repetition of the unstressed tone of the preceding group. A typical example of this is the chorale O Mensch weein thy Sünde big in the St. Matthew Passion BWV 244, which Bach temporarily used as the opening chorus of the St. John Passion BWV 245.
- Another example in Bach's vocal music:
| Beginning of the chorale prelude to O Lamm Gottes innocent BWV 618 (left hand) | |
| In the bass aria Ächzen und pitiful cry of the cantata Meine Seufzer, Meine Tränen , BWV 13, not only the “sighs” appear in small seconds (yellow and brown). Unusual progressions are also used: tritone (green) and excessive seconds (red) |
- Bach also uses the sigh motif in instrumental music.