(Example, taken from "The Prophet," by Meyerbeer.)
Ex. No. 1.
[Music]
Ah! mon fils
Ex. No. 2
[Music]
il re-nia ta me-re
Here, the B may be but two commas distant from the C; and in the second
example given, the A flat may also be but two commas removed from the
G, and this change far from producing a disagreeable effect upon the
ear, will make a most striking impression and the accent will be far
more dramatic than before. Try the reverse, that is, divide the interval
B sharp-C into seven commas on the semitones A flat-G; it will be
unendurable. Whence we may deduce the fact that to sing false is to sing
above or below a note in the inverse direction to its attraction.
Delsarte, in his definition, speaks only of the semitone, and we
ourselves give examples of that sort of attraction only; but it does not
follow that the other intervals are not equally subject to the same law.
Their attraction may not be shown by the same effects.
The master added, in speaking of trueness in singing: "The triad is the
breathing-place of the tonality; the notes composing it should be
absolutely true. They are the singer's invariable and necessary law.
They characterize repose. Their office is that of attraction, and they
can only be attracted mutually, with the exception of the tonic, which
is the centre of attraction not only for various notes, but for the
phrase and the entire composition.
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