The Fourth of Four
  • Kathy
    Posts: 5,515
    In classic 4-line hymnody, the third line is often the place for a tonal change. Pivoting on the fifth (e.g. the G chord in a C-major hymn), and incorporating the fifth of five (D in our example), the hymn flirts with a key change, going up the circle of fifths . (A clear example is Salzburg. In Nicaea, a remarkably thorough key change occurs on line 2.)

    The effect of the shift is a certain opening-out, an exuberance and dare I say playfulness, which counterbalances the solemnity of the organ. At least that is what I hear.

    Much of modern church music employs the fourth of four in abundance. I need not list examples, I hope.

    The fourth of four squishes the sound, making it seem serious in a way I find somewhat deadening. That's what I hear, anyway. The question is, is it something new in music? In sacred music?
  • DougS
    Posts: 793
    Is what you are referring to the same as a flatted seventh? (Bb in C major?) If so, it's cheesy modal borrowing, not a true tonal shift as in the five of five example...and it's nothing new.

    Now if there were temporary tonicizations of b7-b6-5 then back to 1, that would be a little cooler--reminiscent of the tetrachord laments in days of yore.
  • Kathy
    Posts: 5,515
    Yes, the flatted 7th
  • Adam WoodAdam Wood
    Posts: 6,482
    flatted seventh.
    One of the first piano tricks I learned when I started teaching myself in high school. From C to Bb. Then F, G, back to C.
    "This sounds like David Haas!"

    yes... yes it does.
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