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The Melancholy Descent

An academic exploration of the lament bass, a foundational musical motif, covering its definition, chromatic variations, emotional associations, and historical context.

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Core Concept

Definition

In music theory, the lament bass is a specific type of ground bass, characterized by a descending perfect fourth from the tonic to the dominant. Each step within this descent is harmonized, creating a foundational melodic and harmonic structure.

Harmonic Structure

The lament bass can manifest in two primary forms:

  • Diatonic Version: This utilizes the upper tetrachord of the natural minor scale, often referred to as the Phrygian tetrachord.
  • Chromatic Version: This version fills in all the semitones within the descending fourth, creating a more chromatic and often more poignant effect.

Emotional Resonance

Historically, the lament bass is strongly associated with evoking feelings of tragedy, sorrow, and profound grief in listeners. Its descending, often chromatic, nature contributes to this somber affective quality.

Historical Context & Nuance

Beyond Melancholy

While the lament bass is widely recognized for its association with sorrow, a nuanced understanding reveals that this is not its sole affective domain. Historical scholarship indicates a potential misperception that this bass pattern was exclusively linked to tragedy, particularly in 17th-century Venetian opera.

For instance, musicologist Peter Holman notes that while the descending minor tetrachord was indeed associated with lamentation, it was also employed to convey other sentiments. He points out that Henry Purcell, a prominent composer of the era, sometimes used this descending ground associated with "love" in his operatic works, challenging the notion of a singular, fixed emotional meaning.

Origins and Evolution

The lament bass pattern has roots in early music, evolving through various periods. Its consistent use as a ground bass, repeating throughout a composition, provides a stable harmonic foundation while allowing for melodic and expressive variation above it. This technique was particularly prevalent in Baroque and Classical eras.

Compositional Form

The "Complaint" Form

A specific musical form, often termed "complaint" or "complainte" (French), is closely related to the lament bass. This form typically consists of a series of harmonic variations presented in a homophonic texture.

The defining characteristic is the repeated bass line, which descends through a tetrachord. This tetrachord, often suggesting a minor mode, serves as a continuous ground bass, anchoring the composition's harmonic progression and emotional trajectory.

Notable Musical Works

Examples Across Eras

The lament bass motif has been employed by numerous composers across various genres and historical periods. Its enduring presence highlights its effectiveness in conveying specific emotional states.

  • "My Funny Valentine" by Rodgers and Hart
  • "Any Time at All", "Girl", "I'll Be Back", "I'll Follow the Sun", "The Magical Mystery Tour", "Lucy in the Sky with Diamonds", "Michelle", "While My Guitar Gently Weeps" by The Beatles
  • "Dumbledore's Farewell" from Harry Potter and the Half-Blood Prince
  • "Paranoid Android" by Radiohead
  • "Dido's Lament" by Henry Purcell
  • "Chaconne in F minor" by Johann Pachelbel
  • "Lamento della Ninfa" by Claudio Monteverdi
  • "Pink Elephants on Parade" from Disney's Dumbo
  • "Hedwig's Lament" from Hedwig and the Angry Inch
  • "I've Got What You Want" and "Tiger, Tiger" from The Apple Tree
  • "The Cat Came Back" by Harry S. Miller
  • "Hit the Road Jack" by Percy Mayfield / Ray Charles
  • "Babe I'm Gonna Leave You" by Joan Baez / Led Zeppelin
  • "25 or 6 to 4" by Chicago
  • "Dead Leaves and the Dirty Ground" by The White Stripes
  • "50 Ways to Leave Your Lover" by Paul Simon
  • "Sorry Seems to Be the Hardest Word" by Elton John
  • "Brain Stew" by Green Day
  • "Butterflies and Hurricanes" and "Thoughts of a Dying Atheist" by Muse
  • "Gethsemane (I Only Want To Say)" from Jesus Christ Superstar
  • "Bills, Bills, Bills" and "Bye Bye Bye" by Destiny's Child and NSYNC respectively
  • "Stray Cat Strut" by The Stray Cats
  • "Ruy Blas" Overture, Op. 95 by Felix Mendelssohn
  • "Misero Apollo" and "Hor che l'aurora" by Francesco Cavalli
  • "Hampstead Incident" by Donovan
  • "Wake Me Up When September Ends" by Green Day
  • "Matilda Mother" by Pink Floyd

The source material provides audio demonstrations for several of these works, illustrating the lament bass in practice:

Audio Demonstrations

Listen to specific examples illustrating the lament bass:

Vivaldi's Motet RV 631

A demonstration of the chromatic fourth ground bass from Vivaldi's motet "O qui coeli terraeque serenitas".

Chromatic fourth: lament bass bassline in Dm (D-C♯-C♮-B-B♭-A). Play
Lament bass without chromatic semitones: descending tetrachord in A minor (A-G-F-E). Play without harmonization and Play with harmonization followed by Phrygian cadence.

Beethoven's C-Minor Variations

Tonally coherent harmonization from Beethoven's 32 Variations in C minor.

Tonally coherent harmonization from Beethoven's C-Minor Variations. Play

Bach's Mass in B minor

Passacaglia ground bass from Bach's "Crucifixus" in the Mass in B minor.

Passacaglia ground bass in Bach's Crucifixus from the Mass in B minor. Play

Purcell's Dido's Lament

Dido's Lament chromatic fourth ground bass.

Dido's Lament chromatic fourth ground bass. Play

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References

References

  1.  Brover-Lubovsky (2008), p.153. "In the eighteenth century...the lament bass almost automatically invoked somber affection, gravity, and oppressiveness."
  2.  Dupre, Marcel (1937). Cours Complet d'Improvisation a l'Orgue: Exercices Preparees, v. 1, p. 14, trans. John Fenstermaker. Paris: Alphonse Leduc.
  3.  mudcat.org: The Cat Came Back (original lyrics)
  4.  eNotes: Lament Bass http://www.enotes.com/topic/Lament_bass
A full list of references for this article are available at the Lament bass Wikipedia page

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Disclaimer

Important Notice

This page was generated by an Artificial Intelligence and is intended for informational and educational purposes only. The content is based on a snapshot of publicly available data from Wikipedia and may not be entirely accurate, complete, or up-to-date.

This is not professional musicological advice. The information provided on this website is not a substitute for professional consultation regarding music theory, composition, or music history. Always refer to authoritative academic sources and consult with qualified musicologists or composers for specific inquiries.

The creators of this page are not responsible for any errors or omissions, or for any actions taken based on the information provided herein.