Part 11 (2/2)

5. The different entrances ought to be numerous and s.p.a.cious, the upper not connected with the lower, but built in a continuous straight line from all parts of the house, without turnings, so that the people may not be crowded together when let out from shows, but may have separate exits from all parts without obstructions.

Particular pains must also be taken that the site be not a ”deaf” one, but one through which the voice can range with the greatest clearness.

This can be brought about if a site is selected where there is no obstruction due to echo.

6. Voice is a flowing breath of air, perceptible to the hearing by contact. It moves in an endless number of circular rounds, like the innumerably increasing circular waves which appear when a stone is thrown into smooth water, and which keep on spreading indefinitely from the centre unless interrupted by narrow limits, or by some obstruction which prevents such waves from reaching their end in due formation. When they are interrupted by obstructions, the first waves, flowing back, break up the formation of those which follow.

7. In the same manner the voice executes its movements in concentric circles; but while in the case of water the circles move horizontally on a plane surface, the voice not only proceeds horizontally, but also ascends vertically by regular stages. Therefore, as in the case of the waves formed in the water, so it is in the case of the voice: the first wave, when there is no obstruction to interrupt it, does not break up the second or the following waves, but they all reach the ears of the lowest and highest spectators without an echo.

8. Hence the ancient architects, following in the footsteps of nature, perfected the ascending rows of seats in theatres from their investigations of the ascending voice, and, by means of the canonical theory of the mathematicians and that of the musicians, endeavoured to make every voice uttered on the stage come with greater clearness and sweetness to the ears of the audience. For just as musical instruments are brought to perfection of clearness in the sound of their strings by means of bronze plates or horn [Greek: echeia], so the ancients devised methods of increasing the power of the voice in theatres through the application of harmonics.

CHAPTER IV

HARMONICS

1. Harmonics is an obscure and difficult branch of musical science, especially for those who do not know Greek. If we desire to treat of it, we must use Greek words, because some of them have no Latin equivalents.

Hence, I will explain it as clearly as I can from the writings of Aristoxenus, append his scheme, and define the boundaries of the notes, so that with somewhat careful attention anybody may be able to understand it pretty easily.

2. The voice, in its changes of position when s.h.i.+fting pitch, becomes sometimes high, sometimes low, and its movements are of two kinds, in one of which its progress is continuous, in the other by intervals. The continuous voice does not become stationary at the ”boundaries” or at any definite place, and so the extremities of its progress are not apparent, but the fact that there are differences of pitch is apparent, as in our ordinary speech in _sol_, _lux_, _flos_, _vox_; for in these cases we cannot tell at what pitch the voice begins, nor at what pitch it leaves off, but the fact that it becomes low from high and high from low is apparent to the ear. In its progress by intervals the opposite is the case. For here, when the pitch s.h.i.+fts, the voice, by change of position, stations itself on one pitch, then on another, and, as it frequently repeats this alternating process, it appears to the senses to become stationary, as happens in singing when we produce a variation of the mode by changing the pitch of the voice. And so, since it moves by intervals, the points at which it begins and where it leaves off are obviously apparent in the boundaries of the notes, but the intermediate points escape notice and are obscure, owing to the intervals.

3. There are three cla.s.ses of modes: first, that which the Greeks term the enharmonic; second, the chromatic; third, the diatonic. The enharmonic mode is an artistic conception, and therefore execution in it has a specially severe dignity and distinction. The chromatic, with its delicate subtlety and with the ”crowding” of its notes, gives a sweeter kind of pleasure. In the diatonic, the distance between the intervals is easier to understand, because it is natural. These three cla.s.ses differ in their arrangement of the tetrachord. In the enharmonic, the tetrachord consists of two tones and two ”dieses.” A diesis is a quarter tone; hence in a semitone there are included two dieses. In the chromatic there are two semitones arranged in succession, and the third interval is a tone and a half. In the diatonic, there are two consecutive tones, and the third interval of a semitone completes the tetrachord. Hence, in the three cla.s.ses, the tetrachords are equally composed of two tones and a semitone, but when they are regarded separately according to the terms of each cla.s.s, they differ in the arrangement of their intervals.

4. Now then, these intervals of tones and semitones of the tetrachord are a division introduced by nature in the case of the voice, and she has defined their limits by measures according to the magnitude of the intervals, and determined their characteristics in certain different ways. These natural laws are followed by the skilled workmen who fas.h.i.+on musical instruments, in bringing them to the perfection of their proper concords.

[Ill.u.s.tration]

5. In each cla.s.s there are eighteen notes, termed in Greek [Greek: phthongoi], of which eight in all the three cla.s.ses are constant and fixed, while the other ten, not being tuned to the same pitch, are variable. The fixed notes are those which, being placed between the moveable, make up the unity of the tetrachord, and remain unaltered in their boundaries according to the different cla.s.ses. Their names are proslambanomenos, hypate hypaton, hypate meson, mese, nete synhemmenon, paramese, nete diezeugmenon, nete hyperbolaeon. The moveable notes are those which, being arranged in the tetrachord between the immoveable, change from place to place according to the different cla.s.ses. They are called parhypate hypaton, lichanos hypaton, parhypate meson, lichanos meson, trite synhemmenon, paranete synhemmenon, trite diezeugmenon, paranete diezeugmenon, trite hyperbolaeon, paranete hyperbolaeon.

[Ill.u.s.tration]

6. These notes, from being moveable, take on different qualities; for they may stand at different intervals and increasing distances. Thus, parhypate, which in the enharmonic is at the interval of half a semitone from hypate, has a semitone interval when transferred to the chromatic.

What is called lichanos in the enharmonic is at the interval of a semitone from hypate; but when s.h.i.+fted to the chromatic, it goes two semitones away; and in the diatonic it is at an interval of three semitones from hypate. Hence the ten notes produce three different kinds of modes on account of their changes of position in the cla.s.ses.

7. There are five tetrachords: first, the lowest, termed in Greek [Greek: hypaton]; second, the middle, called [Greek: meson]; third, the conjunct, termed [Greek: synemmenon]; fourth, the disjunct, named [Greek: diezeugmenon]; the fifth, which is the highest, is termed in Greek [Greek: hyperbolaion]. The concords, termed in Greek [Greek: symphoniai], of which human modulation will naturally admit, are six in number: the fourth, the fifth, the octave, the octave and fourth, the octave and fifth, and the double octave.

8. Their names are therefore due to numerical value; for when the voice becomes stationary on some one note, and then, s.h.i.+fting its pitch, changes its position and pa.s.ses to the limit of the fourth note from that one, we use the term ”fourth”; when it pa.s.ses to the fifth, the term is ”fifth.”[7]

[Note 7: The remainder of this section is omitted from the translation as being an obvious interpolation.]

9. For there can be no consonances either in the case of the notes of stringed instruments or of the singing voice, between two intervals or between three or six or seven; but, as written above, it is only the harmonies of the fourth, the fifth, and so on up to the double octave, that have boundaries naturally corresponding to those of the voice: and these concords are produced by the union of the notes.

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