A Dictionary of Music and Musicians/False Relation

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A Dictionary of Music and Musicians
edited by George Grove

False Relation by Hubert Parry

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From volume 1 of the work.

1504294A Dictionary of Music and Musicians — False RelationGeorge GroveHubert Parry

FALSE RELATION is the occurrence of chromatic contradiction in different parts or voices, either simultaneously, as at (a), or in chords which are so near together that the effect of one has not passed from the mind before the other comes to contradict it with a new accidental, as at (b).

${ \override Score.TimeSignature #'stencil = ##f \time 3/4 \relative a'' << { a!2 ~ a8^\markup { \halign #1 (a) } s8 \bar "||" \time 4/4 c,2 e!^\markup { \halign #1 (b) } \bar "||" } \\ { <cis ais>2 ~ <cis ais>8 r8 | ees,2 c } \\ { s2. g'1 } >> }$

The disagreeable effect is produced by the contradictory accidentals belonging to different keys, or unequivocally to major or minor of the same key; and it follows that when the contradiction is between notes which can coexist in the same key the effect is not disagreeable. Thus chromatic passing notes and appoggiaturas do not affect the key, and are used without consideration of their apparent contradictions. Schumann uses the sharp and natural of the same note in the same chord in his 'Andante und Variationen' for two pianofortes, op. 46 (a), and Haydn the same in his Quartet in D, op. 71 (b).

${ \override Score.TimeSignature #'stencil = ##f \override Score.Rest #'style = #'classical \time 3/4 \key bes \major \partial 4 << \relative f' << { f8.^"(a)" fis16 fis8 a g ees } \\ { s4 <ees a,>2. } >> \new Staff { \clef bass \key bes \major r4 <f bes,>2. \bar "||" } >> }$

etc.

${ \override Score.TimeSignature #'stencil = ##f \key d \major \relative b'' << { b8 d! cis b a a16 g } \\ { <g, e>8^"(b)" <fis dis>2 <g e>8 } >> }$

etc.

Again, notes which are variable in the minor key do not produce any objectionable effect by their juxtaposition, as the minor 7th descending and the major 7th ascending or stationary; thus Mendelssohn in the Overture to 'Ruy Bias' has B♭ and B♮ in alternate chords.

${ \override Score.TimeSignature #'stencil = ##f \time 4/4 \key c \minor \relative g' << { g1 g2 ~ g4. g8 <c f,>1 <b g>\fermata } \\ { <ees, c>1 <d bes>2 ~ <d bes>4. <d bes>8 <c aes>1 <d g,> } >> }$

And the treatment of notes which are inter-changeable in chromatic and diatonic chords in the same key is equally free, as between a chromatic note of the chord of the augmented sixth and a succeeding diatonic discord.

${ \override Score.TimeSignature #'stencil = ##f \time 4/4 \key g \major \relative f'' << { fis2 g4 <a! d,> | <g d g,>1 } \\ { <c, aes>2 g4 <c fis,> c2 b } \\ { e2. } >> }$

The rule is further modified by so many exceptions that it is almost doubtful if the cases in which the effect is objectionable are not fewer than those in which it is not.

[ C. H. H. P. ]