Laurdella Foulkes-Levy
The University of Mississippi
In his book on Modal Harmony (1961), Hungarian musicologist and theorist Lajos Bárdos presented his theory that Renaissance harmonies could be understood as connections of chords that, while not functional, have certain relationships which can be documented. His theory is that the intervals connecting roots of chords in pre-tonal music differs in a distinct fashion from those of tonal music. Using a binary system of harmonic analysis, Bardos labeled root connections as either authentic or plagal, depending upon the interval and direction of the root motion. Authentic motion or steps are those we associate with an authentic cadence: ascending seconds, ascending fourths/descending fifths, as well as descending thirds, exemplified by the progression I-VI-II-V-I. Plagal motion or steps are the opposite. As IV-I (descending fourths/ascending fifths) represents a plagal cadence, those fourths/fifths as well as descending seconds and ascending thirds are considered plagal steps. Thus, all intervals connecting roots of chords are categorized as either authentic or plagal.
This paper explains Bárdos's theory of Renaissance chord connections in detail and expands upon it, using musical examples from two centuries before to two centuries after the late Renaissance. The results show a definite, though rarely steady, change from an emphasis on plagal to an emphasis on authentic motion. This is further documented as certain intervallic chord connections, namely fourths and fifths, become more prominent while others, such as the plagal seconds, become less so. Suggestions are made as to the practical use of this information, both for analytical and pedagogical purposes.