However, "A common misperception exists that the 'lament bass' ofVenetian opera became so prevalent that it immediately swept away all other possible affective associations with this bass pattern...To cite but one example, Peter Holman, writing aboutHenry Purcell, once characterized the minor tetrachord as 'the descending ground that was associated with love in seventeenth-century opera'."[4]
There exists a short, free musical form of theRomantic Era, calledcomplaint or "complainte" (Fr.) or lament.[9] It is typically a set of harmonicvariations inhomophonic texture, wherein the bass descends through some tetrachord, possibly that of the previous paragraph, but usually one suggesting aminor mode. This tetrachord, treated as a very shortground bass, is repeated again and again over the length of the composition.
^abcBrover-Lubovsky, Bella (2008).Tonal Space in the Music of Antonio Vivaldi, p.151-52.ISBN978-0-253-35129-6.
^Ellis, Mark R. (2010).A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler, p.200.ISBN978-0-7546-6385-0.
^Brover-Lubovsky (2008), p.153. "In the eighteenth century...the lament bass almost automatically invoked somber affection, gravity, and oppressiveness."
^Thompson, Shirley (2010).New Perspectives on Marc-Antoine Charpentier, p.64.ISBN978-0-7546-6579-3.
^Williams, Peter (1998).The Chromatic Fourth: During Four Centuries of Music, p.69. Oxford University Press.ISBN0-19-816563-3.
^Frisch, Walter (1996).Schubert: critical and analytical studies, p.10.ISBN978-0-8032-6892-0.
-♭
-♭
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(a-g-f-e).Play without harmonizationⓘ andPlay with harmonizationⓘ followed byPhrygian cadence.[1]
