2. HARMONIC ASPECTS

This characteristic of Sardinian folk songs concerns coral singing in which, a part from the melodic outline of sa 'oghe (bogi), it is possible to perceive the counterpoint together with the other three parts (mesa 'oghe - falzittu, contra and basciu) which give origin to the harmony as a simultaneous performance of various sounds.

On hearing these songs it is sufficient for a skilled listener to recognise some characteristics of Sardinian folk singing:

• cords (tonic and dominant)
• harmonic movement
• modulation

a. Chords

Chords are the simultaneous performance of numerous sounds, the quantity and the volume of which qualifies the type of chord. In Sardinian folk singing only the major chord exists, considered as a triad or as minor quadriade (dominant in seventh), as shows the example below (Fig. 6) in a SOL major tone.

Fig. 6 - Major chords

In this area of folk songs the minor chord does not exist (Fig. 7), conclusion that I prefer not to extend to folk songs of other Sardinian cultures. There are two reasons for this. The first is of a harmonic nature, because having to harmonize 'sa 'oghe (the second of the four parts(voices), the major chord is absolutely necessary. The second reason is of an esthetic nature, because supporters of folk songs refuse the minor chord, which they consider inadequate. Examples of this also exist amongst the scholarly cultures, for instance Piccarda's third which, changing the third note in it's scale, transforms the concluding chord of the piece into major or minor.

Fig. 7 - Minor chords

b. Rhythmical movement

By rhythmical movement of a tone, we intend that connection amongst chords that places them into a sequence throughout the whole piece, since all of the song tends to lean on it's tone.

Sardinian music has a simple rhythmical movement: I°-V° grade, i.e. key notes - dominant (nearly always as quadriade of the seventh). Almost all of the coral pieces, the most antique, follow this rhythmical movement. Different modulations is found in Oe cun rara armonia from Bulzi (Fig. 8).

Fig. 8 - Rhythmical movement in Oe cun rara armonia (performed by: SU CORO 'E CHEREMULE)


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It is rare to find a major 4th grade chord. In this case the rhythmical movement is of the I°-IV°-V° grade. One example is Salve Regina from Pattada (Fig.9), another rare instance is Magnificat from Bulzi.

Fig. 9 - Rhythmical movement of Salve Regina di Pattada (Performed by: SU CORO 'E CHEREMULE)


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