382 



CONCLAVIST CONCORD. 



Bt Venice by the assembled cardinals, as Pius VI. died 

 far from Rome. 



CONCLAVIST; the companion, either lay or 

 clerical, whom the cardinal is allowed to take with 

 him into the conclave (q. v.) during the election of a 

 pope, or to send for if he should faU sick. The con- 

 clavists are, in this case, subject to the same laws as 

 the cardinals ; they are not permitted to leave the 

 conclave except in a case of severe sickness ; they 

 partake at the same table with the cardinals, and 

 have a cell of the same size. The place of conclavist 

 is honourable, and very much sought for. The con- 

 clavist of the cardinal who is chosen pope seldom 

 fails to make his fortune. As every cardinal gene- 

 rally becomes a member of the committee of regency, 

 consisting of three cardinals, who are changed daily, 

 each of the conclavists of the cardinals thus engaged 

 lias an opportunity to display his talents before the 

 cardinal and his colleagues, as secretary of the com- 

 mittee. 



CONCORD (also called accord, from the Italian 

 accordare, and this from the Latin chorda) ; an ex- 

 pression used in music. It denotes an association of 

 sounds, founded on the natural relations of simulta- 

 neous tones. Upon this association depends all har- 

 mony ; in fact, every proper chord is of itself har- 

 mony; hence, e. g., the expression harmony of the 

 dominant. In its proper acceptation, harmony is the 

 result of connected tones in consecutive chords. With 

 regard to their simultaneous expression, however, 

 tones differ in their relations. Some, by the mere 

 act of being sounded together, convey to the ear a 

 sense of pleasure. They harmonize in themselves, 

 and are therefore termed consonant chords, or con- 

 cords. Take, for example, one tone as the funda- 

 mental tone ; then, to form a concord, all the other 

 tones must harmonize with it and with each other. 

 The idea of a chord has no reference to the number 

 of consonant tones of which it is formed. The most 

 simple and least perfect concord is made by the com- 

 bination of two tones, and is formed by connecting 

 the interval of the third with the fundamental tone. 

 The most perfect consonant chord is the harmonic 

 triachard. which is formed by the addition of another 

 third, and constitutes the perfect fifth from the funda- 

 mental tone : it is usually termed the dominant. 

 From the cliaracter of the first third, or mediant, 

 these combinations are either major or minor ; thus 

 major C, E, G, or minor, C, E flat, and G. The 

 minor triachord is to be distinguished from the dimin- 

 ished triachord, which, by some, is called the false or 

 dissonant, and is formed by two minor thirds, or by 

 the fundamental tone and the minor third and minor 

 fifth ; thus, C, E, flat, G, flat. There is also a re- 

 dundant triachord, constituted by two major thirds. 

 By the transposition of the tones composing these 

 triachords into higher or lower octaves (changing the 

 positions or inverting the intervals), all other con- 

 sonant chords are formed. It is usual to fix the de- 

 signation of chords by counting the intervals ascend- 

 ing. Thus arises, 1. the chord of the sixth (hexa- 

 chord), in which the fundamental tone is placed an 

 octave higher, so that the third becomes a fundamen- 

 tal tone ; the fifth is then the third, and the transpos- 

 ed fundamental becomes the sixth ; thus, E, G, C, 

 designated by the figure G. 2. The chord of the 

 fourth and sixth, where the fundamental tone and its 

 third are both placed in a higher octave, so that the 

 fifth becomes the fundamental, the original funda- 

 mental is changed to the fourth, and the transposed 

 third becomes the sixth. Hence the name, from 



the characteristic intervals and the notation thus 



4 



The dissonant chords are first obtained by adding to 

 the triad another third, which, consequently, stands 



in the relation of a seventh to the fundamental, and 

 produces a quadrichord. The seventh is the disson- 

 ant interval, and to relieve the ear, requires to be re- 

 solved. The chord of the seventh is formed of the 

 fundamental, the third, the fifth, and the seventh. 

 The first, and most usual, is constituted by the major 

 triad with the minor seventh ; thus C, E, G, B flat. 

 It is called the principal, sometimes the essential 

 chord of the seventh, and is simply designated thus, 

 7. It rests upon the dominant of that key in which 

 it is to be resolved ; for the minor seventh resolves 



itself downwards, thus, 



\vliile the 



major dissonant ascends. Hence it may also be call- 

 ed the dominant chord of the seventh, or the chord 

 of the dominant seventh. If we transpose the 

 intervals of these chords, in the same manner 

 as with the triachords, we form, 1. the chord of 



the fifth and sixth (denoted by ^ Y consisting of the 

 minor third, the minor fifth and major sixth, thus, 



the chord of the third ai;d 



fourth (r-\ in which the seventh and the funda- 

 mental tone of the essential chord of the seventh be- 



come the third and fourth, 



further transposition, the chord of the second is 

 formed, by which the seventh, with the funda- 

 mental tone, forms the interval of the second, thus, 



The other chords of the seventh, 



which Godfr. Weber terms by-chords of the seventh , 

 in opposition to principal chords of the seventh, arc, 

 the chord of the seventh, formed by the minor 



triachord and the minor seventh, 



again, by the diminished triachord, with the subsist- 

 ing minor seventh of the chord of the seventh, 



U Q ; finally, the chord of the seventh, with 



the major triachord and seventh major, 



By the transposition of these by-chords of the seventh 

 are formed the chords of the fifth and sixth, the 

 third and fourth, and the chord of the second. We 

 have thus, as appears from this review, nine funda- 

 mental chords, viz., two simple accords, three tria- 

 chords, and four chords of the seventh (the essential 

 chord and the by-cords of the seventh). However 

 complicated the harmony may be, it is reducible to 

 these chords. There is yrt a five-toned chord, the 

 quint-chord which is a union of simultaneous tone*. 



