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<title>False relation</title>

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<span id="openzim-page-title" class="mw-page-title-main"><span class="mw-page-title-main">False relation</span></span>

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<p>A <b>false relation</b> (also known as <b>cross-relation</b>, <b>non-harmonic relation</b>) is the name of a type of <a href="Consonance_and_dissonance" title="Consonance and dissonance">dissonance</a> that sometimes occurs in <a href="Polyphony" title="Polyphony">polyphonic</a> music, most commonly in vocal music of the <a href="Renaissance_music" title="Renaissance music">Renaissance</a> and particularly in English music into the eighteenth century.

The term describes a "<a href="Diatonic_and_chromatic" title="Diatonic and chromatic">chromatic</a> contradiction"<sup id="cite_ref-one_1-0" class="reference"><a href="#cite_note-one-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> between two <a href="Note_(music)" class="mw-redirect" title="Note (music)">notes</a> sounding simultaneously (or in close proximity) in two different <a href="Melody" title="Melody">voices</a> or parts; or alternatively, in music written before 1600, the occurrence of a <a href="Tritone" title="Tritone">tritone</a> between two notes of adjacent <a href="Chord_(music)" title="Chord (music)">chords</a>.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup>

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<p>In the above example, a chromatic false relation occurs in two adjacent voices sounding at the same time (shown in red). The <a href="Tenor" title="Tenor">tenor</a> voice sings G<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span> while the <a href="Bass_(vocal_range)" class="mw-redirect" title="Bass (vocal range)">bass</a> sings G<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-natural">♮</span></span> momentarily beneath it, producing the clash of an <a href="Augmented_unison" title="Augmented unison">augmented unison</a>.

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<p>In this instance, the false relation is less pronounced: the contradicting E<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> (soprano voice) and E<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-natural">♮</span></span> (bass voice) (<a href="Diminished_octave" title="Diminished octave">diminished octave</a>) do not sound simultaneously. Here the false relation occurs because the top voice is descending in a minor key, and therefore takes the notes of the <a href="Natural_minor" class="mw-redirect" title="Natural minor">natural minor</a> scale descending (the diatonic sixth degree). The bass voice ascends and therefore makes use of the ascending melodic minor scale (the raised sixth degree).

</p><p>False relation is in this case desirable since this chromatic alteration follows a melodic idea, the rising 'melodic minor'. In such cases false relations must occur between different voices, as it follows that they cannot be produced by the semitones that occur diatonically in a mode or scale of any kind. This horizontal approach to polyphonic writing reflects the practices of composers in the <a href="Renaissance_music" title="Renaissance music">Renaissance</a> and <a href="Tudor_music" class="mw-redirect" title="Tudor music">Tudor</a> periods, particularly in vocal composition, but it is also seen, for example, in the <a href="Hexachord" title="Hexachord">hexachord</a> fantasies of <a href="William_Byrd" title="William Byrd">William Byrd</a> (for keyboard). Indeed, vocal music from this era does not often have these <a href="Accidental_(music)" title="Accidental (music)">accidentals</a> notated in the manuscript (see <a href="Musica_ficta" title="Musica ficta">Musica ficta</a>);<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> experienced singers would have decided whether or not they were appropriate in a given musical context.

</p><p>Many composers from the late 16th century onwards however began using the effect deliberately as an expressive device in their word setting. This practice continued well into the <a href="Romantic_music" title="Romantic music">Romantic</a> era, and can be heard in the music of <a href="Wolfgang_Amadeus_Mozart" title="Wolfgang Amadeus Mozart">Mozart</a> and <a href="Fr%C3%A9d%C3%A9ric_Chopin" title="Frédéric Chopin">Chopin</a>, for example.<sup id="cite_ref-one_1-1" class="reference"><a href="#cite_note-one-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>

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<ul><li><a href="English_cadence" title="English cadence">English cadence</a></li>

<li><a href="Voice_leading" title="Voice leading">Voice leading</a></li></ul>

<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

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</style><cite id="CITEREFDyson2001" class="citation encyclopaedia cs1">Dyson, George (2001). "False relation". In <a href="Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <i><a href="The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> (2nd ed.). London: <a href="Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-56159-239-5</bdi>.</cite>‎</span>

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<li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">Arnold Whittall (2002). "False Relation", <i>The Oxford Companion to Music</i>. Ed. Alison Latham. Oxford University Press. King's College London. <a rel="nofollow" class="external text" href="http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t114.e2404">Oxford Reference Online</a>. Accessed 18 March 2007.</span>

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<li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"><cite id="CITEREFBent2001" class="citation encyclopaedia cs1">Bent, Margaret (2001). "Musica ficta, §1: Introduction". In <a href="Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <i><a href="The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> (2nd ed.). London: <a href="Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-56159-239-5</bdi>.</cite>‎</span>

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<div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div>

<ul><li>Luís Henriques (Saturday, July 21, 2007). <a rel="nofollow" class="external text" href="http://musicologicus.blogspot.com/2007/07/william-byrd-ave-verum-corpus.html">"William Byrd - <i>Ave Verum Corpus</i>"</a>, <i>Atrium Musicologicum</i>. Another description of the use of false relation in Byrd's <i>Ave Verum Corpus</i>. [This blog is open to invited readers only]</li>

<li>Early Music Sources (<a href="Elam_Rotem" title="Elam Rotem">Elam Rotem</a>): <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=uOoonFUb5HA"><span class="">False relations in the late Renaissance</span></a> on <a href="YouTube_video_(identifier)" class="mw-redirect" title="YouTube video (identifier)">YouTube</a></li></ul>

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<ul><li><a href="Altered_chord" title="Altered chord">Altered chord</a></li>

<li><a href="Augmented_sixth_chord" title="Augmented sixth chord">Augmented sixth chord</a></li>

<li><a href="Borrowed_chord" title="Borrowed chord">Borrowed chord</a></li>

<li><a href="Chromatic_fourth" title="Chromatic fourth">Chromatic fourth</a>

<ul><li><a href="Lament_bass" title="Lament bass">Lament bass</a></li></ul></li>

<li><a href="Chromatic_fantasia" title="Chromatic fantasia">Chromatic fantasia</a></li>

<li><a href="Chromatic_mediant" title="Chromatic mediant">Chromatic mediant</a></li>

<li><a href="Diatonic_and_chromatic" title="Diatonic and chromatic">Diatonic and chromatic</a></li>

<li><a href="English_cadence" title="English cadence">English cadence</a></li>

<li><a href="Neapolitan_chord" title="Neapolitan chord">Neapolitan chord</a></li>

<li><a href="Polymodal_chromaticism" title="Polymodal chromaticism">Polymodal chromaticism</a></li>

<li><a href="Secondary_chord" title="Secondary chord">Secondary chord</a></li></ul>

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<ul><li><a href="Canon_(music)" title="Canon (music)">Canon</a></li>

<li><a href="Catch_(music)" title="Catch (music)">Catch</a></li>

<li><a href="Contrapuntal_motion" title="Contrapuntal motion">Contrapuntal motion</a></li>

<li><a href="English_cadence" title="English cadence">English cadence</a></li>

<li><a href="Fugue" title="Fugue">Fugue</a></li>

<li><a href="Imitation_(music)" title="Imitation (music)">Imitation</a></li>

<li><a href="Ricercar" title="Ricercar">Ricercar</a></li>

<li><a href="Round_(music)" title="Round (music)">Round</a></li>

<li><a href="Subject_(music)" title="Subject (music)">Subject</a></li>

<li><a href="Part_(music)" title="Part (music)">Voice</a></li>

<li><a href="Voice_leading" title="Voice leading">Voice leading</a></li></ul>

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