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Lament bass
In music, the lament bass is a ground bass, built from a descending perfect fourth from tonic to dominant, with each step harmonized.〔Brover-Lubovsky, Bella (2008). ''Tonal Space in the Music of Antonio Vivaldi'', p.151-52. ISBN 978-0-253-35129-6.〕 The diatonic version is the upper tetrachord from the natural minor scale,〔Ellis, Mark R. (2010). ''A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler'', p.200. ISBN 978-0-7546-6385-0.〕 known as the Phrygian tetrachord, while the chromatic version, the chromatic fourth, has all semitones filled in. It is often used in music to denote tragedy or sorrow.〔Brover-Lubovsky (2008), p.153. "In the eighteenth century...the lament bass almost automatically invoked somber affection, gravity, and oppressiveness."〕
However, "A common misperception exists that the 'lament bass' of Venetian 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 about Henry Purcell, once characterized the minor tetrachord as 'the descending ground that was associated with love in seventeenth-century opera'."〔Thompson, Shirley (2010). ''New Perspectives on Marc-Antoine Charpentier'', p.64. ISBN 978-0-7546-6579-3.〕
==Compositional form==
There exists a short, free musical form of the Romantic Era, called complaint or "complainte" (Fr.) or lament.〔Dupre, Marcel (1937). ''Cours Complet d'Improvisation a l'Orgue: Exercices Preparees'', v. 1, p. 14, trans. John Fenstermaker. Paris: Alphonse Leduc.〕 It is typically a set of harmonic variations in homophonic texture, wherein the bass descends through some tetrachord, possibly that of the previous paragraph, but usually one suggesting a minor mode. This tetrachord, treated as a very short ground bass, is repeated again and again over the length of the composition.
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