Sigfrid Karg-Elert's
Precepts on the Polarity
of Sound and Tonality

Complete Original German Text and Illustrations
Reprinted with English Translation
by Harold Fabrikant and Staffan Thuringer

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This Australian publication is available in 2 different formats
1.  Soft cover printed book
OR    2.  CD-Rom computer readable form
Each of these packages include two CDs of recordings of many of the musical examples in the book

The softcover printed edition
The book displays the original German text on left hand pages
with the corresponding English translation on the facing pages
685 pages - Paperback(lay-flat) binding - A4 (210mm x 295mm), 35mm thick
weight approx. 1.7 Kg + packaging - Price $100 + postage

ISBN 978-0-9804162-0-6
Also included with the book
two audio CDs(154 tracks) of recorded
musical examples from the text
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The CD-Rom edition
179Mbyte PDF file - requires Adobe Acrobat Reader version 5 or later (pdf reader)
Package includes 3 CDs in paper sleeves(cases not supplied), plus paperwork suitable for CD jewel cases
Price $25 + postage

ISBN 978-0-9804162-1-3
Also included with the CD-Rom
two audio CDs(154 tracks) of recorded
musical examples from the text
All $ amounts are Australian Dollars
You can check exchange rates at
The book and CD-Rom are available directly from Terry Truman at this email address.
Payment in Australia is accepted by cheque, money order, direct deposit or e-transfer (no Paypal within Australia)
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The long awaited English translation of the Polarity text can only be described as a triumph - click here to see the Karg-Elert Archive website

Congratulations on the splendid achievement by you, Harold and Staffan - Anthony Caldicott, chairman, Karg-Elert Archive(England)

Congratulations on a fantastic job of setting and printing. I'm filled with admiration - Professor Bruce Steele(Australia)

... very impressed by the fantastic K-E book. It is quite magnificent! You must have had an enormous job translating it, even just understanding it. Obviously KE was a very knowledgeable man with enormous repertoire knowledge. Congratulations on the fine work! - Hans Fagius(Sweden)

... to try and express what it means to finally be in posession of this leviathan of a treatise in a form which gives one at least a fighting chance of further penetrating the mind of its author. - Max Jones(UK)

The work is every bit as magnificent as I thought it would be when I was trying to work my way through it. It's very exciting. - Diarmuid Piggot(Perth, Australia)

Original German text supplied as a facsimile by Anthony Caldicott on behalf of the Karg-Elert Archive
from an original print of the edition by F.E.C. Leuckart, Leipzig 1931, held in the British Library, London

English Translation by Harold Fabrikant and Staffan Thuringer 2003-2007
Introduction by Harold Fabrikant 2006
Restoration of figures, layout, printing and binding by Terry Truman

First published - October, 2007, By Dr Harold Fabrikant
37 Maxwell Grove, Caulfield. Victoria 3162. Australia

National Library of Australia Cataloguing-in-Publication Data
[Polaristische Klang- und Tonalitätslehre(Harmonologik) English]
Sigfrid Karg-Elert's precepts on the polarity of sound and tonality.
1. Polarization(Sound). 2. Tonality. 3. Harmony. 4. Music theory
I. Fabrikant, Harold. II. Thuringer, Staffan. III. Title.

The contents listing (German)
Index (Kapitelübersicht)
Alphabetisches Autorenverzeichnis der Literaturbeispiele

Grundlegende Einführung zum Gesamtwerk
I. Die pythagoreïsche Intervallenbestimmung
II. Die didymische Intervallenbestimmung, (divisione armonica)
III. Die persisch-arabische Intervallenbestimmung, (divisione aritmetica)
IV. Die Intervallenbestimmung durch Schwingungszahlen
V. Die Aliquoten
VI. Die Empfindung der Polarität durch Harmonievorstellung
VII. Die akustischen Typensigel
VIII. Die irrtümliche Auffassung der Mollkonsonanz
IX. Die Komma-Unterscheidung und ihre funktionale Bedeutung
X. Die Kosmophysik der Töne und Klänge im allgemeinen
Das hypothetische Klangzentrum
Zentralausschnitt (Tafel) von 30 unterschiedlichen Tönen
Analyse dieser Tabelle
XI. Neu- resp. Atonalformen
XII. Die Harmonie als Wesen, der Akkord als Erscheinung
XIII. Generalübersicht der (kons.) Klangverwandtschaft
XIV. Die Bewegungsklänge im allgemeinen und die harmonische Polarität
XV. Generalbaß, Klang-, Stufen- and Funktionslehre
XVI. Die polaritätischen Funktionssigel im allgemeinen

Das Harmoniesystem in polarer Auffassung
Erstes Hauptstück
(Quintverwandtschaft: Diatonalität)
1. Kapitel: Die Prinzipale
2. Kapitel: Die temperierten Contranten
3. Kapitel: Die Nonakkordformen der Dominanten und Contranten
4. Kapitel: Die Ultradominanten
5. Kapitel: Die diatonalen Prinzipalsubstituten
6. Kapitel: Der problematische Dreiklang
7. Kapitel: Der n(e)apolitanische Sextakkord
8. Kapitel: Die kommareine Modulation auf der Prinzipalbasis
Grundsätzliche Richtlinien
Allgemeines über Chromatik (zum 2. Hauptstück gehörend)
Die Konkordanz als Modulationsmittel
Scheinvariante Modulation
Nachwort zum Modulationskapitel
Ergänzung zum ersten Hauptstück
9. Kapitel: Zwillinge und Drillinge

Zweites Hauptstück
(Terz- and Septverwandtschaft: Chromatonalität)
10. Kapitel: Die Kirchenton-Systeme (teils zum 1. Hauptstück gehörend)
11. Kapitel: Varianten als metharm. Modulationsmittel
12. Kapitel: Allgemeines über Terzverwandtschaft
13. Kapitel: A) Der Mediantenstil
B) Akustische und funktionale Eigenart der Medianten
C) Sinnfällige Dis- und Destonationen durch Kommadifferenzen
D) Metharmose und Enharmose
E) Harmonologische Klangdeutung
F) Kadenzerweiterung
G) Mediantische Tonalitätssprünge, Rückungen, Parenthesen und Sequenzen
14. Kapitel: Die Septgegenklänge (Gegenkonkordanten)
15. Kapitel: Die aufgehobene (dezentralisierte) Tonalität
a) Allgemeines
b) Parallele Akkordrückung
c) Atonale Komplexe (siehe auch XI der Einführung)
d) Konsonante und konkordante Klangdeutung im freitonalen Bereich und Hinneigung zur Bi- resp. Polytonalität
The contents listing (English)
Index (summary of chapters)
Alphabetical composers index of the musical examples

Fundamental Introduction to the Complete Work
I. The Pythagorean System of Determining Intervals
II. The Didymean System of Determining Intervals (harmonic separation
III. The Persian-Arabian System of Determining Intervals (arithmetic separation)
IV. The Determination of Intervals by Tonal Frequency
V. The Aliquots (Overtones)
VI. The Perception of Polarity through Harmonic Illusion
VII. Acoustic Grammalogues
VIII. The Erroneous Conception of the Minor Consonance
IX. The Comma Difference and its Functional Significance
X. The Cosmic Physics of Tones and Sounds in General
The Hypothetical Centre of Sound
Central Extract (Chart) of 30 Different Tones
Analysis of this Table
XI. New and Atonal Forms respectively
XII. Harmony as the Essence, the Chord as Manifestation
XIII. General Survey of (Consonant) Relationships in Sound
XIV. Mobile Sounds in General and Harmonic Polarity
XV. Precepts of Figured Bass, Sound, Degrees and Function
XVI. Grammalogues for Polaristic Functions in General

The System of Harmony in Polaristic Perception
First Section
(Fifth relationship: Diatonality)
1st chapter: The Principal triads
2nd chapter: The Tempered Contrants
3rd chapter: The Ninth-chord Forms of the Dominants and Contrants
4th chapter: The Ultradominants
5th chapter: The Diatonic Substitutes for Principal Triads
6th chapter: The Problematic Triad
7th chapter: The Neapolitan Sixth-chord
8th chapter: The Comma-pure Modulation on the Basis of Principal Triads
Fundamental Guidelines
General Remarks on Chromaticism (which belong to the Second Section)
The Concordance as a Means for Modulation
Pseudovariant Modulation
Ultradominant Chains
Epilogue to the Chapter on Modulation
Supplement to the First Section
9th chapter: Twins and Triplets

Second Section
(Third and Seventh Relationship: Chromatic Tonality)
10th Chapter: The Ecclesiastical Tone Systems (belonging in part to the First Section)
11th Chapter: Variants as Metharmonic Means of Modulation
12th Chapter: General Comments on the Third Relationship
Collective Changed Sounds
Chromatic Chords
13th Chapter: A) The Style of the Mediant
B) Acoustic and Functional Individuality of Mediants
C) Obvious Tonality Changes through Comma Differences
D) Metharmonic and Enharmonic Concepts
E) Harmonological Tonal Interpretation
F) Cadence Broadening
G) Mediant Tonality-jumps, Shifts, Parentheses and Sequences
14th Chapter: The Seventh Counter-sounds (Counter-concordances)
15th Chapter: Abolished (Decentralised) Tonality
a) General Comments
b) Parallel Chord Shift
c) Atonal Complexes (see also XI in the Introduction, p. 45)
d) Consonant and Concordant Tonal Interpretation in the Freetonal Sphere and its Tendency towards Bi- and Poly-tonality respectively

The book and CD-Rom are available directly from Terry Truman at this email address.
This page last revised 6th June 2008