Up until now our study of harmony and voice leading has been based on triadic formations. This type of tertian harmony has been very useful in our examination of music of the 18th and 19th century when the confines of traditional syntax was tested. We saw with the formation of free triads that virtually any syntax is possible if the purpose of such syntax is well defined. We concluded our study of singular triadic formations with a quote from Persechetti

"...if each voice has purpose and design, any triad may progress freely and with harmonic meaning"

Voice Leading to and from non-triadic harmonic structures.

We have seen and heard the characteristic functions of quartal harmony as being devoid of triadic functions. This does not mean that it is lacking a coherent context in which one may employ well perceived syntax and voice leading. In his discussion of synthetic scale formations, Persechetti gives us three new terms that help us redefine our understanding of harmonic relationships given the lack of a common period context. We may expand these definitions to include quartal (and other) non triadic harmony

1. Primary = a perceived "Tonic" and "Dominant" Function. Primary harmony defines the tonality and grounds us in the central tone of that tonality. In synthetic scales we saw the characteristic tones as providing the essential elements that define this primary harmony. In Quartal harmony we perceive the un altered P4 relationship as the pure characteristic elements that define primary quartal harmony. To be sure the more P4s appear in quartal harmony, the greater the stability of the perceived tonality and the stronger the primary function of that tonality.

2. Secondary = a perceived passing or intermediate that serves to add color to primary harmony without noticably changing the gravitation towards the tonal center. In synthetic scale formations we saw those chords that neither contained the characteristic tones nor the tritone as being secondary. In quartal harmony we conceive of secondary functions as that harmony whose voice leading does not focus on the gravitation forces of its dissonance but rather on the coloristic elements of the quartal harmony.

3. Leading (Tritone) = a Leading function brings the ear to new tonal center. In synthetic scale formations this was derived as being the function of any triad containing the triad. In quartal harmony, we expand our capacity to lead the ear to a new tonal center by the manipulation of individual tones or intervals that carry us to those new tonal centers.

A. Primary Functions in Quartal Harmony: Stable

1. Stable Pure P4 quartal harmony moves freely to other quartal harmony.
as a primary "Tonic-Dominant" Function

 

In Class Assignment 1: 1. For each of the above "Primary" voice leading techniques (A1) Write a traditional two staff SATB 3 or 4 chord progression 2. Using Arrows, clearly show the voice leading technique

 

B. Secondary Functions in Quartal Harmony: Relatively Stable

1. Quartal harmony moves in a passing capacity as a stable Secondary function for color and interest
Just as we saw a passing bass can solidify the non-syntactic functions of common period harmony by simply providing momentary color to a harmonic function (IV-PV-IV6), so too can a passing bass in quartal harmony act as a passing secondary function.

2. Quartal harmony moves freely to quartal harmony as a Primary function even with the appearance of dissonant members but
The added 3rd below or above creates color and interest adding a secondary function

3. Quartal harmony is arpeggiated. Consistant intervalic relationships add stability that can counteract possible dissonances.
This stability may result in a Primary or Secondary harmonic function

 

In Class Assignment 2: 1. For each of the above "Secondary" voice leading techniques (B1-3) Write a traditional two staff SATB 3 or 4 chord progression 2. Using Arrows, clearly show the voice leading technique

 

C. Leading Functions in Quartal Harmony: Relatively Active

 

Note: The following voice leading techniques can and should be used to lead one between triadic and non-triadic harmony and between non-triadic harmonic units. The below examples use quartal harmony for all non-triadic examples but these techniques may be applied to other types of non-triadic harmony.

Note: In TCH: Persechetti references the use of the chordal 9,11 and 13 as being a means by which we can connect triadic and non triadic harmony. The idea is that, at least in quartal harmony, we see these chord tones are implied. If one looks at the P4-P4-P4-P4 quartal harmony we see a minor 7th chord with an added 11th. When applying the below active voice leading from a non triadic (quartal) harmony to a triadic one (and visa versa), it is often useful to add the 9ths, 11ths and 13s to provide harmonic glue to the progression.

1. Leading Quartal Harmony with Tritone. Tritone actively resolves in or out pulling us away from Primary or Secondary functions

2. Leading Quartal Harmony with resolution of implied Leading Tone

3. Leading Quartal Harmony Resolving through a doubled Leading tone (with reference to A6 chord)

4. Leading Quartal Harmony Resolving through the preparation of a reinterpreted dissonant 4th

5. Leading Quartal Harmony: Interpreting the m7th as an applied "chordal 7th"

6. Leading & Primary Quartal Harmony: Via Descending 5th Bass

 

In Class Assignment 3: 1. For each of the above "Leading" voice leading techniques (B1-3) Write a traditional two staff SATB 3 or 4 chord progression 2. Using Arrows, clearly show the voice leading technique

Application of Quartal Harmony: Brick Impromptu

 

 

Whatever voice leading technique we choose to use to move to and from triadic and non triadic chordal units, Persechetti gives us a well placed observation when he states (chapter 9 Pg 189)

"Outer voices govern harmonic direction and inner voices secure the relationship of the chords. For unruffled harmonic motion inner voices are moved as little as possible and common tones are held. Parallel intervals lessen the individuality of the voices and contrary and oblique motion give the voices independence. The inherent urge of independent voices to maintain identifiable lines can be strong enough to overpower harmonic impulse."

 

Homework: Assignment 1: Due next class 1. For each of the above voice leading techniques (A1-C6) Write a traditional two staff SATB 3 or 4 chord progression 2. Using Arrows, clearly show the voice leading technique 2. submit your score to: hmu415@gmail.com

Homework: Assignment 2: Due next class 1. Write a double period on 5 staves that uses 4 note and multinote quartal harmony. Demonstrate at least one use of quartal harmony as Primary, Secondary , and Leading (Tritone) functions. You may use inversions freely. Use P, S , L (TT) and text to explain your concept 2. Orchestrate your passage for full orchestra concentrating on highlighting the quartal harmonies in the orchestration. 3. Realize your composition with Garritan and submit your score and mp3 to: hmu415@gmail.com