Compositional Techniques 1
Harmonic Rhythm

Harmonic Rhythm

To clarify syntactic concepts in music theory class, we always presented harmonic concepts in consitant half note rhythms. It was important that we focus on the harmony and voice leading and not be distracted by the interest our ear will perceive if we begin to alter the rhythm of the presented harmony. However, it is this harmonic rhythm that adds so much life to a composition.

Remember: As we begin to alter the harmonic rhythm, harmonic empasis is placed on that which occupies more time

Harmonic Rhythm: The inherant rhythm or rate at which an explicit or implicit harmony changes.

Below is a chromatic beautiful chromatic sequence of descending major thirds with interpolated applied 43s. (notice the whole tone scale formed by the bass). It was presented in music theory 4. In music theory we clarify harmonic and voice leading concepts by presenting harmony in uniform equidistant half notes:

1. Equidistant Harmonic Rhythm: An equal rate of change from the previous harmony to the following harmony.

a composition would become stale or ineffective if it contained nothing but a single harmonic rhtyhm. It is quite amazing how our perception of the underlying harmony will change as we alter its harmonic rhythm.

2. Uniform Harmonic Rhythm: A repeated, unvarying rhythmic pattern in the rate of harmonic change.

a. Uniform Rhythm is NOT by always equidistant
b. Equidistant Rhythm is by definition Uniform

1.. Simple Uniform Harmonic Rhythm: The rhythmic pattern is created by the sequence of two harmonies

Compare the emphasis of the following Simple Uniform Harmonic Rhythm:



Versus:

2. Compound Uniform Harmonic Rhtyhm: The rhythmic pattern is created by a sequence of more than two harmonies.

3. Retrograde Uniform Harmonic Rhythm: The rhythmic pattern of a sequence of harmonies is followed by by the same rhythmic pattern in retrograde

3. Non Uniform or Partially Uniform Harmonic Rhythm: The rhythmic pattern does not repeat in the rate of harmonic change.

a. Random Harmonic Rhythm: The rhythmic pattern of the underlying harmonic change is not predetermined or motivic.
b. Motivic Figuration of Harmonic Rhythm: The rhythmic pattern of the underlying harmonic change is motivic

Consider the rhythm of P. Andy's Motive:


Now apply that rhythm to the harmonic rhythm of our sequence


c. Repetition of harmonic units: a portion of a harmonic progression is repeated

1. You must be very careful to distinguish between the implementation of this technique as a repetition of a harmonic progression and the implementation of this technique as a change of the syntactic nature of the progression

d. Contrasting Harmonic Rhythm: The rhythmic pattern of one voice(s) differs from that of the others.

e. Entropic Harmonic Rhythm: The rate of harmonic change gets progressively faster

f. Expanding Harmonic Rhythm: The rate of harmonic change gets progressively slower

4. Harmonic Rhythm and Syntax

a. As we begin to alter the harmonic rhythm, the function of any given syntax may change



b. As we begin to alter the harmonic rhythm, the placement of any given syntax may change

In Class : Assignment 1: 1. On a single staff, Write a contrasting period consisting of an Antecedent Consequent relationship   a. Use at least one mirror inversion b. Use at least one retrograde inversion c. Use at least one motivic repetition 2. Add two more staves and Harmonize your melody using half notes in 4 part choral style (you may alternatively create an interesting harmony in half notes and then goto step 1 above) 3. Change the Harmonic Rhythm 4. Adjust the melodic content to better serve the new harmonic rhythm if necessary 5. Add an additional two staves and rewrite your 4 part harmony by creating middleground and background material from it.   a. The middle ground material may or may not have a motivic link to the foreground (melody) b. The back ground material must have a motivic link to the middle ground c. The middle ground and background must maintain harmonic rhythm.