In our study of common period harmony we focused our attention on chords by thirds (or in their inversions by 6ths). Our study of "Tertian" harmony then progressed into an examination of "Quartal" harmony in which chords were formed by 4ths (or inverted as 5ths). We now conclude our examination of singular chordal construction by looking at "Secundal" harmony: Chords by 2nds (or 7ths when inverted). It is important to note that when we have added tones to chordal structures we may have arrived at intervals of a 2nd or 7th that added color to our harmonic underpinning. However, that underpinning still remained devoid of 2nds. We now turn to chords whose structure relies on the 2nd.

Chords by Seconds.

A. Types of chords by seconds
Both major and minor seconds may be used in the construction of chords by seconds. Thereare four types of chords by seconds:
Major-Major, Major-minor, minor-Major, and minor-minor

1. Major-Major
2. Major-minor
3. minor-Major
4. minor-minor

 

B. Inversions and voicing

1. Root position = 3-2
2. 1st Inversion = 7-2
3. 2nd Inversion = 7-6

4. Closed voicing of 2nds can become cramped and harmonically undefined. It tends to be useful in percussive situations. Like quartal and tertian harmony open voicing provides room for linear freedom while inversions add interest and variety.

5. Note Doublings in Secundal harmony has the following attributes in any inversion

a. Root doubled = grounded and solid harmonic reference
b. Dissonance doubled = Sharper texture and less stable
c. Consonance doubled = Mild texture more fluid

 

6. Sharp dissonances (M7 or m2) in secundal harmony should resolve by step in at least one voice.

7. Application of Secundal writing

 

 

In Class Assignment 1: 1. Analyze Brick Impromptu Secundal Writing. 2. Note all inversions and write closed root position below. 3. Circle all sharp dissonances and use arrows to show the resolution of all sharp dissonances 4. Discuss compositional process including opening establishment of primary as root position, bass formation, motivic elements, and resolution into final chord.

 

B. Multi-note Chords by seconds

1. Persechetti simply states that contrapuntal motion of multi note secundal harmony is difficult and it is best utilized when mixed with 3 note chords by seconds and quartal harmony

 

 

Clusters

A. Types of clusters
When a passage is dominated by chords by seconds and arranged in predominantly uninverted form (most voices are a 2nd apart) the chords are called clusters.

1. Diatonic Clusters: Chord tones are restricted to the notes of the Scale, mode or synthetic formation.
2. Chromatic Clusters: Chord tones contain all chromatic notes

B. Voicing

1. Since a Cluster assumes predominantly closed seconds, the outervoice constitute the contrapuntal frame of the progressions
2. Fully chromatic cluster progressions get tiresome fast.
3. Orchestrational isolation of cluster members can add tremendous variety in color and texture.
4. Orchestral isolation of a cluster that results in chordal members can simultaneously be construed as a polychord
5 Metric displacement of a cluster can add tremendous variety in color and texture.
4. Clusters that move in purely parallel motion are purely melodic
5. Culsters that contain similar motion (and voice crossings) add texture and variety.
6. Large Clusters are very powerful but are less agile than small clusters
7. Clusters may be construed as polychords

Homework Assignment 1: Due next class 1. Write an antecedent-consequent that uses primarily secundal harmony. You may write for any instrument group other than solo piano 2. Note all inversions and write the corresponding arabic figuration 3. Circle all sharp dissonances and use arrows to show the resolution of all sharp dissonances 4. Explain compositional process on the score. 5. Realize your composition with Garritan and submit your score and mp3 to: hmu415@gmail.com