Having superimposed intervals of the second, third and fourth (and their inversions) we have explored secundal, tertian and quartal harmony. We now turn our attention to compound harmony: harmony that is derived by superimposing combinations of miscellaneous intervals.

Compound Construction

Compound Chords = The simultaneous combination of mixed intervals not arranged in polychordal units.

1. Compound Chord by interval tension

a. Intervals may be arranged in any combination of tensions
b. Large chordal formations may have consonant or dissonant bottoms, middles and tops.

2. Compound Chord by intervalic plan

a. Symmetrical Chord = the interval above a target tone(s) is the same as the interval below
b. Symmetrically Inverted chords = the interval below a target tone(s) is an inversion of the one above.
c. Predetermined Intervallic sequence = a predefined arrangement of semitones
d. Pyramidal Chord arranges an ever diminuitive series of intervals from bottom to top (or top to bottom for an inverted pyramidal chord

3. Tendancies of Compound Chords

a. Smaller compound chords have a greater elasticity and fluidity than larger compound chords
b. Larger compound chords are more inflexible in their harmonic activity and may take on a more percussive nature
c. When it is diffcult to determine: context will tell if a chord is an added note chord or a compound construction.
d. Compound chords are not subordinate to a key area. As such progressions that obviously lean towards tonal centers may be suspect when classified as compound chords.
e. As always the techniques of non-triadic voice leading may be applied to move one in and out of compound harmony
f. When the smaller intervals are in the low registers of compound chords, the chord tends to be percussive.

 

In class assignment Analyze Below Brick Impromptu (Click here for music without analysis)

 

Homework: Assignment 1: Due next class 1. Write a short passage (between single and double period) for piano using compound chords. Include at least one non compound chord to demonstrate that you can effectively voice lead between non-common period triadic harmony. Submit your score and mp3 to: hmu415@gmail.com

Mirror Construction

Mirror Construction = The simultaneous vertical inversion below a given formation.

If we expand upon our concept of the symetrically inverted compound chords we can see that there is quite a bit of harmonic material that can be generated from inversions not only of vertical intervals but of various other types of formations as well.

1. Mirrored Chords

a. Fundamental tertian, quartal, secundal and Poly chords when mirrored, will generate formations of the same category.

2. Mirrored Scales

a. Just as vertical intervals can be mirrored, so to can horizontal intervals. When an organized series of horizontal intervals (ie a scale formation) is mirrored, another scale formation results
b. The new scale formation that results from a mirrored target scale is known as a "reflexive scale"
c. An identical reflexive scale occurs when the reflexive scale is the same as the target scale from which it has been mirrored. (eg. Dorian is an identical reflexive scale because the mirror of dorian is also dorian)

d. Chordal formations within a scale is reflexive around its key center. The resultant chordal formations in the reflexive scale will be mirrors of their target formations around the key center

3. Multiple Targets

a. Like compound construction, mirrored and reflexive harmony may be constructed on multiple targets

Partial Compound and Mirror Construction

1. In actual composition one may choose to move mirrored or sequentially compounded harmony in some, but not all voices. This will yield greater freedom in harmony.
2. The simultaneous mirror or compound construction of a melodic line will result in mirrored or compound harmony that may be harmonically exploited.

 

Homework: Assignment 2: Due next class 1. Write a short passage (between single and double period) for piano using mirrored chords constructed from any reflexive IDPLMAL mode you like except Dorian. Include at least one Quartal chord to demonstrate that you can effectively voice lead between non-common period triadic harmony. Submit your score and mp3 to: hmu415@gmail.com

 

linear applications of verticle compound and mirror harmony