Homework: Workbook Chapter 24
Preliminaries: a, c, g, h
Longer Assignments: 1
Melodies and Basses: #1, 3
Study and Analysis 1,2, 6
or Textbook all "Exercises" except #3
In our discussion of melodic and rhythmic figuration, we saw how certain non-diatonic, dissonant and chromatic tones could be effectively incorporated into our writing and analysis to provide color and enhance certain voice leading situations. We will now turn to a formal discussion of dissonance and chromaticism.
We begin with a discussion of Sequences with Seventh Chords: Remember the nomenclature for sequences:
Nomenclature for Sequences:
1. Standard sequence
a. Direction of Bass line + Interval of the Bass line
1. "Descending 5ths"
2. "Ascending 5ths"
3. "Descending Stepwise bass"
4. "Ascending Stepwise Bass"
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2. Variation
a. Type of Variant
1. Syncope
2. 5/3-6/3 Variant
3. 6/3-5/3 Variant
4. 5/3 Variant
3. Alteration
a. Suspension
1. 7-6
2. 4-3
3. 9-8
b. Chord alterations
1. Alternating inversions of 7ths chords
Stated: Variation "of" Standard Sequence "with" Alteration
a. "6/3-5/3 Variant" - of - "Descending 5ths Sequence" - with- a "9-8 Suspension"
Seventh Chords in Sequence
1. Some new techniques
a. The strong tendancy of a dissonance to resolve is one of the primary gravitational forces in western tonal music. We have seen this tendancy with the use of the chordal 7th in the II, IV, V and now Vii chords. Similarly we have seen that the repetitive steps of a harmonic sequence also build a sense of expectation which, in turn, carries its own gravitational forces. Thus it stands to reason that combining the two: Sequential patterns and chordal 7th dissonances, will create a heightened gravitation that we can exploit to lead the ear where we desire.
2. Possibilities for chord succession
a. Progressions in which chordal 7ths occur must accomodate the resolution of that 7th. When the progression takes on a sequential nature (perfect or imperfect) the syntax of that progression may depart from that which we have come to know. (Remember: we tend not to use Roman numerals when analyzing sequential passages)
b. Thus, in addition to our II7, IV7, V7 and Vii7 chords (inv), we may now introduce I7, III7, and VI7 as 7th chords in sequence.
3. Descending 5ths with root position Seventh Chords
a. One of the most common sequential passages that incorporates interlocking 7th chords is the Descending 5th sequence.
4. Descending 5ths and 7-6 suspensions
a. From the Descending 5th with root position seventh chords above we can extract our now familiar 7-6 suspension over a descending bass by skipping the 2nd step root position bass and resolving the previous harmony to a simple 6-3 progression.
5. Descending 5ths alternating 5/3 and 7
a. We can also combine a straight 5/3 descending 5th progression with 7ths to add varity
6. Descending 5ths with inversions of 7th chords
a. We can also combine a straight 5/3 descending 5th progression with inversions of 7ths to add more varity
6b. 6/3 variation of Descending 5ths with inversions of 7th chords
a. We can also combine a straight 6/3 variation of the descending 5th progression with inversions of 7ths to add more variety
7. Descending 3rds
a. In this example we see that the 7th arises from a passing tone, not a common tone. This results in a bass progression that falls in 3rds.
8. Ascending 5-6
a. In the 5-6 sequence with an ascending bass, the 6/3s can be transformed into 6/5s
PROFESSOR ANDY'S MIND BENDING HARMONY CONCEPT #3
Expanded Treatment of Seventh Chords
9. Transferred Resolutions
a. When the dissonant chordal 7th resolves in a voice other than that in which it appears, we reffer to that resolution as a "transferred resolution" When resolving a chordal 7th via transferred resolution, try to sufficiently expose the voice of resolution so that the ear understands the transferrence of the dissonant resolution.
10. Delayed Resolutions
a. When the tension of the 7th is very strong, transferring the resolution of that 7th may not be enough to convince the ear of a properly handled dissonance. To resolve a 7th with great gravitational force one may delay the resolution of that dissonance instead of, or in addition to the transferred resolution.
11. Extended 7ths
a. Sometimes the resolution of the chordal 7th is delayed by interpolating another chord carrying that tone.
12. Subtonic 7th leads to V7
a. We saw in chapter 15 that the natural VII chord in minor shared two common tones with the V7 chord and thus led well to V7 and eventually to I.
b. By adding a 7th to the natural VII in minor, we create a chord that functions in a very dominant manner to III. By resolving the chordal 7th down by step and simultaneously +^7 to the leading tone, we get a very dramatic shift from the expected III to V.
Apparent Sevent Chords
13. Upward resolving dissonance.
a. We use the term "apparent seventh chord" to indicate complexes of tones that appear to be seventh chords but, in fact, are not. In such cases what we might expect to be a chordal 7th may not be one at all and, as such may not resolve as we would expect.
14. Triads with added 6th
a. Another look at the II65 chord will reveal that it could be interpreted as a IV chord with an added 6th above the bass. As a II65, the chordal 7th (^1) is dissonant and resolves down. When we reinterpret it as VI with added 6th above the bass, the ^1 is no longer dissonant and what was the chordal 7th becomes simply an "apparent seventh"
b. By adding a 7th to the natural VII in minor, we create a chord that functions in a very dominant manner to III. By resolving the chordal 7th down by step and simultaneously +^7 to the leading tone, we get a very dramatic shift from the expected III to V.
15. Apparent 4/2 and 4/3
a. Neighbor and passing tones above a sustained bass can produce what appear to be 7h chords. One must listen carefully and determine if these chords play their syntactic function or, if they are "apparent 7ths" that arise from the passing and neighboring tones.
16. Pedal points in an upper voice
a. Simlarly, sustained notes throughout a passage (called "pedals") may create apparent 7ths. In many cases where a 7th chord arises from the pedal acting as the chordal 7th, the chord itself is an apparent 7th.
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