HHomework: Workbook Chapter 31
Preliminaries 1a, d, e 2a, d
Longer Assignments 3
Study & Analysis #1,2,6,11
or
Textbook Chapter 31 Preliminaries 1 a,b,c,d
Workbook Study & Analysis #1,2,6,11
Chromaticism
based on Parallel Motion
1. Chromatic parallel 63 chords
a. In chapter
18 we saw that diatonic 63 chords could happen in succession regardless
of their syntax in a very sequential manner.
b. By using mixture and chromaticism, we can elablorate such a succession
into a chromatic succession of parallel 63 chords.
c. Note: If the passage is truly parallel, the quality of all the 63 chords
will be the same (all major or all minor)
2. Chromaticized 7-6 suspensions
a. In Chapter 21 we saw that we could resolve into a 63 chord from a 7-6
suspension.
b. We may now apply our knowledge of chromatic parallel 63s and apply a 7-6
suspension to this chord sequence.
3. Chromaticized ascending 5-6
series (syncope)
a. We remember the diatonic function of the Syncope as a stepwise inflection
of a 53 chord resulting in a 63
b. By chromatically altering the bass and/or upper voices we can achieve a
number of different chromatic variations.
4. Chromaticized
descending 5-6 series
a. Similarly, we can chromaticize the bass of a descending 5-6 series
5. Descending sequences with augmented
6ths
a. We know that the bass of the A6 resolves down by half step.
b. We can thus build a descending chromatic bass with applied A6ths
6&7. Consecutive diminished
sevenths -descending and ascending.
a. H&VL simply states here that we sometimes see both ascending and descending
chromatic stepwise series of º7s.
b. H&VL notes that the ascending º7 series is less frequent.
Note: H&VL makes no mention of the chromatic ascending and descending ø7 series
which is sometimes utilized as well.
8. ^4 to +^4 supporting º7s
a. We have seen that the applied º7 on +^4 is an important intesification of
V
b. Sometimes the applied º7 on +^4 will itself be preceded by an applied º7
on ^4.
c. Such an intensification will usually follow a IV or II
9. Consecutive Augmented Triads
a. Like motion of parallel diminished chords, H&VL simply points out that in
the late 19th century some composers took advantage of the ambiguity of the
augmented chord chord and wrote series of consecutive augmented chords.
Chromaticism
based on Contrary Motion
10. Motion within a single voice exchange.
a. In our exploration of chromaticism we have seen that the gravitational pull
of the Leading Tone Chromaticism is often stronger than that of a typical
diatonic syntactic progression.
b. As a result sometimes, the syntactic function of a chord
can become ambiguous. This ambiguity provides the composer great opportunity
to exploit harmonic function.
c. Below we have a fairly straight forward syntactic progression that combines
a descending chromatic bass with a ascending stepwise soprano. The standard
syntax, and contrary outter voices create a very convincing and strong progression.
c. We also recall that often 64's and 63's will function not syntactically,
but rather as Passing or Neighboring Chords
d. Below we repeat the progression from b above but his time we combine the
two techniques.
e. Here instead of resolving the cad64 to a V we consider the chord a P64
that facilitates a voice exchange from IV6 and GA6 to II6
f. Since The GA6 has a very strong syntactic tendancy to resolve to the Cad64
this progression becomes a bit more deliciously ambiguous.
g. We continue our contrary motion in the outter voices below.
h. By chromatically inflecting the chordal 7th of the II65, we yield a viiº43
applied to III.
i. With a standard resolution of the viiº43 the soprano rises by step and the
bass falls by step.
j. This III is very ambiguous and may lead directly to V which, in turn, is
followed by a deceptive cadence or
k. The III can be interpreted as an applied dominant to Ab with an interpolated
P64 (43)
l. Notice, that the contrary motion in the outter voices continues by step
and we have completed a stepwise octave in contrary motion.
11-12. 6-10, m7-M10 voice exchange some writing techniques
a.As demonstrated above, Leading Tone Chromaticism can be effectively used
to create a stepwise bridge between outter voices
b. H&VL goes into some detail regarding such a bridge between outter voice
containing the interval of a 6th followed by the interval of a 10th and the
interval of a m7 followed by the interval of a M10.
c. As stated, there are far to many techniques to bridge such intervals and
the above example should serve as the general thought process when using leading
tone chromaticism in contrary stepwise motion.
d. However, the reduction presented in the text does provide another insight
into such writing techniques.
13. Extended passages with voice exchanges
a. H&VL presents here various examples of voice exchanges that are in someway
linked to one another thereby forming extended voice exchanges.
b. If we examine this a little deeper than the book seems to realize, we can
see that such "linked" voice exchanges function in a very sequential manner.
To demonstrate, I have created a perfect sequence out of a m6-M10 chromatic voice
exchange. Notice the repeat marking after the second interation of the sequential
step. This sequence can rise by contrary chromatic stepwise motion forever!
NOTE: This concludes the discussion of Chromatic
Voice-Leading Techniques. H&VL Chapter 31-14 through
31-19 will be an early topic of discussion in HMU
420 Contemporary Music Theory & Composition
and, as such, you are not responsible for these sections.
Contemporary Music Theory & Composition
is a two semester presentation of the materials
and procedures of music emanating from the evolution
of Romanticism through Impressionism and arriving
at the dismantling of tonality in the 20 th century. In
this class, melodic, rhythmic and harmonic analysis
will be combined with the formal study and analysis
of musical forms. Students will be expected
to demonstrate their understanding of all concepts
presented in class via a series of quizzes and two
significant works they will compose during the course
of the semester.
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