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    432 ChromaticHarmony

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    okapi1245
    This document discusses various types of chromatic harmony including modulation through enharmonic reinterpretation, chromatic pivot chords, and modulations featuring chromatic and double chromatic mediant relationships. It also covers linear chromaticism through altered triads with augmented or diminished fifths, augmented sixth chords, common-tone chords, and altered dominants involving added ninths, elevenths, or thirteenths. Chromatic techniques like these became increasingly common ways to modulate or add color in the 19th century.

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    432 ChromaticHarmony

    Uploaded by

    okapi1245
    293 views2 pages
    This document discusses various types of chromatic harmony including modulation through enharmonic reinterpretation, chromatic pivot chords, and modulations featuring chromatic and double chromatic mediant relationships. It also covers linear chromaticism through altered triads with augmented or diminished fifths, augmented sixth chords, common-tone chords, and altered dominants involving added ninths, elevenths, or thirteenths. Chromatic techniques like these became increasingly common ways to modulate or add color in the 19th century.

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    432_ChromaticHarmony

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    This document discusses various types of chromatic harmony including modulation through enharmonic reinterpretation, chromatic pivot chords, and modulations featuring chromatic and double chromatic mediant relationships. It also covers linear chromaticism through altered triads with augmented or diminished fifths, augmented sixth chords, common-tone chords, and altered dominants involving added ninths, elevenths, or thirteenths. Chromatic techniques like these became increasingly common ways to modulate or add color in the 19th century.

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    © All Rights Reserved
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    293 views2 pages

    432 ChromaticHarmony

    Uploaded by

    okapi1245
    This document discusses various types of chromatic harmony including modulation through enharmonic reinterpretation, chromatic pivot chords, and modulations featuring chromatic and double chromatic mediant relationships. It also covers linear chromaticism through altered triads with augmented or diminished fifths, augmented sixth chords, common-tone chords, and altered dominants involving added ninths, elevenths, or thirteenths. Chromatic techniques like these became increasingly common ways to modulate or add color in the 19th century.

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    Mu2108

    Chromatic Harmony II

    Dr. C. Ross

    Chromatic Harmony = Chromatic alterations of diatonic chords, new chords formed on


    chromatically-altered scale degrees, and various modulation processes.
    Previously-studied Chr. Harmony: Secondary Dominants, Modulation, Mixture, N6th, and +6th chords.

    OTHER TYPES OF CHR. HARMONY INCLUDE:

    1. Modulation through Enharmonic Reinterpretation (Ger+6th/V7; vii7; Fr+6th).


    These are a great way to modulate to unexpected and sometimes distantly-related keys.
    The Neapolitan is often used as a key area, esp. when using Ger+6th=V7 to modulate.
    2. Modulation through Chromatic Pivot Chords:
    2.1 Diatonic/Chromatic;
    2.2 Chromatic/Diatonic;
    2.3 Chromatic/Chromatic.
    These let you modulate to any key, no matter how distant.
    Practice making up chord progressions that use each of these modulation types.
    3. Modulations (or chords) featuring Chromatic Mediant, and Double Chromatic Mediant relationships.
    MEDIANT RELATIONSHIP TYPES (triads whose roots are M or m 3rd apart)
    Type
    1
    DIATONIC
    2
    CHROMATIC
    3 DOUBLE-CHROMATIC

    Common Notes
    2
    1
    0

    M/m Mode change?


    Yes
    No
    Yes

    E.g.: From C to
    Am, Em
    E, Eb, A, Ab
    Ebm (D#m), Abm (G#m)

    Relevance: Mediant Modulations increasingly common in 19th c. (but type 3 is relatively rare).
    Relevance: The two chords linked by common tone in COMMON-TONE (C.T.) MODULATIONS
    usually exhibit CHROMATIC-MEDIANT (Chr. Med.) RELATIONSHIPS.
    N. B.: C.T. MODULATIONS can link keys that exhibit any of the three mediant relationship types.
    Ex. 1) C: I III (=V/vi) vi (= I of Am)
    I (C E G) and V/vi (E G# B) have an E common tone, and exhibit CHR.-MED. RELATIONSHIP.

    The KEYS of C and Am exhibit a DIATONIC-MEDIANT RELATIONSHIP.

    Ex. 2) C: I III (=V/vi) VI (= I of A)


    I (C E G) and V/VI (E G# B) have an E common tone, and exhibit CHR.-MED. RELATIONSHIP.
    The KEYS of C and A exhibit a CHROMATIC-MEDIANT RELATIONSHIP.

    Ex. 3) C: I bIII (=V/bvi) bvi (= I of Abm)


    I (C E G) and V/bvi (Eb G Bb) have a G common tone, and exhibit CHR.-MED. RELATIONSHIP.
    The KEYS of C and Abm exhibit a DOUBLE-CHROMATIC MEDIANT RELATIONSHIP.

    bVI became a relatively common key area in the 19th c.


    4. Linear Chromaticism 1:
    ALTERED TRIADS
    4.1 M triad with +5th (= Aug. triad); the raised 5th resolves up by semitone to a note in the next chord:
    Ex. 1) I I+ IV; or
    Ex. 2) V V+ I;
    Ex. 3) [minor key:] VI VI+ iii4/3 V7 i.
    4.1.1 Sometimes a seventh is added as well, esp. with V chord: V V+7 I.
    +5th often in soprano, but not necessarily so. If 7th added, then +5 usually above 7th.
    4.1.2 +5th doesnt work with minor triads (can you explain why?).

    4.1.3 Not all altered triads result from linear motion. In later 19th c. harmonic practice, they were sometimes used independently of any linear
    context (i.e., landed on without concern for tendency tones). For our part-writing purposes, however, you should continue to resolve tendency tones.

    4,2 M triad with 5th; the lowered 5th resolves down by semitone to a note in the next chord:
    Ex. 1) I Ib5 IV; or
    6
    6
    Ex. 2) I V 5 I (N.B.: V 5 = Fr3 chord of I, could also be labeled V 65 ).
    b3

    b3

    4.2.1 You can add a seventh, esp. to a Vb5 chord, which makes it a Fr+6 chord in inversion.
    4.2.2 Adding b5 to minor chords changes them to diminished triads or a half-diminished seventh chords.
    This would be a form a mixture, and doesnt seem to be used much. However, it still can work:

    vi6 ii7 V7 I.
    Ex.1) [Major key]:
    5. Linear Chromaticism 2:
    AUGMENTED SIXTH CHORDS are chromatically-altered dominant-function chords, and hence can be
    used as applied chords of any M/m triad, incl. I. (We know this already; see my Augmented Sixths handout.)
    6. Linear Chromaticism 3:
    COMMON-TONE CHORDS.
    Any two chords with a note in common tend to sound good in succession, and when one is used
    decoratively (i.e., non-functionally), it is called a Common-Tone Chord. The C.T. chord usually precedes
    (but may be surrounded by) the main chord (see exs. below), with some notes usually acting as chromatic
    neighbour tones to the main chord. The note in common is usually the root of the M or m chord that is being
    decorated, but there may be more than one common tone. The C.T. chord is a form of prolongation.
    6.1 C.T. Ger+6th. Play: I Ger+6/V I. If the Ger+6th/V were used functionally, you would expect
    it to move towards V, but instead, it moves right back to I, which means it is being used decoratively.
    A better analysis of the above progression would be: I (C.T.+6) I, because this shows the decorative,
    non-functional nature of the C.T. chord, and makes it clear that I is the main chord. (C.T.Ger+6 also possible.)
    Any +6th nationality will work as a C.T. chord, but the Ger+6th or It+6th work best (Fr+6th is a bit jarring).
    6.2 C.T. 7th. Play: I vii7/iii I, or vi vii7/V vi, or I vii7/IV V. [N.B. As above,
    better analyses for these progressions would be: I (C.T.7) I, vi (C.T.7) vi, and I (C.T.7 of) V,]
    Decorating M triads: Root of 7th usually +2nd from the root of the main chord: I #ii7 I.
    Decorating m triads: Root of 7th usually +4th from the root of the main chord: i #iv7 i.
    7. Altered Dominants. Weve already come across two ways of altering dominants:
    7.1 The +6th family of chords (i.e., V7), and
    7.2 V+.
    7.3 Another way of altering dominant chords is to selectively add tertian-based notes beyond the 7th, thus:

    V 97 , (or V b97 ), V 117 , and V 137 (or V b137 ).

    NINTH, ELEVENTH, AND THIRTEENTH CHORDS


    Chord Members
    Resolution
    Other
    th
    9 by step
    root,
    9th often in sop.
    3rd, 7th, 9th

    V97

    (la-so)

    V 117

    root, 5th, 7th, 11th

    V 137

    root, 3rd, 7th, 13th

    th

    11 stays put
    (do-do)

    13th by 3rd
    (mi-do)

    N.B.
    9th should be at least a
    9th from root
    th
    th
    11 usually in sop; like 11 replaces 3rd; never
    4-3 susp. w/o the 3
    use both!
    th
    13 usually in sop.;
    Avoid mi-mi
    always above 7th
    resolution.

    b13
    V
    and V +7 sound exactly the same (play them/it). Whats the difference?
    7
    b13
    V
    and V b97 are mixture chords and can be used in major or minor keys (although the b isnt
    7

    necessary in minor, because the 6th and 2nd scale degrees to which they refer (respectively) are already lowered).
    11
    V 9 is just a variant of the V 117 chord, with 3rd and 5th omitted. Pop chord symbol for this: F/G.

    7

    Inversions are possible but less common. You could figure out the inversion symbols and use them

    st

    (1 inversion V 97 would be V 6 , for ex.) in analysis, or you could just label it V 97 , 1st inv.
    5

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