5/7/2023 0 Comments Chromatic harmony![]() The chromatic chords are a result of neighbor motions in the upper voices, and are united by a pedal in theīottom voice. The following example illustrates this: the Roman numerals are accurate, Some linear motions can actually form identifiable harmonies (as described in earlier chapters of this text),īut may appear to be out of context. That it is almost impossible to label sonorities with a Roman numeral. At times the linear rationale is so dominant Notes to move up a half step, lowered notes to move down a half step). This process can work with major triads in minor keys as well (subdominant, submediant, and subtonic).Īll chromaticism is linear in origin since chromatic pitches have such a strong inclination to resolve (raised ![]() The Roman numeral must include the "P" (passing label)Īs part of the analysis, like passing 6/4 chords. The chordalĥth is raised through an ascending chromatic passing motion. They evolve from major triads, such as tonic and subdominant in major keys. This final chapter on chromaticism deals with sonorities that fall in the crack between harmonyĪ simple chromatic passing motion in a voice can generate an augmented triad, much like the augmented dominant The chromatic harmonies presented thus far generally have interesting names, either technical or geographic, due toĬommon use of them. Linear Chromaticism and Distant Keys Chapter 35. Sonorities, and Time Organization in Western Art MusicĬHROMATIC PROCEDURES III Chapter 37. Linear Chromaticism and Distant Keys SOUND PATTERNS A Structural Examination of Tonality, Vocabulary, Texture, ![]()
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