[Smt-talk] Addendum on Bach
Dmitri Tymoczko
dmitri at Princeton.EDU
Sat Jan 23 12:56:55 PST 2010
Very interesting points from Hali Fieldman, which prompt me to give my
"What is Traditional Harmonic Theory?" speech again. Apologies to
anyone who has heard or read it already.
> I've not been following this thread in minute detail, and perhaps
> that accounts for my being a bit surprised at the way it has
> developed. The surprise is that it appears that all/every
> succession of a chord to the next is being considered to be a
> progression of chords as such. There are very few patterns of
> chords that feel like "progressions" to me, that possess in my ear
> that kind of clearly-directed energy.
The key point is that if you consider basically all and every chord to
be a real chord, you find very clear structure: the chords progress in
extremely regular ways. For instance, root position V rarely goes to
root position IV, and there are almost no ascending-thirds root
progressions (in any inversion). This is the central observation of
traditional harmonic theory, dating back to Rameau if not before, and
it has held up very well -- indeed, it is as well-confirmed a theory
as we have in our discipline.
This theory, as I interpret it, is a theory about the structure of
music. It is not a theory about our psychological responses. It
says: in the key of C major, the notes G-B-D progress in such and such
ways, but not in others. (Insofar as there is psychology involved it
is mainly the psychology of the composer: there is something in the
composer's brain that accounts for the structure we see in the
music.) Whether you hear the G-B-D as a "real" chord, or even as a
dominant, is an interesting question, but it does not fall within the
purview of traditional harmonic theory, understood in the way I
understand it -- that is, as a kind of "grammar" that describes the
structure of tonal music.
Now obviously, in some repertoires, not every apparent chord is a
chord -- for instance, I mentioned the case of weak-eighth chords in
the Bach chorales. Some of these weak-eighth chords are definitely
harmonic, but others aren't. This is a rather subtle matter.
Nevertheless, to a good first approximation, chords lasting longer
than a certain minimum value can mostly be considered "real
harmonies." If one does this, one finds a wealth of structure that
would be very hard to explain, were we to say that these apparent
chords were "unreal" by virtue of (for instance) being simple
agglomerations of passing tones.
> Instead, it seems like much of the wealth of the tonal language is
> invested in managing the pace of directed motion, so that it can
> slacken or tighten in countless nuanced ways without being heard to
> resolve a particular tension, and without losing track of its path
> even when directedness is at low ebb. Some wise heads see melodic
> motion in the bass, as differentiated from harmonic motion, as
> responsible for a significant part of that role (I'm not naming
> Schenker because it isn't clear to me that his project was aimed at
> sorting out tonal music's many kinds of energy/tension).
I agree. The richness of tonal music cannot be explained by harmonic
grammar alone. But neither does linguistics does not explain the
beauty of a particular Shakespeare sonnet.
Again, it is very important to separate out the myriad projects that
go under the rubric of "music theory." Traditional harmonic theory,
as I understand it, is something like the grammar of chords. It bears
only indirectly on analysis (analogous to literary criticism) or music
psychology.
> When the bass is melodic, it is highly likely to be part of
> vertical consonance(s); those verticalities might look like chords,
> and we may be able to give them Roman-numeral names, but whether or
> not they *function* as chords -- as carrying the **harmonic**
> responsibilities of the scale-degrees upon which they are built --
> is, I think, something different altogether.
In 95-98% of the cases, the apparent chords progress as predicted by
traditional harmonic theory. In this sense, they do indeed function
as chords.
There are other meanings for the term "function" -- including
psychological ones. But it is not clear that the musical grammarian
needs to take these into account. In language, the theory of syntax
is largely independent of the theory of stress, or of pragmatics, etc.
If you're at all interested in these issues, there is a discussion of
the difference between "psychological function" and "syntactic
function" in my article "Root Motion, Function, Scale Degree."
DT
Dmitri Tymoczko
Associate Professor of Music
310 Woolworth Center
Princeton, NJ 08544-1007
(609) 258-4255 (ph), (609) 258-6793 (fax)
http://music.princeton.edu/~dmitri
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