[Smt-talk] Typical versus less typical chord arrangements
Donna Doyle
donnadoyle at att.net
Wed Feb 15 07:16:54 PST 2012
Re additional scale forms ("harmonic major," etc), I find Daniel
Harrison's discussion of the role of b6 insightful and
valuable for its references (Harmonic Function in Chromatic Music, p
28 ff). In a practical sense, ear training students
have an easier time (and sing more in tune) when they're told to "jump
to the upper leading-tone of ^5" rather than
bridge the aug 2nd gap.
Re Op 2, No 1: TH II's b6 moves down (only), reminding me of Sechter's
understanding of the harmonic minor
ambitus as b6 down to raised 7. Additionally, I hear the Fb as an
enharmonic reference to m 8's hanging leading tone,
discharging (down into the RM key) some of its unresolved tension.
Perhaps diatonically ordered tones from ^1 to ^8 are a necessary but
insufficient condition for common-practice-period
scale viability.
Best,
Donna Doyle
Queens College CUNY
On Feb 14, 2012, at 1:11 PM, Ninov, Dimitar N wrote:
> Dear Dmitri,
>
> Thank you for your thoughtful input on the usage of functional
> arrangements in the common practice period.
>
> From the references you have made in there, it seems as if the so-
> called "common practice period" begins with Bach and ends with
> Beethoven. I regret to realize that you believe in that.
> Have you looked in Romantic scores? Late Romanticism? Russian Music
> of the I 19th century? Simple popular music of the XX century,
> stemming from the classic-romantic tradition? Film scores, some of
> which are conservative enough to exhibit "music in a common style"
> with simple tertian progressions and clear tonal centers.
>
> If you have, you will have discovered not only the chord connections
> I suggested, but much more, including an ample modal mixture,
> diverse modulations. etc.
>
> If Mozart has not used a minor subdominant in major, does it mean
> that we should not use it? Should we forget about Schumann,
> Schubert, and many other romantics? Also, the plagal cadences such
> as IV-I, II6-I or II6/5 - are explored in Russian music. (an Amen
> progression of the type IV-II half-dim. 6/5 - I, should not be
> extremely rare, and creates a wonderful effect).
>
> It is a shame that, more than 100 years after Rimsky-Korsakov wrote
> his book of harmony, American students (and also some teachers) do
> not know what harmonic and melodic major are. Rimsky wrote in the
> introduction: "I based my book on four modes: natural and harmonic
> major, and natural and harmonic minor". Since the term "harmonic
> major", not to speak of "melodic major", is obviously not in your
> database, you do not teach it. This leads me to comment on two sad
> circumstances which are widely spread in American colleges today.
> Students are told int their theory classes that there is one major
> scale, and there are three minor scales. Fortunately, neither the
> former is true, nor the latter. In fact, when we consider the period
> that I suggested, six basic scales are used (sometimes only
> melodically, at other times implied by the harmony, or used in both
> ways): natural, harmonic, and melodic major, and natural, harmonic
> and melodic minor. The major scales are less frequently used,
> but this is not a reason to behave as if they do not exist. They
> are not some "exotic" or "bizarre" addition to the common practice
> period; they must be studied in theory I along with the minor
> scales. I do not have specific observations on the double harmonic
> versions of these scales, but I suspect Liszt may have used some in
> his rhapsodies. The double harmonic versions may be considered as
> scales influenced by folk music. As for harmonic major, the first
> thing that came up to mind my mind is the beginning of the second
> theme of Beethoven's first piano sonata in Fm. The implied scale is
> Ab harmonic major. Of course, classical composers did not explore
> those scale so much as romantic composers.
>
> Fortunately, I do not teach music with a folder under my arm, ready
> to endorse or reject a progression according to a database. It is
> namely such kind of experience that "molds the students away" from
> creativity. If a student asks me, "May I connect II6 to I in a
> plagal relationship" I will not open that folder and say, "No, you
> may not; Bach and the Classical composers have not used that". That
> would be the end of creative music theory teaching. Theory must be
> creative, not too scholastic. I would encourage the student to use
> that progression with the comments that it much more rare than an
> authentic resolution, for example.
>
> In some Russian books of harmony (Mutli, Myassoadov, and others)
> they have a whole chapter with melodies for harmonizations,
> entitled: plagal cadences or "alterations in the subdominant
> harmony". To explore the plagal resolutions.
>
> Nobody could be a judge of what is typical and what is not. Even a
> database. We do observe some norms, but as long as the progression
> makes sense and the voice leading is good, I will praise the
> student, and even suggest that this is his/her style. Only if they
> go over the board with too many modal or chromatic harmonies in a
> classical style chorale, I would suggest changes.
>
> I think that it is very good to say "I like this progression. Let us
> use it!" without consulting a database. As long as our sense of
> style is intact, we do not have to flip through thousands of pages
> to receive an approval for every progression that we want to use.
> This will simply kill the creative spirit in everyone of us -
> teachers and students.
>
> Am I a widely known composer and music theorist? No. At least for
> now (ha-ha). Should I wait to become famous to promote my ideas? I
> would not respect myself enough if I did that. On the contrary, I
> will run away from such kind of behavior, as a prisoner would run
> from the prison.
>
> All that a good teacher needs to have is talent, professionalism,
> and common sense. One more thing: love for his students. Our
> greatest achievement will consist in teaching students how to think
> critically (Look at every definition with a certain amount of
> suspicion!), how to inquire, and be creative. Unless they become
> some specialists in music, they will forget how to connect chords.
> But the spirit of creativity and critical thinking will remain in
> their hearts forever.
>
> If composers/theorists taught music from a database, the vocabulary
> of chord connection possibilities would be very limited, and
> different styles would not flourish. Of course, it is beneficial if
> a composer is also a theorist, but it is never beneficial if a
> theorist is not a music maker of any kind. Schoenberg refers to such
> pure theorists with the sarcastic "No masters" label.
>
> But this is not all. When I teach modal mixture, I tell my students
> that all chords from major could be transferred into minor (that is
> true - even the "high or raised mediants") and vice versa. We
> compose chorales by including many borrowed chords and students love
> that. With this, of course, we go beyond the common practice period,
> we touch Prokofiev, even John Williams (I call some progressions
> "Harry Potter"). Our task is not only to teach students to copy, but
> also to create, and even to imagine that they are pioneers of some
> new ideas. In addition, modal mixture cannot be studied
> comprehensively without exploring some innovations of the XX century.
>
> About Kostka/Payne. I also use this book in our school, but
> discussing its merits versus shortcomings is too long a topic for
> this current discussion. It is enough to begin by saying that they
> do not have a special chapter on harmonic functionality and on how
> different functions relate to the tonal center. No major scales; no
> explanation of strict versus free resolution of dominant seventh
> chord; no chapter on altered chords - what are genuinely altered and
> what are relatively altered chords; no secondary subdominants
> (students do not know what this is!); geographic names for harmonic
> functions; no extensive exercises in harmonization; very limited
> exploration of modal mixture; a strange manner of presenting the non-
> chord tones, including a twisted notion of the appoggiatura (in
> fact, the appoggiatura is not about melodic contour, but about a
> moment of entrance and the necessity for resolution; in this sense
> it may be passing, neighboring or leaping, and needs to resolve as a
> suspension - this is why Germans call it "free suspension"); and
> many more things that could probably fill in pages of discussion and
> scrutiny.
>
> In fact, I feel happy that I have the freedom to share with mys
> students what others would consider "less typical" or exceptional. I
> am convinced that, as long as students master the principles of
> voice leading well (here we may argue too), they must be allowed to
> experiment without consulting a database or without fearing
> anybody's frowning.
>
> Best regards,
>
> Dimitar
>
> Dr. Dimitar Ninov, Lecturer
> School of Music
> Texas State University
> 601 University Drive
> San Marcos, Texas 78666
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