Quartal harmony in "Laideronnette" from Ravel in his "Preludes for piano", Pour les quartes and Pour les arpeges
composees from his Etudes.
Fourth-chords became consolidated with Ninth chords, the Whole tone scale, the Pentatonic scale, and polytonality
as part of the language of Impressionism, and quartal harmony became an important means of expression in music by
Debussy, Maurice Ravel, and others.
Maurice Ravel composed the dance suite Dapphnis et Chloe in 1912 at the request of Diaghalev,
the Russian entrprereur who marshalled the greatest team of ballet artists at that time; among them Fokine and Bakst.
Excerpt from Debussy's "Afternoon of a Faun"
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PROGRESSIONS |
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The ii-V-I turnaround, ii-V-I progression, or ii V I even ii V VIII, also known as the dominant cadence, is the most ubiquitous cadential form used in a wide variety of music genres, especially jazz harmony. It is a succession of chords whose roots descend in fifths from the second degree, or supertonic, to the fifth degree, or dominant, and finally to the tonic.
In a major key, the supertonic (ii) triad is minor, while in a minor key, this triad is diminished. The dominant chord is, in its most basic form, a major triad and, commonly, a dominant seventh chord. With the addition of chord alterations, substitutions, and extensions (most often sevenths), limitless variations exist on this simple formula.
ii-V-I has been used for a hundred years and is currently "a staple of virtually every type of popular music," including jazz, R&B, pop, rock, and country. Examples include "Honeysuckle Rose" (1928), which, "features several bars in which the harmony goes back and forth between the II and V chords before finally resolving on the I chord," and Duke Ellington's "Satin Doll" (1953).
Jazz Progressions
ii-V-I progressions are extremely common in jazz. They serve two primary functions, which are often intertwined: to temporarily imply passing tonalities, and to lead strongly toward a goal (the "I" chord). One potential situation where ii-V-I progressions can be put to use is in a blues, whose generic form has no such progressions. In this example, a simple 12-bar blues is shown.
In jazz, the ii is typically played as a minor 7th chord, and the I is typically played as a major 7th chord (though it can also be played as a major 6th chord). The iim7-V7-Imaj7 progression provides smooth voice leading between the thirds and sevenths of these chords; the third of one chord becomes the seventh of the next chord, and the seventh of one chord moves down a half-step to become the third of the next chord. For example, in the key of C, the standard jazz ii-V-I progression is Dm7-G7-Cmaj7, and the thirds and sevenths of these chords are F-C, B-F, E-B; inverted for smoother voice leading, these become F-C, F-B, E-B.
The tritone substitution, the substitution of bII7 for V7, and the III-VI-II-V extension can be combined in different permutations to produce many different variations on the same basic progression—e.g. IIIm7-bIII7-IIm7-bII7 Imaj7, III7 bIII7 II7 bII7 I7, etc. ii-V-I is part of the vi-ii-V-I progression of root movement by descending fifths, which establishes tonality and also strengthens the key through the contrast of minor and major. In the tonal tradition, the ii-V-I progression is most often reserved for cadences, and is one of many often used cadential progressions. The ii, V, and I can all appear in inversion, although usually without significant alteration beyond the addition of sevenths. One very common implementation of ii-V-I in a classical piece would be this progression, where the ii chord appears in first inversion.
Popular music, in general, conforms
to a simple set of formulaic solutions. A notable example is the song,
"Where have all the flowers gone?".
This chord progression obeys a
generic format of the chord sequence, I-VI-IV-V7-I, or,
CMaj-Am-FMaj-G7-CMaj.
Notice the variation in chord structure
in this example. The movement to the VI is absent and the V7 is preceeded
by a secondary dominant on ii7.
While many songs can be harmonnized
using a wide variety of underlying chord structures, the concept of
Chord-Scale Compatibility usually determines the limits of viable
usage. That is, if the melody line is supported by chords that diverge
from a consonant key center structure the resulting dissonance creates a
tonal landscape that is distinctly non-musical.
Billy Joel
Billy Joel's songs utilize traditional progressions; the example shown here is a standard ii-V, with a tonicization to the sub-dominat, then repeats of the ii-V7 cadence.
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MODULATION |
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In music, modulation is most commonly the act or process of changing from one key (tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization.
1.Common chord modulation
Common chord modulation (also known as diatonic pivot chord modulation) moves from the original key to the destination key (usually a closely related key) by way of a chord both keys share.
Any chord with the same root note and chord quality (major/minor/diminished) can be used as the "pivot chord." However, chords that are not generally found in the style of the piece (for example, major VII chords in a Bach-style chorale) are also not likely to be chosen as the pivot chord. The most common pivot chords are the predominant chords (ii and IV) in the new key. In analysis of a piece that uses this style of modulation, the common chord is labeled with its function in both the original and the destination keys, as it can be seen either way.
2.Enharmonic modulation
An enharmonic modulation takes place when one treats a chord as if it were spelled enharmonically as a functional chord in the destination key, and then proceeds in the destination key. There are two main types of enharmonic modulations: dominant seventh/augmented sixth, and diminished seventh -- by respelling the notes, any dominant seventh can be reinterpreted as a German or Italian sixth (depending on whether or not the fifth is present), and any diminished seventh chord can be respelled in multiple other ways to form other diminished seventh chords. By combining the diminished seventh with a dominant seventh and/or augmented sixth, changing only one pivot note at a time, it is possible to modulate quite smoothly from any key to any other in at most four chords.
3. Common-tone modulation
Common-tone modulation uses a sustained or repeated pitch from the old key as a bridge between it and the new key. Usually, this pitch will be held alone before the music continues in the new key. For example, a held F from a section in Bb major could be used to transition to F major. This is used, for example, in Schubert's Unfinished Symphony.
4. Chromatic modulation
A chromatic modulation is so named because it occurs at the point of a chromatic progression, one which involves the chromatic inflection of one or more notes whose letter name, thus, remains the same though altered through an accidental. Chromatic modulations are often between keys which are not closely related/
A secondary dominant or other chromatically altered chord may be used to lead one voice chromatically up or down on the way to the new key. (In standard four-part chorale-style writing, this chromatic line will most often be in one voice.) For example, a chromatic modulation from C major to d minor:
5. Phrase modulation
Phrase (also called direct or abrupt) modulation is a modulation in which one phrase ends with a cadence in the original key, and begins the next phrase in the destination key without any transition material linking the two keys. This type of modulation is frequently done to a closely related key-- particularly the dominant or the relative major/minor key.
6. Sequential modulation
Even though a sequence does not have to modulate, it is also possible to modulate by way of a sequence. A sequential modulation is also called rosalia. The sequential passage will begin in the home key, and may move either diatonically or chromatically Harmonic function is generally disregarded in a sequence, or, at least, it is far less important than the sequential motion. For this reason, a sequence may end at a point that suggests a different tonality than the home key, and the composition may continue naturally in that key.
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TONICIZATIONS |
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Study the harmonic changes within the 8 measure phrases of this bare transcription of the first phrase of Morricone’s
brilliant piece, “Le Vent, le Cri”-these are tonicizations within each phrase key centers.
At every ending measure of each phrase these is an abrupt, direct modulation to another key center, as shown in sketch form.
In each of the following 8 measure phrases the melodic motif is repeated precisely….with variations in the accompanying background
voicings and contrapuntal elements. The unique genius of Morricone allows him to ‘break the rules’ and construct a complete work
using only a single continuous repetitive motif without penalty.
This work is a rare example of a sequenced ‘modulation of modulations’, having tonicizations embedded within the harmonic framework.
At the end of bar 8 the modulation to a key center a half step up is accomplished by a simple, direct, and un-prepared use of the
DOMINANT of the target key center-( Eb to E ) this is the method used throughout this work; and it succeeds because of the
rhythm and forceful momentum of the harmonic design.
This work is from the score by Morricone for the film “Le Professional”; Morricone is adept and original in his
incorporation of unusual instruments and meta-harmonic elements into his musical landscapes-from his use of the Pan Flute in the
film “Once Upon a Time in America” to his ‘cloning’ of the theme from Beethoven’s “Fur Elise” in the
score for “The Mission”.
Play the Music Example-"Le Vent le Cri"
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VOICINGS |
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Voicings in Close Position
Voicings for piano jazz, especially, used to accompany instrumental groups, are best used in close voicing formations in middle registers.
When the notes are spread out the texture becomes thick-and when the notes are too far above middle C the sound tends to thin out.
Study and/or play the examples and notice the texture of the harmonic distribution.
Transpose the chords displayed to other key centers and experiment by adding tones; if it sounds good, then you may want to incorporate these structures into your inventory of sounds. This is one method you can use to develop your own unique sound.
Create similar chord structures in all keys.
Notice that, in many cases, it is not necessary to play the root of the chord as the lowest note in the structure. In some voicings even the absence of the tonic (root) is an appropriate harmonic design procedure.
fig.2 Open voicings examples
Voicings of polychords or dissonant structures occur in works of Beethoven and foreshadow 20th century innovations.
Fig 3. Beethoven-measure 1; vs. Stravinsky-measures 2, 3
This paticular chord from Beethoven illustrates his use of chords thought to be daring, inappropriate or just plain wrong during his time. The B chord in the bass with a flat ninth (B7b9) would fit with any jazz tune in current inventory of usable or routine chord structures. Notice the two tritones and compare to Stravinsky polychord.
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POLYCHORDS |
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In this exercise we will examine the use of mostly ‘static’ quartal tones in the treble, with moving tritone intervals in the bass. Keeping the notes in the treble clef constant, and moving the tritone intervals by half steps through four measures it is clear that the voicings encompass the tonal centers indicated by the lower bass note. This ‘works’ because all the notes are consistent within the scales used. These key centers are within the circle of fifths pattern and the upper notes in the quartal chord change their relative position within the moving key centers. example: The four chord sequences shown move through a ‘chained’ series of secondary dominants that obey the circle of fifths placement criteria. In measure #1, the top F is a SUS-4th in the dominant 7th on C. Next, the top F is the root of the chord (F)., followed by a dominant on B flat, having a 6-9 configuration; and finally a resolution to E flat with the top note the ninth of the chord and a sixth below. These constructions could also be interpreted as Polychordal entities.
It is instructive to understand the mechanism constructed and the notes identified in this process. First, choose any one of the 12 tones in the Western music base. ..this tone will function as the major third in our example..Set that note into the treble clef. Now add a note at the interval of a 4th above this note, as well as a note at an interval of a 4th below. For ex., select the note C. the quartal chord would then comprise the notes G, C and F. This chord would maintain through the four measures of secondary dominant resolutions that we are examining. As the sequence progressives through the chained dominants, the tritone elements in the bass switch their positions between the 3rd and 7th positions above the root of the defined chord. In measure #1 the top note is the root , followed by the top as 5th in measure #2, followed by the top as 9th in measure #3 and finally the top resting on the 6th position of the chord in measure #4. As an exercise, it is advisable to practice building these voicings in all keys; after you reach a point of automatically voicing these constructions, you will be adding altered notes and even expansions into the upper functions discussed earlier in the course. The ‘rule’ here is that the 3rd of each chord sequence starts out in the second top-most position in the spelling of the quartal chord in the treble. The exercise is valuable in gaining an understanding of the relations and tonal ‘gravity’ inherent, as a natural force of resolution, as we move around the circle of 5ths. Notice the smooth voice leading in the inner voices as the secondary dominants move through the cadence, VI-II-V-I. The tritone elements in the bass create the TENSION-RESOLUTION of the harmony.
The only tones outside the chord-scale key relationship are the raised 3rd in the two V/ii and V/V secondary dominants
"
Notate the above example
Determine the roots and fill in the bass line chord sequence.
For a comprehensive overview of voicings for keyboard using polychords and quartal constructions see the excellent work by Mantooth- (April 11, 1947, Tulsa, Oklahoma - January 30, 2004, Garden City, Kansas) --“Voicings for Jazz Keyboard” by Frank Mantooth 1986 Hal Leonard Productions.[ ISBN 978-0-7935-3485-2]"
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REHARMONIZATION |
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To Do:
Exercise:Analysis
Study the lead sheet below. You will use this tune as a template for this exercise in reharmonization.
Notice that the piece departs from the traditional 32 bar AABA form, which is the common form among the tunes written in the
period known as ‘the Great American Songbook’; the period between the 1920’s and the late 1940’s in the United States.
This song adds four additional bars and can be labeled as having a form AABAC, with the C serving as an 8 bar extended ‘tag’
element.
Reharmonization can be as complex as required. The important thing to remember is that the essential structure be preserved,
otherwise it becomes an entirely new composition-which is a different kind of exercise
During the 1950’s, the so-called be-bop era, many standard tunes were used as vehicles for reharmonization as well as for
incorporating completely new melodic lines. Examples are the compositions of Charlie Parker, who wrote daring and complex
melodic lines over traditional and reharmonized chords from classic show tunes, etc.
To start out, you don’t need to go far afield with your replacement chords; the best results will be those that
substitute interesting passing chords, tritone substitutions at ii-V-I cadences, etc.
In this exercise you will notate and use chord substitutions to reharmonize the first 8 bars of the classic Jerome Kern
song “I’m old Fashioned”.
| BAR | DESCRIPTION |
| I | Tonic chord is replaced with a quartal construction-root in bass |
| II | Root movement functions as a passing diminished chord as we walk up the scale. |
| III | Tonic chord replaced with a chord on the second degree of the scale-still ascending |
| IV | Adding momentum interest moves up to Ab-followed by tritone substitution. |
| V | Melody line is a Sus note that we ignore and build another quartal construction. |
| VI | Substitute with vi chord. |
| VII-VIII | Start of a two bar cadential secondary dominant series –with triton substitution. |
| IX | Modulate to d minor section-mission accomplished. |
End Composition