Contemporary Harmony Ulehla.pdf: A Complete Guide to Romanticism and Twelve-Tone Row

ABSTRACT: This article develops, for the Parisian modernist repertoire, a model of additive harmony in which voicing plays a foundational role. In comparison with the conventional extended-triad model of additive harmony, the voicing-based model better describes the range of novel verticalities used in tonal progressions in this repertoire, and the features that allow those verticalities to serve as stand-ins for common-practice chords. This study also enriches our understanding of the important developments in Western tonal language that took place in the late nineteenth and early twentieth centuries. Most research on these stylistic developments details how innovation within certain horizontal-domain pitch constraints allowed for the incorporation of new harmonic successions into tonal contexts; this paper demonstrates that a similar process can be read in the vertical domain, wherein adherence to certain vertical-domain pitch constraints allowed for the incorporation of new chords into tonal contexts.

Contemporary Harmony Ulehla.pdf

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[8] Three two-note voicings can serve as anchor structures (i.e., can create a tonal plausibility for a novel verticality): the registrally ordered intervals (henceforth ro-intervals) of 7, 10, and 11 half steps above the bass note, or perfect fifth, minor seventh, and major seventh (Example 5).(14) They can do so because they have strongly defined roles in common-practice harmony. Ro-interval 7 strongly implies the root and fifth of a root-position consonant triad; in common-practice contexts it is not susceptible to enharmonic reinterpretation (doubly augmented fourths or doubly diminished sixths are extremely rare) and only rarely to reinterpretation as different chord members of an alternate chord.(15) Ro-interval 10 above the bass is almost always the root and seventh of a seventh chord (dominant, minor, or half-diminished). Ro-interval 10 can also comprise the pitches that form the augmented sixth in an augmented-sixth chord; even in these chords, however, the powerful latent suggestion of a seventh chord is what allows for the common enharmonic reinterpretation of augmented-sixth chords as dominant-seventh chords.(16) Ro-interval 11 is much more rare as a chord interval in common-practice contexts than ro-intervals 7 and 10, but it does still have clear connotations as a voicing above the bass: it is insusceptible to enharmonic reinterpretation and always represents the root and seventh of a major-seventh chord.

6. Textbooks that discuss additive harmony (however briefly) using the extended-triad model include Aldwell and Schachter 2003, Benjamin, Horvit, and Nelson 2003, Dallin 1957, Forte 1979, Gauldin 2004, Kostka 1989, Kostka and Payne 2000, Ottman 2000, Persichetti 1961, Piston 1978, Roig-Francolí 2003, Spencer 2003, Steinke 1999, and Ulehla 1966.Return to text 2ff7e9595c