Neither chapter 13 nor chapter 14 actually include a list of terms.

Chapter 15: Further Techniques of Harmonic Development

Chromatic Substitution: The substitution of a chromatic harmony for an expected diatonic harmony.

Mixture of Mode: Borrowing a chord from the parallel minor mode.

Elision: The omission of an expected chord in a progression.

Multiple Chromatic Substitution: The substitution of several chromatic harmonies for expected diatonic harmonies.

Incomplete Progression: The omission of a chord which is expected as the harmonic goal of a progression.

Nontonic Beginning: A composition which starts on a harmony which is not the tonic, or in what might otherwise be the middle of a harmonic progression.

Chromatic Modulation: A modulatory progression with a chromatic triad as the goal/quasi-tonic.

Principle of Proximity: The principle that no consonant triad is far removed from the harmonic axis. If a harmony is distant in terms of a relation of the 5th, then it is close melodically (by a 2nd relation).

Chromatic Sequence: A sequence which moves chromatically. Such a progression is dependent on the repeated pattern (sequence) rather than the harmonic axis.

In my last post, I tackled my thoughts on why I want to consciously realize my philosophy, and why I think it’s important that everyone pursues their individual philosophy. This week I’d like to get into some of what I’ve learned from other philosophers, as well as share some of my own thoughts on the ideas they bring up. I had hoped to do this in a separate post, but, as I’ll explain later, I’ve been very busy this week. Regardless, I hope that the ideas I’ll be writing about can stimulate you to think about your own philosophies.

After I decided to tackle my philosophy in a broader respect rather than simply exploring how I thought of music (though, to be fair that itself is not exactly a simple topic), I realized how important it was to build a philosophy from the bottom up. If you are going to build a stable building, it’s a good idea to ensure you are building on solid ground. Likewise, a stable philosophy necessitates a solid starting point. Thus, we begin by looking at metaphysics.

Philosophy may be seen as a series of questions (a la Alain de Botton) as well as the rational development of answers to these questions. Metaphysics begs the question: “What is?” Thus, it’s not hard to see how metaphysics makes up the foundation of a philosophy. Let’s then take a glance at the metaphysics proposed by two of the most influential philosophers of all time, Plato and Aristotle.

Plato’s theory of forms posits that there are two planes of existence, the material realm (with which we interact) and the higher realm of forms. Plato put forth the idea that the material realm is imperfect and constantly changing. If you look at a book, you may notice its shape (probably a sort of cuboid), or perhaps the color of its  binding (let’s say it’s red). When you take these aspects of the book and think of them separately, you are thinking of the form of a cuboid or the form of the color red. Plato argued that these forms presuppose the book or even your ideas of them. He thought that there was another realm, which we could perceive with our minds, in which the forms existed in permanent, perfect states. Our material world was thus created by this world of forms, and all objects in it were simply imperfect representations of these forms.

Aristotle, who was Plato’s student, agreed with Plato in thinking that an object consisted of forms, but he differed in thinking that the forms were inherent aspects of the object, rather than existing separate from it in another realm. To put his argument in simple terms, a thing is what it is. Aristotle explained this idea by breaking objects down to their causes. Let’s think about that red cuboid book again. Aristotle would say that it’s material cause is the paper, the ink, etc. that constitute it. It’s formal cause is its blueprint or design, the structure of it. It’s efficient cause is that which predicated it, its author, those who turned the wood into paper, etc. In effect, the reason it is. Finally it’s final cause is it’s purpose, that which it aims to become (something to be read by someone).

Now, some will say that these philosophies are mostly grounded in epistemology (which we’ll get to a little later). I agree, but each of these arguments has, at its core, an easily discernible metaphysics.

Plato (left) walking alongside Aristotle (right).

In Raphael’s famous painting, The School of Athens, Plato and Aristotle are placed in the center- each is carrying a book of their own philosophical writings, and facing the other as if in conversation. They are also each gesturing with their free right hands. Plato points up, and Aristotle holds his hand out in front of him, horizontal to the ground. Plato believed in a higher realm, whereas Aristotle argued the importance of this realm. Plato was an idealist. Aristotle was a realist. Thus we arrive at the ideas which lay at the core of their philosophies. Plato held that ideas are absolute. Aristotle held that reality is absolute.

So… what is? René Descartes’ famous phrase, “I think, therefore I am,” seems to answer this question. To argue against the statement is to contradict yourself, and thus in my studies I have not come across any philosophers who have not accepted the truth of this statement. Thus many have used this as their axiom.

I plan on adding more to this blog post, but midnight is fast approaching. I’m also very tired, so I’ll complete my train of thought on this subject, as well as include updates about my latest goings on, tomorrow.

Work Cited:

Raphael. The School of Athens. Digital image. Museos Vaticanos. N.p., n.d. Web. May May 2015.

Chapter 10: The Rhythmic Process of Chord Generation: Suspension Chords

Suspension Chord: A transient chord formed by carrying over a note from a previous chord. This note, which displaces a note of the prevailing harmony, is called a suspension. A suspension chord is entirely dependent on the chord which it temporarily displaces. A suspension chord does not alter the harmonic function of the chord which it displaces, it instead serves to develop/intensify the rhythmic texture.

Chord of Preparation: The chord which contains the note (or notes) which are about to be suspended.

Chord of Resolution: The chord to which the suspension chord resolves. It occurs on an unaccented beat. The suspended note must resolve stepwise to the note which it has displaced.

Bass Suspension: The bass may be displaced by the note above it, the 2nd. The bass note of a parent 7th chord cannot be displaced.

False 6th Chord: A suspension chord which simulates a 6th chord. Though the tones are the same as a 6th chord, the harmonic function of a chord is still as a suspension chord.

Triple Suspension Chord: A suspension chord may have multiple displaced notes, as in double, triple, or quadruple suspension chords. Each note of suspension should resolve exactly as if it were a single suspension. Each of these displaced notes may resolve independently of one another, so long as the rhythmic qualities of the piece comply.

Interrupted Resolution: The use of submetrical embellishment to interrupt the progression of a suspension to its resolution.

Abbreviated Resolution: A resolution of the suspension which takes place on an isolated short note which stands in place of a longer note.

Anticipation Chord: A partial change of harmony before it is expected. Wherein a suspended chord features a displaced note which resolves, an anticipation chord is a shift away from a harmony.

Chapter 11: Linear Chords

Linear Chord: A dissonant harmony which acts as a transient and melodic movement. They have only a local effect on the harmony, and are classified in two groups: Diatonic and Chromatic.

9th Chord: A chord which includes the interval of a 9th in relation to the root note of the chord. These chords can be dependent or quasi-independent. If the 9th is a suspended note, or is used in passing to connect two chords, it is entirely dependent on the harmony over which it is creating a melodic movement. A 9th chord may be considered quasi -independent when it is voiced on an accented chord over a change of bass.

Appoggiatura Chord: An appoggiatura is an ornamentation or embellishment note. Allen Forte defines the appoggiatura as an “incomplete auxiliary note which recieves metrical or rhythmic accent” (p. 345). It is often written as a grace note. A linear chord which features an appoggiatura is called an appoggiatura chord.

Consonant 6/4: The 6/4 (in figured bass) or the second inversion cannot usually represent its parent chord because it contains the interval of a 4th (which is considered dissonant by Allen Forte). It can, however, represent the parent chord (and be considered consonant) when it immediately follows the parent chord.

Passing 6/4: The second inversion is often used to connect a sixth (or third inversion) chord with its parent chord.

Linear 6th Chord: A 6th chord which is not derived by means of inversion should not be considered related to the parent chord. Thus a 6th chord developed by suspension or through linear movement should not be considered representatives of the parent chord. They serve as dissonances (false consonances) and should be resolved.

Parallel 6th Chords: When linear-6th chords occur in direct succession and in parallel motion, they serve one of two purposes: (1) they neutralize an otherwise dissonant passage: (2) they expand the harmony or a harmonic connection in a highly fluent way.

Italian 6th: An augmented 6th chord (or first inversion) which is derived from the the dominant preparation of the IV^6 (in the minor mode).

French 6th: An augmented 6th chord derived from the dominant preparation of the II^4/3 (in the minor mode).

German 6th: An augmented 6th chord derived from the dominant preparation of the IV^6/5 (in the minor mode).

Linear 4/2: A chromatic dominant preparation that simulates the third inversion of a dominant-7th chord.

Neapolitan Chord: A chord which assimilates the lowered 6th. It was derived from the dominant preparation of the IV in the minor mode and is characteristic of music by late Barogue Neapolitan composers.

Pedal Point: The sustaining of the bass note of either the I or the V below moving chromatic and diatonic harmonies. These harmonies are called pedal-point chords.

Chapter 12: The Techniques of Melodic-Rhythmic Development

Motive: A musical idea which is repeated to the point of becoming a characteristic feature of the melodic structure of a composition.

Theme: A theme is, in relation to a motive, a longer and more complex melody which executes a complete progression. Both themes and motives serve to enhance progressions. They are the patterns by which we tend to recognize a musical piece. They unify and contrast various phases of a composition, signal (or intensify) a climax, etc. The idea of patterns being characteristic points on which we may more readily relate to a piece of music is something I’ll perhaps explore more as I dive into esthetics.

Figuration: When used alone, probably does not refer to figured bass. It instead signifies a general process of melodic embellishment. A figuration may be considered as a short succession of notes. Where a motive is usually considered to be in the foreground of the piece, a figuration is generally thought of musical ideas which doesn’t take the lead. Thus, a motive may become a figuration if it becomes the accompaniment for a new melodic idea.

Augmentation: The expansion of the duration of a motive.

Diminution: Voicing the form of the original motive in a proportionally smaller space of time. (Allen Forte points out that the term “contraction” is perhaps a better term since diminution may also refer to the lowering of a note by a half step, but he offers no alternative to augmentation)

Inversion: Inversion has a different meaning when it’s used in relation to harmonies (as explained earlier) or melodies. When referencing the inversion of a melody, it is meant that the melodic idea is turned upside-down- as in: A B C -> C B A.

Complete Axiliary-Note Pattern: A statement of the main note followed by an auxiliary note (or notes) before the main note is restated. There are four main forms: (1) Main note -> Upper Auxiliary -> Main Note (2) Main Note -> Lower Auxiliary -> Main Note (3) Main note -> Upper Auxiliary -> Main Note -> Lower Auxiliary -> Main Note (4) Main note -> Upper Auxiliary -> Lower Auxiliary -> Main Note

Incomplete Auxiliary-Note Pattern: A motive in which the main note occurs only once, either at the beginning or the end. Thus the upper or lower auxiliary notes may serve as a suffix or a prefix to the main note.

Secondary Auxiliary Note: An additional smaller embellishing auxiliary note which is generally used for rhythmic reasons. This additional embellishment is considered of a subordinate function, and is therefore called secondary to establish its role in the embellishment.

Concealed Passing Note: A passing note which is somewhat buried by other embellishments.

Obligatory Chromatic Auxiliary Note: It is occasionally necessary to use a chromatically-altered auxiliary (or passing) note when their diatonic counterpart would interfere with the melodic progression.

“A man’s got to have a code.”

Whether it’s Sandor Clegane, Omar Devone Little, or John Wayne, it seems everyone is in agreement on the subject. Every person needs a code. What is the nature of this code though? What is it and why is it necessary? There are several other meanings of the word code which can grant us a some insight into this word: the code used to program a computer, your genetic code, a system of symbols (as in a cipher), or a body of law. A person’s code then may be seen as a set of rules or instructions which govern their interpretations and actions. In other words, its your personal philosophy, and it is necessary for determining the view, standard, and manner by which you choose to interact with the world and with yourself. Your philosophy is a part of every action you take, every thought you have, because it is the basis by which you choose which actions to pursue and which thoughts to develop. It then follows: do you form your philosophy, or do you allow your philosophy to form you? That is, is your code explicit or implicit? Have you consciously laid down the foundational steps by which you have come to identify yourself, or have you allowed yourself to be haphazardly formed according to circumstance?

It is this line of thought which has led me to pursue the realization of my own philosophy during the second half of this study. When I was originally outlining this study my intention was an exploration of my aesthetics concerning music. I was aware then that such an exploration would necessarily encompass other branches of philosophy to a certain extent, but I had not anticipated that my curiosity would lead me to take on something of this scope. I began by reading Philosophies of Art & Beauty; Selected Readings in Aesthetics from Plato to Heidegger. From the introduction, it became clear that many of these philosophies of art were tied to deeper philosophical questions, such as the nature of reality. This reminded me of Botton’s chains of questions, and I understood that, if I wanted to fully appreciate my own musical aesthetic, I would need to determine my philosophy from the foundations up. That’s not to say that my attention shall shift away from esthetics, as art, and more specifically music, is clearly an avenue by which I may readily connect with the subject of philosophy. In fact, the introduction of Philosophies of Art & Beauty points out that some philosophers see art as “one of the keys to philosophical understanding” (xviii). What I mean to say is that, while I explore philosophy from the side of esthetics, I endeavor to also explore the “central hub composed of a few blunt, large questions” (Botton, 116).

I’ve been unsatisfied with most of what I’ve been reading in Philosophies of Art & Beauty, and have been exploring other avenues by which I may supplement my learning. I’ve learned a bit about Plato’s theory of forms, for example, from an online resource referred to me by my room mate. I also find that, while reading about philosophical ideas is helpful, discussing ideas with other can be so much more engaging and illuminating. So if any of you are interested about learning more about your personal philosophies, I’d be happy to open up a dialogue with you. It’s a win win situation, we both learn!

All that being said, the focus of this study is still music. This past week I’ve been working on a slew of new songs with my band. We also played a show in Rochester, and I’m looking forward to playing two house shows later this week. I’ve been enraptured by the piano, and have been learning Beethoven’s Moonlight Sonata over the past few weeks. This past week I’ve been particularly focused on, and pleased with, the working up a new piano piece to add to my repertoire: Hirokazu “Hip” Tanaka’s Kraid’s Lair from Metroid. It’s a song I’ve really enjoyed for a long time, and it’s been very satisfying working out some of the more difficult fingerings for before slowly bringing them up to speed. In addition, I’ve been developing some ideas for a piano piece- a piece which I hope I will be able to eventually call my first piano sonata. I would like to eventually record myself playing each of these songs and post the recordings on this blog site. In the mean time, I’ve started learning how to use a free music notation software called MuseScore with which I’ve laid out the first bit of my sonata. Tomorrow I’ll designate what has, until this point, been my largely unused “Sketch” page as the place I’ll upload my creations/recordings to. Expect to see the first fragment of my sonata and the latest cut of the song I demo’d earlier on this blog.

Work Cited:

Botton, Alain De. The Art of Travel. New York: Pantheon, 2002. Print.

Chapter 8: Composing a Soprano Voice and Harmonizing a Bass

This chapter doesn’t actually have a list of terms exercise at the end… It instead asks that I memorize certain procedures/tools for composing which I think would be tedious and unhelpful for me to try to replicate here.

Chapter 9: Modulatory Progression

Modulation: An extension beyond the harmonic unit controlled by the tonic triad. Forte argues that it should be “regarded as ordered harmonic extension, not as ‘change of key for the sake of variety,’ as some authors would have us believe” (275). The two types of modulation are diatonic and chromatic.

Quasi-Tonic: A triad which begins to function like a tonic.

Modulating Dominant: The dominant of the quasi-tonic. It serves to establish the quasi-tonic as the harmonic goal.

Pivot Chord: Acts as a transition between the tonic and the quasi-tonic. This triad, which is a part of the original harmonic unit, always acts as a dominant preparation for the modulating dominant.

Natural Modulation: A modulation in which the switch between keys requires little or no chromatic alterations. The only completely natural modulation is between relative keys.

Returning Progression: The harmonic journey back to the original key. The progression should effectively direct itself towards the V of the main tonality, or toward dominant preparation as the I or original tonic will follow naturally.

Modulating Sequence: The use of a sequence to rapidly change the tonal focus. The usage of a pivot chord and modulating dominant are maintained, but they are embedded in the sequence.

Modulatory Series: A succession of modulations.

Interlocking Modulations: Occurs when a modulatory phrase ends on the modulating dominant and the quasi-tonic which follows at the beginning of the next phrase is also a pivot chord in a new modulation.

Incomplete Modulation: A progression which implies a modulation, moving to the modulating dominant, before returning instead to the original tonic.

I’ve reached the halfway point of this field study, and I’m proud to say that, over this past week, I’ve really hit my stride. I’m proud of what I have accomplished thus far, and, while this workload is certainly stressful, it no longer feels overwhelming. Instead, I feel constantly revitalized by the information I’m acquiring. On top of this, I’m starting to see my field study really blossom as all of the connections in my curriculum become more and more apparent, and I begin to take on new subjects and responsibilities.

This past week I’ve done a bit of research in an attempt to understand the peculiar sound qualities of a site here in Olympia. In West Bay Park there’s a path that leads to a stone circular area. In the center of this spot is a metal circle with what looks like a cog or wheel printed on it along with the words “Rotary Point.” When you stand on it and speak your voice sounds like it’s being thrown back at you. I contacted Dan Lehuta of the Rotary Club of Olympia in hopes of finding out if that spot was consciously designed to create this effect, and, if so, what it was that actually caused it. Dan told me that the company that constructed the site was called Berschauer/Phillips, now FORMA Construction. I contacted them, and asked about the site. The man who was assigned to designing the construction was out for the day, but they let me leave a message. I’m still waiting on a reply, so… cliffhanger.

Last Tuesday I watched the film, Amadeus. The entire time I watched it, I was wondering which aspects of the movie were historically accurate, and which were embellished or entirely fictional. The next day I watched the A&E biography on Mozart, and was surprised to find that the film was closer to the truth than I had anticipated. Most of the embellishments occurred in the construction of Antonio Salieri’s character as the villain.

Since my last post I’ve also watched the first two videos in Howard Goodall’s series, How Music Works. Each of the videos in this series is based on a different aspect of music, and the first two are about melody and rhythm. It’s a difficult thing to sum up such huge concepts in the course of a fifty minute video, but I think Howard Goodall does an effective job. Though some of the ideas he presents are very familiar, he often explains them in a fresh way which I hadn’t previously considered. Such as the human tendency to divide beats into twos and fours as connected to how we walk on two legs, or how the popularity of compound meter in Anglo-Celtic folk music could be related to their “speech patterns and popular poetry” (think of limericks). There are also plenty of ideas he discusses that I was previously unaware of. His explanations for the development of different scales and modes throughout history was a great supplement to Helmholtz’s account. In particular, I found his demonstration of the melodic minor mode in three part harmony to be helpful. Perhaps the most interesting thing I learned from him though, was actually an explanation for something I had begun to notice in the popular music I’ve listened to. I remember the first time I noticed it actually. I was listening to Elton John’s Rocket Man and I noticed that the melody tended to land right before the chords were actually voiced. Afterwards, I noticed this in a lot of other popular songs. In his video on rhythm, Goodall traces this phenomena to Afro-Cuban music in which the melody tends to anticipate the harmony.

As you may have noticed, I began posting definitions to the list of terms found at the end of each chapter of Allen Forte’s Tonal Harmony in Concept in Practice. This has proven to be extremely helpful for me because I’ve started looking up the terms before I read the chapter which seems to keep me more attentive when reading. As Allen Forte puts it on page 228, “the topic of this section is properly the subject of an entire volume. However, the vast scope of the subject need not deter us from outlining certain of its essentials.” This basically sums up my experience with his text so far. There is a wealth of knowledge to be found in reading it, but tackling all of this knowledge at the rate I am (as well as in conjunction with other things such as Helmholtz’s text) has been very challenging. I am, however, learning an extraordinary amount about a subject I love, and am continually making improvements in how I absorb the information. As I said before, listing the terms has helped me, and supplementing the text with routine exercises and lessons on musictheory.net has been incredibly helpful. I’m also planning on working through some of Forte’s exercises in counterpoint with my new piano teacher.

Right now, I want to write about Helmholtz. I finished Hermann Helmholtz’s On the Sensations of Tone – As a Physiological Basis for the Theory of Music earlier today. I don’t think I could have picked a better book to begin my study with. It was certainly a challenge to work through some of the denser sections, and I had to do a fair amount of research outside of the text in order to fully grasp the material. However, the text has proven to be one of the most thought provoking and informative  books I have ever, or likely will ever, read. I highly recommend that anyone with any serious interest in music or sound read this book.

In Part I, Helmholtz develops Fourier’s Theorem which posits that all sound which is reasonably continuous is, at its most fundamental level, a sum of sine or cosine waves. He makes the distinction between simple tones (a sine wave) and compound tones (a series of partial tones based on the fundamental pitch- each of these tones can be expressed as a sine wave). The notes which are most commonly used in music are compound tones with partial tones based on the harmonic series. He also explains how the ear has the tendency to create its own compound tones when it hears a simple tone of significant volume.

In Part II, Helmholtz tackles the physical properties of two or more tones sounded in tandem. He describes the how, when two tones are sounded together, a combination tone is created in the ear. He also writes about how the phase of two tones creates beats, explaining why discordant tones sound rough while consonant tones sound pleasant and stable. With these two phenomena in mind, Helmholtz sets out to describe which intervals are most consonant and which are most discordant.

In Part III, Helmholtz develops his physical analysis of sound to explain the development of music theory. Here, Helmholtz gives an historical account for the development of what he calls “modern music,” and by this of course he means Western Classical Harmony. Though Helmholtz obviously holds Western Classical Harmony in a higher regard than any other musical system, he stresses the fact “that the system of Scales, Modes, and Harmonic Tissues does not rest solely upon inalterable natural laws, but is also, at least partly, the result of esthetical principles, which have already changed, and will still further change, with the progressive development of humanity” (235). It was in this part that Helmholtz’s research became much more applicable as he applied it to a musical system which I am familiar with, and am currently studying. Of particular interest to me was his explanation for the evolution of equal temperament. I found it fascinating that Helmholtz cites a Chinese prince, Zhu Zaiyu, as having probably developed equal temperament as we know it. I had also known for a long time that continually moving in fifths would get you through all twelve notes, but I had no idea that this was actually the process by which the twelve notes were developed. I also hadn’t known that equal temperament is actually produced by slightly detuning each of these fifths so that each semitone is of equal distance. The result is that we now have instruments which can play in any key, but the effect is that no interval is as “pure” as it would be if all of the notes were tuned in relation to a single tonic. Since equal temperament is so pervasive, it’s easy to not notice this, but, when compared to just intonation, the effect is startling. If you’re at all interested in hearing this difference, I’ll provide a link to a video which compares the two here.

In the conclusion of his book, Helmholtz touches on the philosophy of art, esthetics, as it relates to music. I find Helmholtz’s personal viewpoint on the subject fascinating, and am ecstatic that he leaves off here, writing: “Certainly this is the point where the more interesting part of musical esthetics begins, the aim being to explain the wonders of great works of art, and to learn the utterances and actions of the various affections of the mind” (371). I’m happy because this is precisely the line of thought I aim to continue in my study as I begin reading Philosophies of Art & Beauty.

Chapter Five: The Melodic Process of Chord Generation: Seventh Chords

Melodic Function (of a chord): Not all chords have strong melodic functions; some are stable consonant chords which have primarily harmonic significance. Melodic function is described in terms of the motion of a dissonant note.

Resolution: The obligatory progression of dissonant intervals to consonant intervals. Dissonant notes always resolve by step (usually in descending direction) to the nearest consonant note.

Secondary Dominant 7th Chord: See secondary dominant chord in the last post.

Minor 7th Chord: The II^7 in diatonic major mode, and the IV^7 in the diatonic minor mode.

Half Diminished 7th Chord: II^7 in the minor mode. It tends to serve as a dominant preparation.

Major 7th Chord: Exemplified by IV^7 in the major mode.

Dominant 7th Chord: Because 7th chords are derived directly from triads, the basic harmonies, they constitute the first and most important class of dissonant chords. Because the dominant 7th chord is derived from a primary triad, it is the most important representative of the entire class of 7th chords. The addition of a 7th does not alter the function of these chords (in fact, it makes their function more apparent). This principle can be applied to all 7th chords: Harmonically, they behave exactly like the diatonic triads from which they derive. They do, however, serve to expand the harmonic content of a progression and make the harmonic direction more specific.

Overlapping: A cadential chord introduced at the end of a phrase which is then carried over to act as the initial chord of the second phrase.

Chapter Six: The Inversions of the Seventh Chords

Transferred Resolution: The carrying over of a dissonant note from one chord into another (usually the note is taken up by a different voice in the second chord) before being resolved, as in II^7 -> V^7 -> I.

Passing Second Inversion: The implementation of the bass note of second inversion of the dominant 7th as a passing note.

Exchange of Voices: The repetition of a passage wherein the voices parts are exchanged (such as in a round).

Diminished 7th Chord: An entirely dependent chord derived from an inverted dominant 7th chord by a change of only one note. The diminished 7th shares no notes with the chord of resolution, and every note of the diminished 7th resolves stepwise. It may be thought of as interchangeable with an inverted secondary dominant 7th chord. The diminished 7th is associated with a feeling of greater intensity.

Internal Dissonance: The dissonance created by a tritone within a chord (such as a dominant 7th chord).

Obligatory VII^6: I’m really not sure about this one. It might be the rule that VII chords only progress by 5th.

Chapter Seven: The Soprano Voice and Harmonic Progression

Voice: The succession of notes performed by a single human voice or solo instrument.

Basic Melodic Progression: The term “melodic” is often a somewhat loose term used to designate any succession of notes, regardless of interval. A basic melodic progression is one that moves by 2nd, or by stepwise intervals. Thus we say say that the 2nd and the 7th are melodic intervals, and all other intervals are harmonic.

Metrical Arpeggiation: A melodic movement which skips up or down to harmonic intervals. Each note has the duration of a metrical unit.

Compound Melody: The expression of a single voice of more than one melodic progression. For an example of this, click here.

Transient Skip: A local event, a skip from one line to another and an immediate return. It does not influence melodic structure of a longer span as compound melody does.

Circular Melodic Progression: Departs from a note and has as its goal the same note.

Partial Closure: When a line descends to scale degree 2 over V we say that the progression is a partial closure. Both the melody and harmony are directed strongly toward a cadence, yet the progression is not fulfilled.

Melodic Sequence: The immediate repetition of a melodic pattern at a different pitch.

Counterpoint of the Outer Voices: Counterpoint means note against note and refers to both the interval which two notes form and also the rhythmic relation between them, in this case the relationship of the notes performed by the soprano and bass voices.

Principle of Rhythmic Grouping: Rhythmic patterns are the variable patterns of duration and accent which are superimposed upon the constant metrical pattern. The principle of rhythmic grouping is the organization of chords which belong together based upon rhythmic accents.

Principle of Metrical Placement: A metrical pattern is one of equal note values grouped together by a regular accent pattern. The metrical patterns of a composition are defined by its time signature. It could be thought of as the regular “pulse” underlying a composition. The principle of metrical placement is such that the goal harmony should fall on a metrically accented beat.

Harmonization Procedure: A soprano voice alone can have several meanings depending upon its harmonic context. Therefore, the structural meaning of the soprano is always defined by the bass and harmony.

Minimal Harmonization: The employment of only diatonic triads in fundamental position, plus the dominant seventh, and VII^6.

Principle of Harmonic definition: The chord must be selected with regard to its function in the harmonic progression as a whole and with regard to its definition of the soprano note as a point of departure, melodic goal, or metrical embellishment. The triad should be complete in four parts, with certain exceptions (such as the omission of the 5th in the fundamental position of 7th chords). Parallel 5ths and octaves should be avoided. The principles of metrical placement and rhythmic grouping should be observed at all times.

Chapter 3: The Harmonic Progression of Chord Generation: Sixth Chords

Harmonic Process: I’m not entirely sure about this one. I believe its the generation of chords by playing notes at the same time.

6th Chord as Extension: Using the 6th chord (or first inversion) as a suffix or prefix to its parent triad.

6th Chord as Representative: Using the 6th chord in place of its parent triad.

Dissonant Diatonic 6th Chords: The three dissonant diatonic triads (VII in major and minor and II in minor) are usually represented by their 6th chords.

Parent Triad: The triad from which the inversions are derived. See fundamental position.

Parallel 6th Chords: When 6th chords are voiced in succession they require a different doubling so as to avoid parallel fifths and octaves. This technique is called alternate doubling.

Fundamental Position: The chord positioned so that the fundamental or root note of the chord is in the lowest voice.

First Inversion: The chord positioned so that the 3rd is in the lowest voice, and the root of the chord is in the highest voice.

Second Inversion: The chord positioned so that the 5th is in the lowest voice, and the 3rd is the highest voice.

Chapter 4: The Progression of Diatonic Triads

Harmonic Progression: The selecting and ordering of harmonies in such a way that they form coherent and effectiv units of several chords. In a larger context, it is the progression of harmonies and harmonic units over the span of an entire composition.

Interval of Progression: The intervals by which the diatonic triads are measured in relation to the tonic.

Diatonic Location (position): The location of each diatonic triad is described in terms of its distance from I as measured by the bass interval of the descending 5th. Thus, the order of chords is I, V, II, VI, III, VII, IV.

Primary Triads: The tonic is considered to be of primary importance in tonal music. The fifth identifies or delimits the tonic triad. Just as the 5th delimits the triad, so the cadential succession V I delimits the key. The triads I and V are thus considered the primary triads.

Secondary Triads: The triads based on the remaining scale degrees are considered secondary triads.

Dominant Preparation: The stepwise movement of the IV or VI chords to the V chord.

3rd Relationship: The movement of the bass in intervals of 3rds.

Secondary Dominant Triad: A dominant chord which is borrowed from another key. This dominant chord sets up resolution to a chord which is not the tonic. The chord which is resolved to can be thought of as a temporary tonic (if this temporary tonic is used extensively [as in for more than a phrase] or is used as a new permanent tonic, then this is called a modulation).

Harmonic Direction: The two essential harmonic directions are toward the I and toward the V.

Harmonic Axis: The primary diatonic triads are the harmonic axis of tonal music.

Circular Progression: Departs from a chord and has as its goal the same chord-for example I I or V V.

Opening Progression: Departs from one chord and has as its goal a different chord. The prime example is I V.

Closing Progression: A progression which returns to I usually from V.

Harmonic Sequence: A progression which involves the repetition of a bass and chord pattern.

Phrase: A musical unit. Often two or more of these will make up a period.

Period: A complete musical thought, concluded by a cadence. Often it is divided up into two (or more) phrases. The first phrase opens to the dominant and is called the antecedent phrase, while the following phrase is called the consequent phrase.

Harmonic Function: The role of each scale degree (and its triad) in relation to the tonic.

Substitution: The exchange of one diatonic triad for another which has the same direction in relation to the harmonic axis. For example, the dominant preparations II, IV, and VI are interchangeable.

Subdominant: The IV triad is called subdominant because it occupies a position below the tonic triad analagous to that occupied by the dominant above (the tonic is a fifth above the subdominant). The IV chord is often used in preparation for the V. It is, however, sometimes used independently to serve a melodic function or to form a plagal cadence in a IV I succession.

Submediant: The VI triad is called submediant because it occupies a position below the tonic triad analagous to that occupied by the mediant above (the tonic is a third above the submediant). VI may be used as a dominant preparation in both major and minor. Another important role the VI fills is as a substitute for the tonic triad in major.

At the end of every chapter of Allen Forte’s Tonal Harmony in Concept and Practice there are is a list of term which were introduced. I’m going to define these terms in weekly blog posts, and this particular post will include the terms from the first two chapters. I’ll soon put up another two posts which will address the list of terms from last week’s reading as well as this week’s. I’d also like to point out that there are quite a few other exercises included at the end of each chapter that I won’t be putting up on the blog. I’m also utilizing the exercises found on musictheory.net, and occasionally working through the lessons they provide as a supplement.

Chapter One: Structural Characteristics of the Fundamental Materials

Scale Degree: A tone in the context of belonging to a scale. Degrees are usually numbered starting with the tonic.

Chord: A group of notes which sound simultaneously.

Chromatic Scale: A scale which divides the octave into twelve semitones.

Triad: A chord made up of three notes based on intervals of thirds. The four types of triads are major, minor, diminished, and augmented.

Relative Minor: A minor scale shares the same key signature as its related major. The difference between the two scales is the placement of the tonic. This is different from a parallel keys which share the same tonic but different key signatures. An example of relative keys would be E minor and G major. An example of Parallel keys is E major and E minor.

Passing Note: A note that passes between or connects two more important harmonic notes.

Auxillary Note: A note that stands at the interval of a 2nd above or below two occurrences of a more important harmonic note.

Half Step: A semitone. B –> C or C –> C#

Leading Note: The major seventh of a scale so called because it has the tendency to want to “lead” toward the tonic.

Melodic Minor Scale: The melodic minor scale is the same as the natural minor scale when descending. When it is ascending, the sixth and seventh scale degrees are both raised a semitone in order to match the scales parallel major key. This is done to create a sense of direction up to the tonic, or down to the fifth (or dominant).

Inversion: A chord positioned so that its fundamental (the note on which the chord is based) is not the lowest note.

Octave Equivalence: The addition of an octave to an interval does not change the function of the notes involved.

Consonant Interval: According to Allen Forte, there are two types of consonant intervals. The perfect (octave, fifth, and fourth), and imperfect (diatonic thirds and sixths). He describes these intervals as stable.

Dissonant Interval: A dissonant interval is one that is active, or unstable. It is common to resolve such intervals to consonant intervals.

Tritone: A scale degree which lies precisely in the middle of an octave. It is attained by diminishing the fifth or augmenting the fourth.

Compound Interval: A compound interval is attained by adding an octave to an interval. Example: 2nd –> 9th or 4th –> 12th.

Augmented 2nd: An interval which is attained by raising the major 2nd by a semitone. It’s equivalent to a minor 3rd.

Diminished 5th: Equivalent to the tritone.

Compound Meter: A triplet subdivision superimposed upon a simple meter.

Submetrical: Notes of lesser duration than the metrical unit.

Rhythm: The division of time which structures the movement of a musical piece.

Chapter Two: The Triad: the Harmonic Basis of Tonal Music

Dissonant Chord: Any chord which contains a dissonant interval.

Doubling: Having two different instruments playing the same part.

Outer Voices: The bass (lowest) and soprano (highest) voices in four part harmony.

Position of the Octave: The position in which the soprano doubles the bass.

Position of the Fifth: The position in which the soprano voices the fifth of the chord.

Four-voice keyboard spacing: The position with the smallest intervals, thought of as taking up the smallest space if the notes were to be played on the keyboard.

Alto Voice: The second highest voice in four part harmony.

Figured Bass: Sometimes called thorough bass, it is a form of music notation which gained prominence during the Baroque period. In it, the bass note is provided along with numbers or symbols which indicate what chord should be harmonized with it.

Voice Leading: The recognition that each voice has its own individual, horizontal melody. That each voice is interdependent in a harmonic capacity, but that they may move freely through time (rhythmically independent) is the relationship of counterpoint.

Similar Motion: When two voices move in the same direction (up, or down), but do not maintain the same interval. When voices move in the same direction and maintain the same interval it is called parallel motion. When they move in opposite directions it’s called contrary motion, and when one moves while the other remains stationary it’s called oblique motion.

Cadence: A movement of chords which marks the division of a piece of music into different periods, or brings the piece to a full conclusion. There are a few cadences such as the authentic cadence (V to I) and the plagal cadence (IV to I).

Skip: Moving in an interval (equal to?… or) larger than a whole tone.

Halfway through the quarter! It’s crazy how fast it feels like this study is moving along. I’m guessing that these past two weeks have seemed pass quickly because I’m constantly throwing myself at new information. Sometimes the sheer amount of information in front of me can feel suffocating, but usually I come away from it with a profound sense of respect for the infinitely deep topic I’ve chosen to pursue. The fact is I love music so I don’t really mind if I drown in it.

That being said, these blog posts are certainly a great way for me to catch a breath of air and put my thoughts together in a coherent way. In fact, I’m thinking of utilizing the blog more by pooling more of my thoughts, and resources here. I’m planning on collecting my notes as well as the exercises (from Tonal Harmony and Schafer’s Ear Cleaning) I’m doing somewhere on this blog (I’m thinking of creating a new page, but I might find some better format). Basically, I want to start making this blog more accurately represent everything I’m actually doing in hopes that it’ll help me organize, understand, and feel more motivated about what it is I’m actually doing.

Speaking of which, I think it’s time I start writing about what it is I’ve done rather than jotting down ideas for the future.

Last Thursday my band played at a punk show at the garage under the CAB. We got asked on pretty short notice to play, and we don’t identify as a punk band. Regardless, we said yes. We played our songs way faster than usual, and threw in an impromptu punk song in which Blaise (our drummer) switched onto vocals and I switched onto drums. It was one of our sloppiest sets, but I had a lot of fun with it. It was also really cool to be both exposed to and (sort of?) accepted into a side of the Olympia music scene which I wasn’t really too familiar with.

We then played a show the Saturday after that at the Metcalf Manor alongside another Olympia band, Swoon, and some out-of-towners. Swoon’s set was great, and Blaise and I picked up one of their CD’s (it was their release show). Our set consisted almost entirely of “newer” material. The highlight for me was our semi-improvised jam (we’re calling it Blackberry jam for the time being). Unfortunately I didn’t stick around for the last band because my stomach was in need of some solid food. I spent the rest of the night rewatching Princess Mononoke with my roommate, Justin. The reason I mention this because about and hour and twenty-four minutes into the movie there’s a piece of music that’s entirely percussive. Between the instrumentation and the syncopated rhythms the song creates a really tense, tribal vibe which fits the scene perfectly. The next morning, I showed it to Blaise and we discussed making a song that featured only percussion instruments. I’ve also been working with him on finishing a song he’s been writing for a while called “The Space Between.”

I’ve barely done any music production these past few weeks. I texted Nicole earlier today though, and am planning on finishing up “Source of Life” with her soon before I move on to my next song. In the mean time, I’ve been coming up with a lot of musical ideas on the piano and guitar. I’m having a lot of fun experimenting with them, but I usually find myself stuck, unable to develop the ideas into anything I’d call complete. I’m going to start recording some of the motifs and posting them on here, mostly so I don’t forget about them. I’m also going to start writing some of my chord/lyrical ideas down in a journal that I got just so that I can develop them outside of my head. I’d really like to see myself complete more songs though, I’m starting to lose track of the various ideas I have. I also need to start setting aside more time to just listen to music…

I’m almost done with Part II of Helmholtz’s On the Sensations of Tone. Though the material hasn’t gotten any less dense, it is starting to connect to topics I am more familiar with. Part I was an introduction to the fundamentals of sound. I learned about how all sounds are composed of sine waves, and sympathetic resonance. I learned about simple and compound tones, and that timbre is (for the most part) determined by a note’s overtones. Part II takes the focus to the effect that two tones have on each other when sounded together. I learned about combination tones (a phenomena I had never noticed or heard about before), and about the “beats” that tones with similar frequencies produce in our ears. Though I have been familiar with discordance and concordance in musical harmony, I hadn’t really understood the physics behind it. I think the most interesting part of my study has been learning more about the art of harmony from Allen Forte while also getting to read about Helmholtz’s explanations about the physical and physiological phenomena that creates the foundation for it.

Tomorrow I plan on finishing the last chapter of Part II, which addresses the concept of chords, working through some more of Tonal Harmony in Concept in Practice, and watching the first part of Howard Goodall’s How Music Works. Earlier today I also went to West Bay Park to check out a spot there that has some interesting sound qualities. I found out that that spot is called Rotary Point. Tomorrow I’ll follow up with more research, and hopefully I’ll be able to find out why exactly that spot creates the kind of resonance that it does.