Cap 5 - Chromaticism (Two Voices) Flashcards
MELODIC VERSUS HARMONIC USAGE
Chromaticism (the raising or lowering of a diatonic scale degree by a half step) may be entirely a melodic element or it may carry harmonic implications as well; on occasion the two functions are involved at the same time in different voices.
Such a use is clearly a decorative one, since the chromatic notes do not figure in the harmonic structure but simply ornament a diatonic melody.
Notice that in subjects and motives, isolated bits of chromaticism are avoided; if the chromatic element is present at all, it is generally corroborated at
several points.
In many instances, chromatic alterations are not fixed parts of motives or themes but are inserted at certain points with the purpose of suggesting a particular nondiatonic harmony.
This device is most often used in connection with “secondary dominants” (or “applied dominants” or “dominant embellishing chords”).
CHROMATISCISM AND DOMINANT EFFECT
Chromatiscism is most often used in connection with “secondary dominants” (or “applied dominants” or “dominant embellishing chords”).
These are triads or, more often, seventh chords that stand in the relationship of dominant to a chord
other than the tonic (Secondary dominants, diminished, half-diminished, napolitan sixth, augmented sixth, etc)
MODULATION
In the examples of chromaticism shown so far, the altered chords operated within a given key. But they may also occur in the process of modulation, the new key being established by a cadence.
I-IV-V7 es una cadencia de modulación común, en donde el IV se convierte en la tónica de la nueva tonalidad.
Common-tone modulation and enharmonic modulation.
Common-tone modulation and enharmonic modulation are virtually nonexistent in Baroque music.
Although chromatic progression is frequent enough, actual chromatic modulation (with no diatonic harmony in common between the two keys) is relatively rare.
Chromatic Modulation
Given the contrapuntal forms that students
will be using as models in their writing projects, it is unlikely that they will have occasion to use chromatic modulation.
The same is true of modulation (by whatever means) to a foreign key. The term “foreign” is applied to a key whose signature differs by two or more sharps or flats from that of the original key.
MODOS MEZCLADOS
Change of mode (major to minor or vice versa),
Change of mode (major to minor or vice versa), which in sorne systems of theory is considered a modulation and in others simply a “mutation,” is occasionally seen in the eighteenth-century idiom. 1
The distinct formal and esthetic reasons for modulation.
Proporciona dinámica a la pieza
Funciona como efecto placentero de contraste
CHROMATIC SPELLING
A few reminders on chromatic spelling may not be amiss here. In an ascending chromatic passage the chromatic note is normally spelled as the raised form of the preceding diatonic note (for example, C, C-sharp, D), in a descending passage as the lowered form of the preceding diatonic note (D, D-flat, C). The ascending and descending forms of a chromati~
CROSS RELATIONS
As a rule, chromatic alteration of a tone is best introduced in the voice that has just had that tone Otherwise a cross relation results.
Even when other notes intervene between the beats (e and d) the effect is poor, and such cross relations should be avoided.
However, cross relations that result from the simultaneous use of the ascending and descending forms ofthe melodic minor scale are common in this style and are generally acceptable
CONCERNING TWO-VOICE CHROMATIC EXERCISES
A chromatic note that is a raised pitch will often be found to work best as the third of a secondary
dominant, a lowered note as the seventh.
For instance, ifwe encounter the succession C, C-sharp, Din a given melody in C major, the C-sharp might be made to sound like the third of a dominant-type chordA, C-sharp, E, (G), which is V(7)/ii. To accomplish this, we could have the other voice take the root, A, or the seventh, G.
The latter creates a tritone with the third, and since
that interval normally appears only within dominant-seventh ( or viiº) type harmonies in this style, it suggests the characteristic dominant quality more definitely
