perm filename VP40[C4,LCS] blob
sn#458332 filedate 1979-07-15 generic text, type T, neo UTF8
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01300 .COMPACT
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04400 . ⊃
00100 .PAGE←39
00200 .NEXT PAGE
00300 .SKIP 2
00400 .CENTER
00500 CHAPTER IV
00600 .SKIP 2
00700 .CENTER
00800 FUNCTIONS OF THE MINOR
00900 .SKIP 1
01000 .INDENT 12
01100 .FILL
01200 .ADJUST
01300 .SELECT 1
01400 .BEGIN VERBATIM
01500
01600 Major-minor Interchangeability
01700 .END
01800
01900
02000 As stated earlier, minor scales will be treated as existing
02100 as the result of a fairly consistent set of alterations of the
02200 parallel major scales (see page 8 and following). While minor
02300 scales may not have originated in this way, it is probable that
02400 their use in tonal music may best be approached from this point
02500 of view. Two alterations suffice to give the complete impression
02600 of minor harmony -- the flatted third and the flatted sixth. In
02700 some cases, even the sixth need not be altered. However, if the
02800 sixth degree is lingered upon, the minor effect will be weakened
02900 unless it has been flatted. Conversely, the %4F%16 may be found in
03000 proximity to the %4N%13 without completely destroying the major
03100 quality.
03200
03300
03400 When the third or sixth of a scale is flatted and appears as
03500 the third of a chord, there is most often no change in the function
03600 of the chord. The flatted seventh of the scale %2can%1 change the
03700 function of the V chord, especially if it is used in some
03800 ascending manner. It is rare that a real V%4F3%1 chord is heard in a
03900 position of structural importance. When it exists, the V%4F3%1 usually
04000 loses its "dominant" function, unless the composer has made a special
04100 effort to impress upon the listener that the "leading tone" is
04200 to be a whole step below the tonic note. However, it is only by
04300 examining the whole of a phrase that one can ascertain whether a
04400 chord containing the flatted seventh of the scale is functioning
04500 exclusively in the original minor key or rather dually in that key
04600 and the relative major, or some other closely related key. It
04700 should be mentioned that the "closeness" of any two keys to one
04800 another depends largely on just how much their scales have in
04900 common, or sometimes %2potentially%1 have in common. (By this is
05000 meant, the conventional ascending and descending forms of minor scales
05100 must %2both%1 be considered.) Thus ↓_C_↓ is a little "closer" to ↓_G_↓ than
05200 it is to ↓_a_↓, because only one note (the 4th) of the ↓_C_↓ scale
05300 must be altered to produce the ↓_G_↓ scale, but two notes (the 4th and 5th)
05400 must be altered to produce the ascending form of the ↓_a_↓ scale.
05500
05600 .begin verbatim
05700
05800 Example 43
05900 .end
06000 .CENTER
06100 %6⊂⊗⊃L[α%0.00,α%-1.81](17,22):XXX43.PLT[C4,LCS]⊂⊗⊃%1
06200 .skip 3
06300 .FILL INDENT 12
06400
06500 On the other hand, ↓_C_↓ is somewhat "closer" to ↓_a_↓ than ↓_a_↓ is to
06600 ↓_e_↓ or ↓_E_↓. After an ↓_a_↓ tonic is established, ↓_C_↓ may be tonicized merely
06700 by means of elements already found in the conventional
06800 descending form of the ↓_a_↓ scale; whereas the ↓_e_↓ or ↓_E_↓ scale requires
06900 at least D%4S%1 for its establishment.
07000
07100 .begin verbatim
07200
07300 Example 44
07400 .end
07500 .CENTER
07600 %6⊂⊗⊃L[α%0.00,α%-1.94](17,22):XXX44.PLT[C4,LCS]⊂⊗⊃%1
07700 .skip 4
07800 .FILL INDENT 12
07900
08000
08100 In music where there is much major-minor alteration, almost
08200 any keys may be directly related. As to the problem of "close" or
08300 "far", the absolute number of chromatic changes required to establish
08400 a new key will not be so important as the question of just what
08500 role the altered notes play in each of the scales involved. The
08600 problem of the larger relationships between keys will be dealt with
08700 in subsequent chapters.
08800
08900
09000 .CENTER
09100 _______________
09200 .FILL
09300 .adjust
09400 When we truly have a group of functions based on the natural
09500 minor scale (i.e., third, sixth, and seventh degrees flatted both ascending
09600 and descending), we may say that the harmony formed therefrom
09700 is %2modal%1. Following is an example of modal and tonal treatments
09800 of the same melodic fragment.
09900
10000 .begin verbatim
10100
10200 Examples 45a,b. Bach, Chorale 28
10300 .end
10400 .CENTER
10500 %6⊂⊗⊃L[α%0.00,α%-4.00](17,22):XXX45.PLT[C4,LCS]⊂⊗⊃%1
10600 .skip 8
10700 .FILL INDENT 12
10800
10900 The analysis of the first phrase is as follows:
11000
11100 .begin verbatim
11200
11300 Figure 45a
11400 .end
11500 .CENTER
11600 %6⊂⊗⊃L[α%0.00,α%-1.82](17,22):FI45A.PLT[C4,LCS]⊂⊗⊃%1
11700 .skip 3
11800 .FILL INDENT 12
11900 The %4N%13 in the third chord must be indicated, since it is a
12000 deviation from the norm. The %4S%13 is shown in the second bar, since
12100 the V now becomes a true tonal dominant. (The second chord may be
12200 analyzed either as II or IV; in any case, the function is
12300 subdominant.)
12400 The last phrase gives:$$Note that the auxiliary tone E
12500 (instead of E%4S%1)weakens the tonic effect of the f%4S%1 chord.
12600 It seems to refer back to the modal V of the first phrase.$
12700 .begin verbatim
12800
12900 Figure 45b1
13000 .end
13100 .CENTER
13200 %6⊂⊗⊃L[α%0.00,α%-2.26](17,22):F45B1.PLT[C4,LCS]⊂⊗⊃%1
13300 .skip 5
13400 .FILL INDENT 12
13500
13600 We hear much more harmonic activity in this phrase, so our
13700 diagram becomes more complicated. It might be argued that the
13800 last eighth note of bar 1 does not form a new function. There is in
13900 the alto, however, a very distinctive leap of a 4th across the
14000 bar line which tends to make us hear the B as a chord note. A
14100 broader interpretation of this passage, based on the stepwise
14200 movement of the outer voices at this point, would lead us
14300 to the omission of both the last eighth of bar 1 and the first
14400 eighth of bar 2 as structural chords. Thus:
14500
14600 .begin verbatim
14700
14800 Figure 45b2
14900 .end
15000 .CENTER
15100 %6⊂⊗⊃L[α%0.00,α%-2.28](17,22):F45B2.PLT[C4,LCS]⊂⊗⊃%1
15200 .skip 5
15300 .FILL INDENT 12
15400
15500
15600 Either of these two analyses of the last phrase is acceptable,
15700 the choice depending on how much detail is desired. The important
15800 thing is that the details be comprehended.
15900
16000 Many examples of modality may be found in 19th-century music,
16100 especially in the works of Chopin (see Mazurka #15, Op.24, #2,
16200 second section, Lydian mode; Mazurka #26, Op.41, #1, Phrygian
16300 mode.) These self-conscious exoticisms might be called "modal
16400 tonality" (as opposed to major-minor tonality) and are most often presented
16500 as clear deviations from the norm. The functions of the various
16600 modally-formed chords are no different, but these chords can serve as
16700 direct pivots to tonal areas which might be more distant from an ordinary
16800 major-minor tonality.
16900 .SKIP 1
17000 .CENTER
17100 _______________