ADVANCED

 HARMONIC  CONCEPTS  
An  overview  of  the  roles  asymmetry  and  symmetry  play  in  functional  and  non-­‐functional  environments.  
Premise:  Role  reversal  between  pitch  and  form  development  and  control  —  
Asymmetrical  pitch  control/Symmetrical  forms  =  Functionality  
Symmetrical  pitch  control/Asymmetrical  forms  =  Non  Functionality  
               
Functionality  (tonally  contained,  focused,):   Non  Functionality  (tonally  diffused):     Highly  Non  Functional  Characteristics:  
• Unequal,  hierarchal  (T,  SD,  D  –  this  level  is   • Equal,  non-­‐hierarchal  –  Roman  numerals   • Constant  structures  –  exclusively  major,  
clear  and  unambiguous)   don’t  apply   minor,  dom7(sus4)  dom7,  dim.  
• Roman  numeral  analysis  is  required;   • Descriptive  or  semantic  and  meta-­‐graphic   • Constant  root  cycle  –  exclusively  ½  steps,  
graphic  analysis  where  needed.   analysis  is  required   whole  steps,  m3rd  ,  M3rd,  Per.4  
• A  central  pitch  (T)  is  in  control  of  all  tonal   • No  central  pitch  is  in  control,  but  motion   • Step-­‐wise  is  most  common  
disturbances,  motion,  and  direction     and  direction  is  present   • Parallel  motion  –  all  intervals  same  
• Parent  scale  and  chord  scale  systems  are   • Scale  system  is  symmetrical  and  is  often   distance  and  same  direction  
asymmetrical     isolated  to  the  bass  root  development     • Parallel  melody  /  harmony  relationships  
• Forms  are  usually  symmetrical  in  phrase   • Forms  are  usually  asymmetrical     with  an  emphasis  on  melodic  tensions  –  
and  section  development  (X  of  2,4,8)   • Chords  are  operating  independent  of  a   predominantly  9,  11,  13  
• Chords  are  unified  by  a  controlling  parent   controlling  parent  scale     • No  controlling  parent  scale  –  parallel  chord  
scale     • Parallel  voice  leading  with  constant   scales  reinforce  all  other  parallel    pitch  
• Voice  leading  –  contrary  motion,  similar   structures   control  
motion,  oblique  motion  –  in  progression  or   • Parallel  melody/harmony  relationships   • NonTertian  structures  are  very  common  
retrograde,  controlled  by  root  motion   • Integrates  with  functional  contexts   and  generate  high  levels  of  ambiguity  
• Functional  categories  are  defined  as:     • Any  presence  of  T,  SD,  D  functions  are    
 Diatonic  (Exclusively  diatonic  structures   veiled     Variations  in  a  non  functional  environment:  
that  function  in  the  key)   • Exact  sequences  in  melody;  usually  short   • Variable  structures  –  2  chord  combinations,  
 Diatonically-­‐Related  (Nondiatonic   phrases   major  to  minor,  minor  to  major;  
chords  that  are  controlled  by  the  key)   • Pattern  destruction  is  an  aspect  of  the   • The  Linking  Interval  assists  the  
 Non  Diatonic  (Nondiatonic  chords  that   development   transposition  of  pattern  development  
don’t  function  in  the  primary  key,  but   • Variable  cycle  root  motion  –  combined  
have  a  clear  functional  relationship  to   H/W  steps,  Ma/mi3rds.  Per/+4  
each  other;  tonal  interchange  or  “key-­‐ • Similar  motion  as  a  variation  on  parallel  
of-­‐the-­‐moment”)   • Non  parallel  melody  /  harmony  
relationships  –  combinations  of  chord  tones    
and  tensions  
• Any  evidence  of  a  controlling  parent  scale  is  
too  fleeting  to  matter