ᴏᴛʜᴇʀ ᴅɪᴀᴛᴏɴɪᴄ ᴄʜᴏʀᴅs

                30 - 32

most common embellishing notes are: 6, 7, 9 above
root of chord

as long as root is on bottom, other notes can be in any order

addition of 4th pitch rarely changes function of original triad,
but adds richness

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     Chromatic Harmonies
         and Modulation

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simple harmony is diatonic, uses triads

complex harmony uses chromatic pitches, 4+ notes

Take Me Out to the Ball Game - chromaticism heard in phrase

"buy me some peanuts"

modal mixture - one or two pitches altered to make minor

minor keys more chromatic than major 

natural minor has no leading tone

modulate - change keys

simplest way: use accidental to create dominant seventh chord of

new key, resolve to new tonic

from B major to C, would have to go through every key in between

if long enough, double bar and new key signature inserted

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        Beyond Common
               Practice

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resolution driving force of harmony

19c, Romantic composers sought new ways to portray emotions

increase complexity by delaying resolution

deceptive harmonic turns, temporary modulations

1910 - Arnold Schoenberg conclude music too chromatic

"emancipation of the dissonance"

atonal music - no tonal center

Pierre Boulez - 1960, Pli Selon Pli

1925 - twelve tone method 

each piece has primary tone row of all 12 chromatic pitches

no preset pattern of intervals to follow

proteges- Anton Webern, Alban Berg

serial techniques - serial ordering of pitches in the row

caught on widely after WWII

Luigi Russolo - generate and categorize noises

Claude Debussy, Igor Stravinsky - used familiar chords 

without resolving them(non-functional harmonies), adopted

unusual scales (pentatonic, whole tone, octatonic), wrote music

in 2 keys simultaneously (polytonality)

whole tone scale in Variation XI of Ulysses Kay's Fantasy

Variations

20c - composers reject idea of forward motion in music

create music that was meditative, static, or circular, not linear