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Prolongation of Seventh Chords in Tonal Music PROLONGATION OF SEVENTH CHORDS IN TONAL MUSIC Volume I Text Y osef Goldenberg With a Foreword by L. Poundie Burstein The Edwin Mellen Press Lewiston•Queenston • Lampeter Library of Congress Cataloging-in-Publication Data Goldenberg, Y osef.. Prolongation of seventh chords in tonal music : volume I : text I Y osef Goldenberg ; with a foreword by L.. Poundie Burstein .. p.cm .. Includes bibliographical references and index .. ISBN-13: 978-0-7734-4846-9 ISBN-10: 0-7734-4846-2 L Title. hors serie. A CIP catalog record for this book is available from the British Library. Copyright © 2008 Y osef Goldenberg All rights reserved .. For information contact The Edwin Mellen Press The Edwin Mellen Press Box 450 Box67 Lewiston, New York Queenston, Ontario USA 14092-0450 CANADA LOS 1LO The Edwin Mellen Press, Ltd .. Lampeter, Ceredigion, Wales UNITED KINGDOM SA48 8LT Printed in the United States of America To my parents, Gideon and Esther TABLE OF CONTENTS LIST OF ABBREVIATIONS ............................................................................... i FOREWORD by Prof. L. Poundie Burstein ..................................................... iii PREFACE.............................................................................................................. v 1. BASIC CONCEPTS AND DEFINITIONS .................................................... 1 1.1 The Concept of Prolongation............................................................................ 1 1.1.1 Selected Problems Concerning Prolongation............................................. 3 1.1.2 Terms Related to Prolongation: Proposed Distinctions ............................. 5 1.1.3 Minimal Conditions for True Prolongation: Subordination..................... 14 1.2 Seventh Chords ............................................................................................... 15 1.3 The Concept of Dissonance ............................................................................ 17 1.3.1 Absolute versus Contextual Dissonances ................................................ 18 1.3.2 Dissonances as Carriers of Motion and Tension...................................... 22 2. PROBLEMS CONCERNING PROLONGATION OF SEVENTH CHORDS................................................................................... 23 2.1 Prolongation of Dissonance ........................................................................... 23 2.1.1 Schenker’s Normative View .................................................................... 23 2.1.2 Theoretical Gaps that Raise the Possibility of Prolonging Dissonances . 26 2.2 Lack of Distinction between Steps and Leaps................................................. 35 2.3 Related Situations which Do Not Constitute Genuine Prolongation of Seventh Chords ............................................................................................ 37 2.3.1 Stretching of Seventh Chords .................................................................. 37 2.3.2 Space-Filling Motion (SFM) in Seventh Chords ..................................... 39 2.3.3 Highlighted Unprolonged Dissonances and Seventh Chords .................. 41 2.3.4 Delayed Resolution.................................................................................. 43 2.4 Aesthetic and Theoretical Background to Schenker’s Position...................... 44 3. LITERATURE SURVEY............................................................................... 47 3.1 Precedents to Schenker and Non-Schenkerian Literature .............................. 47 3.2 The Approach to the Seventh in Schenker’s Published Writings................... 49 3.2.1 Harmonielehre (1906) [Harmony]........................................................... 50 3.2.2 Counterpoint I (1910) .............................................................................. 52 3.2.3 The Analytical Monographs (1910–1920)............................................... 54 3.2.4 Counterpoint II (1922)............................................................................. 58 3.2.5 Der Tonwille (1921–1924), including the Elucidations........................... 59 3.2.6 The Masterwork in Music (1925, 1926, 1930)......................................... 61 3.2.7 Free Composition (1935, posth.) ............................................................. 66 3.3 Approaches of Schenker’s Followers.............................................................. 68 3.3.1 The Spectrum of Opinions ....................................................................... 68 3.3.2 Specific Studies on PD in Tonal Music ................................................... 74 3.4 Studies of PD in Twentieth Century Music ..................................................... 79 4. SEVENTH CHORDS AT THE DEEPEST STRUCTURAL LEVELS.... 85 4.1 Dissonances and Sevenths in Particular at the Background (with Unfilled Bass Arpeggiation) ................................................................... 85 4.2 Sevenths at the Middleground with Unprolonged Urlinie (and Prolonged Bass) ...................................................................................... 88 4.2.1 The Combination of an Unprolonged Urlinie with Two Bass Arpeggiations........................................................................... 89 4.2.2 Other Dissonances at the Middleground with Unprolonged Urlinie ....... 90 4.3 Prolongation of Dissonances at the Deep Middleground (with Prolonged Urlinie)............................................................................................................ 91 4.3.1 The Complete Upper Neighbor to 3......................................................... 91 4.3.2 The Connection between 4 and 2 and the Incomplete Upper Neighbor .. 94 4.3.3 Reaching-over.......................................................................................... 97 4.3.4 Unfolding ................................................................................................. 98 4.4 Structural Dissonances and Chromaticism .................................................. 100 4.4.1 Structural Dissonances as the Product of Mixture................................. 100 4.4.2 Conflicts between the Priorities of Consonance and of the Diatonic System.................................................................... 101 4.4.3 Structural Dissonances in the Later Middleground: Secondary Dominant Seventh Chords ................................................... 102 5. GENERAL OVERVIEW OF PROLONGATION OF SEVENTH CHORDS................................................................................. 105 5.1 The Contrapuntal Function of the Seventh ................................................... 105 5.2 Comparative Investigation of Various Types of Seventh Chords ................ 106 5.3 Comparative Investigation of Prolongations of Seventh Chords.................. 108 5.4 Criteria for Recognizing True Seventh Progressions ................................... 109 5.4.1 Further Investigation of Oster’s Criterion.............................................. 112 5.4.2 Intermediate Situations between True and Illusory Seventh Progressions .................................. 115 5.4.3 Rhythmic Normalization of Seventh Progressions ................................ 116 6. PROCEDURES FOR PROVIDING V7 WITH STRUCTURAL MEANING WITHOUT FULL CIRCULAR PROLONGATION .............. 119 6.1 Analogies between the Structural V7 and Strict Counterpoint...................... 120 6.1.1 V8–7 with Priority of the Seventh ........................................................... 121 6.2 Processes toward V7 ..................................................................................... 124 6.2.2 Space-Filling Motion (SFM) toward the Seventh of V7 ........................ 126 6.3 Subordinations to V7 ..................................................................................... 128 6.3.1 Specific Types of Subordination to V7 .................................................. 129 6.3.2 Apparent Subordinations to V7 .............................................................. 132 6.3.3 Filling in of Spaces Created by the Subordination Process ................... 132 7. FULL CIRCULAR PROLONGATION OF V7 ......................................... 137 7.1 Harmonies that Emerge within Prolongations of V7 .................................... 137 7.2 Linear Progressions within V7 ...................................................................... 139 7.2.1 Third Progressions within V7................................................................. 140 7.2.2 Inverted Thirds: Sixth Progressions within V7 ...................................... 151 7.2.3 Fifth Progressions within V7 .................................................................. 152 7.2.4 Inverted Fifths: Fourth Progressions within V7 ..................................... 158 7.2.5 Seventh Progressions within V7............................................................. 159 7.2.6 Inverted Sevenths: Filling the Second-Space 8–7.................................. 160 7.2.7 ‘Octave progressions’: Complete Register Transfers within V7 ........... 161 7.2.8 Counterpointing Linear Progressions of Different Sizes within V7....... 164 7.3 Neighbors to V7 ............................................................................................. 166 7.3.1 Neighbor Motion below (or above) a Stationary Seventh ..................... 167 7.3.2 Neighbors to the Tone of the Seventh Itself .......................................... 170 7.3.3 Double Neighbors to V7........................................................................
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