Romantic Eramusic theory Techniques for musicians and normal people by toby w. rush 1700 1500 1600 1900 1800 2000

early 20th renaissance baroque classical romantic century contemporary however, the music of the romantic the music of the baroque, classical era employed some interesting and romantic eras share a consistent use techniques that set it apart from of harmony and counterpoint, enough to cause the baroque and classical eras... theorists and historians to group them together as the “Common Practice Period.” ...and foreshadow some of the big changes coming in 11 ii° the twentieth century! V we’ve already mentioned a few chords IV that were specific to the romantic era: 13 dominant eleventh and ii° V chords, V the “flat three” borrowed chord, III and secondary . iv b IV & #˙ n˙ another technique that is unique to the romantic era is the resolution of an augmented to a ? dominant rather than a dominant triad, b˙ ˙ causing the interval of the augmented sixth to resolve b ˙ ˙ obliquely instead of moving outward to the octave. Ger.6 V7 finally, romantic era composers would sometimes use a particular type of that had the effect of suspending tonality for a portion of the piece. By temporarily removing the feeling of being in a certain key, the composer could easily modulate to a distant key! if you think of ...third relations tonality like are like turning off the gravity this technique is called being in a room... in the room third relations because it for a bit... involves moving by root movements of a major or minor third without respect to key signature.

for example... here, we’re in F major...... here, we’re just moving down by thirds... œ œ b œ œ œ œ ˙ & œ œ #˙ n˙ F: I IV V I DM b B˙ M b ...which obscures any *whump* sense of key we had...... and then turning the gravity back on... but in a b # #˙ b˙ nœ ##œ different & # ˙ ˙ œ # œ œ œ direction! b ˙ #n#œ œ œ F M E M B: I IV V I # b and then we land in b major!

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