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The Double-Tonic Complex and Yavorsky's Mutability by Chad

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The Double-Tonic Complex and Yavorsky's Mutability by Chad The Double-Tonic Complex and Yavorsky’s Mutability by Chad Scarborough, B.A. A Thesis In Music Theory Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF MUSIC Approved David Forrest, PhD. Chair of Committee Matthew Santa, PhD. Peter Martens, PhD. Mark Sheridan Dean of the Graduate School May, 2019 Copyright 2019, Chad Scarborough Texas Tech University, Chad Scarborough, May 2019 Table of Contents Abstract .............................................................................................................................. iv List of Tables ...................................................................................................................... v List of Figures .................................................................................................................... vi List of Abbreviations ......................................................................................................... ix CHAPTER I: Introduction .................................................................................................. 1 Literature Review.................................................................................................... 2 Limitations of Roman-numeral analysis ................................................................. 5 CHAPTER II: Yavorsky’s Theory of Modal Rhythm ........................................................ 7 Harmonic aspects Yavorsky’s theory ..................................................................... 7 Benefits of Yavorsky’s system in Russian music ................................................. 16 Limitations of Yavorsky’s system in Popular music ............................................ 21 CHAPTER III: Neo-Yavorskian Theory .......................................................................... 26 Problems with Yavorsky’s theory ......................................................................... 26 Details of the neo-Yavorskian system .................................................................. 29 The neo-Yavorskian system and the basic phrase model ..................................... 37 A note about tonicization of non-tonic chords ...................................................... 43 More than two tonics ............................................................................................ 44 CHAPTER IV: Long-Form Analysis................................................................................ 48 “Блажен Муж (Blessed is the Man)” from All-Night Vigil by Sergei Rachmaninoff ........................................................................................................ 48 “Trisagion” by Georgy Sviridov ........................................................................... 56 “Oh Sherrie” by Steve Perry ................................................................................. 62 “Building a Mystery” by Sarah McLachlan.......................................................... 71 ii Texas Tech University, Chad Scarborough, May 2019 Conclusion ............................................................................................................ 74 Bibliography ..................................................................................................................... 76 iii Texas Tech University, Chad Scarborough, May 2019 Abstract Robert Bailey (1985) uses the term “double-tonic complex” to describe a pairing of two relative keys into one larger sense of tonic. Scholars have explored this topic, along with multiple closely related topics, in the realms of Russian art music (Bakulina 2014, Brown 2009, DeVoto 1995, McQuere 2009) as well as Western Popular music (Nobile 2017, Richards 2017, Spicer 2017). In this paper, I discuss the idea of the double- tonic complex (also known as “mutability,” “emergent tonic”) in the context of both Russian art music and Western Popular music. I then develop and demonstrate a theory of analysis based on the harmonic aspects of Boleslav Yavorsky’s Theory of Modal Rhythm. iv Texas Tech University, Chad Scarborough, May 2019 List of Tables 3.1: Equivalent labels and terms in Yavorskian and neo-Yavorskian systems..................27 4.1: “Блажен Муж” – Graph of tonics present (* = аллилуйиа refrain) .........................49 4.2: “Trisagion” – Tonics present across each strophe ......................................................57 4.3: Formal chart of “Oh Sherrie” V = Verse; PC = Pre-chorus; C = Chorus ...................63 v Texas Tech University, Chad Scarborough, May 2019 List of Figures 1.1: Sergei Rachmaninoff – All-Night Vigil mvt. 3, “Блажен Муж (Blessed is the Man)” m. 1 ....................................................................................................................5 2.1: Single Symmetrical System ..........................................................................................8 2.2: Double Symmetrical System ........................................................................................9 2.3: Elementary combinations and modes .........................................................................10 2.4: McQuere’s realization of Yavorsky’s resolutions ......................................................13 2.5: Glinka, A Life for the Tsar, Act I, Introduction, mm. 8-22.........................................18 2.6: Variable Mode 1 .........................................................................................................18 2.7: Variable Mode 2 .........................................................................................................19 2.8: Sergei Rachmaninoff – All-Night Vigil mvt. 3, “Блажен Муж (Blessed is the Man)” m. 14 ................................................................................................................20 2.9: Changing function relative to register ........................................................................21 2.10: “One of Us” chorus, transc. By Mark Richards ........................................................22 2.11: Analysis of Axis progression ....................................................................................24 2.12: The mode implied by the Axis progression according to Yavorsky’s system..........24 3.1: Axis progression – A-form with Yavorskian analysis ................................................28 3.2: Tension formula ..........................................................................................................31 3.3: Example resolution .....................................................................................................32 3.4: Chords with dominant-function labels ........................................................................33 3.5: Dominant function in major and minor keys ..............................................................34 3.6: Two possible harmonic progressions ..........................................................................37 3.7: Aleksandr Borodin – “Polovetsian Dances” from Prince Igor, mm. 16-19 ...............38 3.8: The Beatles – “She Loves You” intro .........................................................................41 vi Texas Tech University, Chad Scarborough, May 2019 3.9: Aleksandr Borodin – “Солнцу Красному Слава” mm. 126-132 ...............................42 3.10: Analysis of progression with secondary dominant chords .......................................44 3.11: Circle of Thirds .........................................................................................................45 3.12: Sergei Rachmaninoff – All-Night Vigil, “Blazehn Muzh,” m. 14 .............................46 3.13: Circle of Thirds representation of tonic motion from Figure 3.12 ...........................47 4.1: “Блажен Муж,” m. 1 ................................................................................................50 4.2: “Блажен Муж,” m. 2 ................................................................................................51 4.3: “Блажен Муж,” m. 6 ................................................................................................52 4.4: “Блажен Муж,” m. 8 ................................................................................................53 4.5: “Блажен Муж,” m. 10 ..............................................................................................54 4.6: “Блажен Муж,” m. 14 ..............................................................................................55 4.7: “Блажен Муж,” m. 17 ..............................................................................................56 4.8: “Trisagion” Strophe 1 (mm. 1-4) ................................................................................58 4.9: “Trisagion” Strophe 2 (mm. 5-8) ................................................................................59 4.10: “Trisagion” Strophe 3 (mm. 9-12) ............................................................................59 4.11: “Trisagion” Strophe 4 (mm. 13-16) ..........................................................................60 4.12: “Trisagion” Strophe 5 (mm. 17-20) ..........................................................................61 4.13: “Trisagion” Strophe 6 (mm. 21-24) ..........................................................................62 4.14: “Oh Sherrie” – Chorus ..............................................................................................64 4.15: “Oh Sherrie” – Verse 2 .............................................................................................65
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