233 Further Elements of Harmonic Vocabulary

So far, we have seen how chromaticism can embellish chord progressions, aid in modulations and be used for enharmonic reinterpretation. But chords themselves can also be embellished, both chromatically and otherwise. Consider how both a V7 and a viio7 function as dominant harmony. In a sense, the viio7 is a type of embellished dominant[T choritled, ]so we are already familiar with this type of behavior. There are two other ways to embellish a dominant chord: the [Composer] Substitute 6th and the Raised 5th. Both of these techniques are a kind of coloration of a dominant chord and do not effect the chord’s basic function.

Subs 6th & c ! ! ! Simply put, in a V or V7 chord, the 6th of the chord substitutes (replaces) the 5th of the chord. In these instances, the chord is usually in position with the substituted 6th on top. The 6th will resolve down by small leap to the ?rootc of the !following tonic chord (w! hich is usually where this ! sonority resolves). [Title] subst. 6th [Composer]

œ œ( ) ˙ œ œ( ) ˙ & œ œœ ˙ œ œœ ˙

œ œ ? œ ˙ œ ˙ c(7) ! (7) ! ! ii & V I ii Vsubs I 6th ? c ˙ ! ˙ ! ! Dominant with a raised 5th (Vœ(7)+)# œ((A )ugm˙ ented) œ œ( )#œ ˙ & œ œœ ˙ œ œœ suœbst. 6th˙

Here the V or V7 chord has a raised (sharp) 5th. The “+5”œ resolves up by half step (like a leading rd œ œœ( ) ˙ œ œœ( ) ˙ tone) to the 3 of the subse&que?œntœ toniœcœ chor˙˙d. This onlœœ y ocœcœurs ˙whe˙n the tonic chord major. ii V+(7) I ii V(7) V+(7) I (7) • Sometimes the V + chorœd is preceded by theœ diatonic version of the chord (second example below)? œ ˙ œ ˙ (7) (7) • This alteration can iia l s o beV a ppl Iied to secondaii rVysub dos m iInant chords & œ bœœ n˙ œ6th bbœ nn˙ œ #œ œœ nœ œ b œ n ˙ œ œ ˙ œ œ œ œ

( ) ˙ ˙ œ œ ?œ #œ ˙ œ œ( )#œ ˙ œ #œ & œœ œœœ ˙ ˙ œ œœœ œ œ ˙ ˙ 6 I (cto7) I V7 (cto7) V7 IV6 (cto7) V5 I

? œ œ ˙ œ œ ˙ ii V+(7) I ii V(7) V+(7) I

œ ˙ œ bœ n˙ œ #œ œ nœ & œ bbœœ nn˙ œ b œ n ˙ œ œ œœ œ ? œ #œ œ œ œ œ ˙ œ œ ˙ 6 I (cto7) I V7 (cto7) V7 IV6 (cto7) V5 I [Title] [Composer]

& c ! ! !

Another way us?e chrcomatic!ism in the embellishment! or ornamentation of chord progr!essions is to use chromatic chords in a non-traditionally functional way. Two such techniques are the Diminished 7th Chord and Sisumbst.ult an6theity.

œ œ( ) ˙ th œ œ( )o7 ˙ Common& Tonœ e Dœimœ ini˙shed 7 Cœhord œ(cœt )˙

th Ususlly the diminiœshed 7 chord functionsœ as a leading-tone chord or as a secondary leading-tone chord. In? thiœs case the c˙hord funcœtions as an ˙ornamental harmony much like the way a neighbor (7) (7) or passing toneii or Vna m e ntI s a singliie l i ne Vsub. s I t iIs not analyzed with Roman numerals, but merely with its symbol (cto7). 6th

• It can embellish any triad or dominant 7th chord (see first two examples) œ #œ( ) ˙ œ œ( )#œ ˙ • &Itœ can aœct as ˙a passing cœhord œ(see œthird˙ example) • Itœ maintaœins one note inœ commœon with the chord that it precedes, specifically the root of the subsequent chord, meaning that as a common tone diminished 7th chord, a Co7 ?chorœ d cœould be followeœd by œa C major triad (both chords have the note C in common and it is the r˙oot of the second chord) ˙ ii V+(7) I ii V(7) V+(7) I • The common tone can be in any voice of the chord

œ ˙ œ bbœ nn˙ œ #œ œ nœ & œ bbœœ nn˙ œ œ ˙ œ œ œœ œ

? œ œ ˙ œ #œ œ œ œ œ ˙ 6 o7 7 o7 7 6 o7 I (ct ) I V (ct ) V IV (ct ) V5 I

Simultaneity

This refers to the use 2of traditional sonorities used in non-tra[diTittleiona] l ways. In this case, the chromatic chords are effectively sounding at the same time as (simultaneously) a traditional sonority is heard. It is a11s if a traditional path (progression) of chords takes a slight chromatic and functional detour and then resumes its usual resolution. Since these chords do not have a specific function beyond tha!t of or! nament!ation, t!hey are !not analyz! ed wit!h Roma!n numer!als, but ! ! just with their chord nam&es in parentheses.

Here is how a I ii∅ V ?I pa!ssage! might !be ornam! ented. ! All the! “simul!taneous”! chords! do not ! ! change the overall, basic harmonic effect:

& œ œ bbœ bœ b"œ bœ n œ œ œ ##œ n nœ #œ b nœ œœ œ nœ ? W 4 6 o7 o7 o7 o7 ø 5 I (D# D C# C ) ii 2 V I

23 Further Harmonic Elements, p. 2 & ! ! ! ! ! ! !

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