SOUND PATTERNS

A Structural Examination of Tonality, Vocabulary, Texture,
Sonorities, and Time Organization in Western Art Music

by PHILLIP MAGNUSON

DIATONIC PROCEDURES I

Harmonic Dimensions

Chapter 12. Transition to the Common Practice Period
Chapter 13. Roman Numeral Analysis
Chapter 14. Tonic and Dominant

Introduction

Happy New Year!

The material in this text has been preparatory to this point, as we begin an examination of the Common Practice Period. Of course, music did not suddenly change on 31 December 1600... it was a gradual process. But, the change was profound.

The harmonic dimension

Perhaps the greatest change was the codification of the harmonic dimension in music. While line and counterpoint were still a composer's greatest concern, there was a growing sense of the grammar of harmony, and this is the direction this text now moves, developing a vocabulary of chords.


Links to other units in Sound Patterns
FUNDAMENTALS
BASIC RULES FOR SPECIES COUNTERPOINT
DIATONIC PROCEDURES II: Expanding the Phrase
DIATONIC PROCEDURES III: Substitutions
CHROMATIC PROCEDURES I: Moving from the Global Key
THE ABC's OF CHORALE SETTING
LARGER PERSPECTIVES
CHROMATIC PROCEDURES II: Modal Mixtures
CHROMATIC PROCEDURES III: Advanced Vocabulary
THREE ANALYSIS PROJECTS
MICROCOSMS: Musical Styles of the Twentieth Century

Copyright 2008-2009 by Phillip Magnuson.

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