|Chapter 32. Borrowed Chords|
|Chapter 33. Neapolitan Triad|
|Chapter 34. Augmented 6th Chords|
The presence of chromatic materials in music is inversely proportional to the difficulty in explaining them. The bulk of harmonic areas found in Common Practice Period music (a hypothetical 85%) will be tonics, dominances, connections, and substitutions. Most of the remaining areas will be tonicizations and modulations (a hypothetical 10%). The remaining 5% will be the exotic chromaticism described in this unit (and the next). These chords are interesting and amazing, but must be kept in perspective in regards to their importance.
Learn more about these chromatic sonorities
|BASIC RULES FOR SPECIES COUNTERPOINT|
|DIATONIC PROCEDURES I: Harmonic Dimensions|
|DIATONIC PROCEDURES II: Expanding the Phrase|
|DIATONIC PROCEDURES III: Substitutions|
|CHROMATIC PROCEDURES I: Moving from the Global Key|
|THE ABC's OF CHORALE SETTING|
|CHROMATIC PROCEDURES III: Advanced Vocabulary|
|THREE ANALYSIS PROJECTS|
|MICROCOSMS: Musical Styles of the Twentieth Century|
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