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Chord Progressions in Tonal Music

Chord Progressions in Tonal Music



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Published by: ภัทรธร ช่อวิชิต on Jan 03, 2011
Copyright:Attribution Non-commercial


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Following is a summary of 
Syntactic Structures in Music
. One of thepurposes of this site is to get feedback to improve the content of this book and facilitate the process of publishing. By reviewing thecontents of the web site you agree to be bound by the conditions of the copyright as indicated on thecopyright note.For guidelines on how to reference this site from other websites orin academic papers please refer to theguidelines page.PrefaceChapter 1. The Basic Syntactic StructureIntroductionSyntax in Language Syntax in MusicChapter 2.Static and Dynamic Harmony Static Harmony Dynamic HarmonyChapter 3.Non-functional Chords IntroductionAuxiliary ChordsPassing ChordsAppoggiatura ChordsChapter 4.Linear Progressions Chapter 5.Extensions within the Basic Structure Introduction The Dominant Prolongation The Static Coda The Dynamic Introduction
Others to follow in the book 
Chapter 9.Example Harmonisation Chapter 10. Historical Background
Index of Musical Examples
 Conventional theories of structure in tonal music concentrate eithertotally onroot progressionpatterns (Rameau. Schoenberg, etc) ortotally onvoice leading. (Schenker etc) This book is the first toexplain how root progression patterns and voice leading worktogether. This book is based on a systematic analysis of rootprogression patterns in a large number of tonal (and tonallyinfluenced) pieces of music and shows how chord progressions(once voice leading patterns have been addressed) create musicalphrase structures similar to sentence structures in natural language.Whilst voice leading principles are fairly well understood, what isnew in this book is the explanation of howroot progressionswork intonal music and how they interact with voice leading. When viewedfrom this perspective, it is possible to demonstrate thatmusicalphrasesare constructed in ways that show similarities with the waysentences are structured in natural languages. This makes itpossible to explain every chord in its context within the musicalphrase rather than just in terms of the chords surrounding it. This book is about what is normally referred to astonal musicormusic which is based on tonality. By tonal music I mean music thatis composed in a recognisable system of scales and chord patternsas exemplified by the European classical tradition of the 18th and19th centuries and to some extent the 20th century. Most of themusic we listen to: classical, popular music, jazz, world music, etc. isconstructed to some extent along tonal lines. People are oftenpuzzled about why this system, which at first sight, is so simple - just a scale of seven diatonic notes (plus 5 chromatic notes)arranged in different patterns - actually produces such a wealth of possibilities. What I hope to show is that what gives tonal music theability to form these varied structures is, the way voice leading androot progression patterns work together and the way chordprogressions are organised into
musical phrase structures
similar tolanguage structures in natural languages.Some writers such as Weber, Schoenberg, McHose and Piston havedescribed chord progressions but only in terms of tables of probabilities. These tables tell us nothing about the relationshipsbetween the chords themselves or between the chords and musicalphrases. Schenker proposed a theory of musical structure basedtotally on voice leading but this does not adequately explain howroot progressions work or how musical phrases are structured.Please refer to theOutline Thesisand theQ and Asection of this site for further information on the history of such theories. A more

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