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A Practical Approach to Neo-Riemannian Analysis - Robert T. Kelley

A Practical Approach to Neo-Riemannian Analysis - Robert T. Kelley

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Charting Enharmonicism on the Just Intonation
:A Practical Approach to Neo-Riemannian Analysisby Robert T. KelleySpring, 2002 - 2003AbstractIn this study, I propose a theory of voice leading for use with the tonal space of the just-intonation
. The theory is based largely upon established theories of diatonic voiceleading and chromatic harmony, and also draws upon the principles of just intonation within thetonal system. The unambiguous expression of intervals as untempered ratios is dependent uponan established seven-step diatonic scale in which the intervals can function. Tuning correctionsmust be made at specified junctures within the just-intonation diatonic system in order to showits stability in comparison with chromatic harmony in just intonation. Only then can the varioustypes of enharmonic progressions be unambiguously charted spatially as directed motion on the
. In addition to providing a diatonic context for parsimonious voice leading between anytwo tertian sonorities, the just-intonation
model allows for seventh chords, non-chordtones, augmented-sixth chords, other chromatically inflected chords, and extended tertian chordsto be expressed on the tonal network along with the traditional triadic transformations.Examples of the analytic method are given here through the graphing of several typicalenharmonic progressions drawn from the two Rhapsodies, Op. 79, of Johannes Brahms. Finally,a case-by-case method for treating atypical resolutions of normally functional chords issuggested through a just-intonation analysis of the opening of the Prelude to Wagner's
Tristanund Isolde
IntroductionIn analyzing chromatic music as voice leading transformations, one is likely to see adiversity of chord types and qualities, most with tonal functional expectations, featuring bothtraditional and non-traditional resolutions. In recent research, certain transformations have beenselected by neo-Riemannian theorists as displaying a special "parsimonious" status.
Thesestudies, however, treat only a small fraction of all of the chord successions seen in chromaticmusic. I propose that a definition of a kind of diatonic parsimony will also allow for aworthwhile practical view of music as a progression of closely-related harmonies through tonalspace.
In the first section of this paper, I shall outline the diatonic theories that support thereasoning behind the just-intonation
model given in part two. Part three presentsexamples of the analytical method taken from the two Rhapsodies, Op. 79 of Johannes Brahms.In part four, a case-by-case method for treating atypical resolutions of normally functionalchords is suggested through an analysis of the opening of the Prelude to Wagner's
Tristan und  Isolde
For a background and introduction to neo-Riemannian theory, see Hyer 1995, Cohn 1997, and Morris 1998. For aseries of articles on the subject and a bibliography, see the Neo-Riemannian Theory issue of the
 Journal of MusicTheory
(42/2, Fall 1998).
This kind of parsimony is not restricted to transformations that preserve common tones. Instead, exclusivelystepwise (and common-tone) motion is the constraint for "diatonic parsimony." These voice-leading restrictions aregiven by Agmon 1991 and several other studies of diatonic voice leading.
I. The Diatonic Basis for Chromatic MusicA summary of certain recent theories of diatonic voice leading will establish the basis forsuch a diatonic understanding of all voice leading.
Agmon (1991) provides a mathematicaldescription of mod-7 diatonicism that privileges triadic tonality when stepwise voice leadingconstraints are in place. Agmon's system accomplishes this through induction of the necessityfor minimal stepwise or common-tone voice-leading connections between three- and four-notecyclically-generated sonorities. In other words, among triads and seventh chords there arealways stepwise and/or common-tone voice motions that are surjective (onto) and do not exceedthe number of notes in the larger chord. (This "efficiency constraint" is a kind of modifiedinjective (one-to-one) relation to allow for all possibilities of transformations between both three-and four-note chords.) Agmon's proof demonstrates that in a seven-scale-step diatonic universe,triads and seventh chords are the only sonorities that satisfy this condition of efficient linearconnections.For analytic purposes, the significance of this finding lies more in the efficiencyconstraint itself than the demonstration of the power of tertian harmony. Agmon shows that anythree- and/or four-voice tertian-chord transformation is diatonically parsimonious.
The neo-Riemannian theorists
focus narrowly on the restricted parsimony of the contextual inversions
The diatonic basis of chromatic harmony has been extensively debated in the literature. Proctor (1978, 149ff) andMcCreless (1983, 60-62) assert that when chromatic progressions transcend the established functional harmonicparadigms (diatonic root motion, diatonic resolution of unstable intervals, etc.), a diatonic harmonic foundation is nolonger present. On the other hand, Smith (1986, 109) and Harrison (1994) give arguments for the diatonic basis of harmonic function in chromaticism, and Brown (1986) presents Schenker's chart of Stufen (containing everychromatic degree except
V) as a counterexample to McCreless and Proctor. Jones (2002, 111) argues for thelocal (but not global) diatonic interpretation of chordal successions, and builds upon Smith's view, asserting that afundamentally diatonic distinction between "stepwise motion" and "chromatic inflection" is part of every listener'sperception of chromatic music. My own work is based largely upon this understanding of chromaticism.
See note 2.
See note 1.

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