SASH CHORD HARM, CHORD CONNECTION Since the mears of chord connection for upper structure chords have been covered in a previous chapter, only the new methods, peculiar to slash chords will be shown inthis chapter. Review the methods in the chapter on upper structure chord connection f needed. The additional methods sed in this chapter are the result of theway that groups of chords with transparent sonorty Need to show a sense of development. METHODS OF CONNECTION ” 1. Common upper structure 2. Pedal point 3. Modal contour 4. Tension coutour 5. Cryptic cadences 6. Symmetric pattems ‘The first three are covered in previous chepters. TENSION CONTOUR, Referring to the tension index number rather than the modal contour, this isthe ofganzation of | 1 chords usualy three to six that folow a preset Contour of tense to relaxed, $swol Note tha his technique is used most i areas f transition just pror repose could be placed anywhere You must bear in mind the effects of other ‘musical elements: tessitura, harmonic melody, harmonic rhythm and tempo when composing these. TENSE MOSTTENSE RELAXED CRYPTIC CADENCES ‘This isthe slash chord version of cadence parody as found inChapter Vil. Rather than mimic ‘modal comparisons, the point of emphasis in this method is on the melodic aspect of the roots Of the diatonic cadence and the rescltion qualities of voice leading, The upper structure being 2 basic triad, always has its tonic as part ofthe chord so can be treated as a separate tonality, ‘You can organize the unper structures as a V1, the roots as a V4, and both the US and roots as leading tones resolving upward or upper neighbor tones resolving downward isthe different’ Fatios of the US to the bass that give a variety of results! ”