Modulation in general, the altered chords, etc.
Section 29. Altered Chords,
which have already been touched upon, may be known by their resolutions. An Altered Chord moves to a principal chord of the key in which it, the altered chord, is chromatic.
Any step of a scale, major or minor, may be changed chromatically, some of the changes being the result of passing tones, others being chord changes made to heighten the effect of the chord itself. Thus, in the latter case, the natural tendency of the supertonic seventh chord toward the dominant, or toward its chord of introduction, the tonic six-four, is increased in the major mode, if by lowering the fifth of the supertonic chord this supertonic be made somewhat more dissonant.
It must ever be borne in mind that many chords are definable as Altered Chords only through their surroundings.
What, for example, might cause the mental effect of a modulation in a slow tempo, must be regarded as a chromatic alteration in a rapid movement.
Section 30. The Supertonic Seventh with Sharp Third.
References. Beethoven, Op. 7, II, 19, 23 ; Op, 10, No. 2, I, 57; Op. 10, No. 3, II, 5 ; Chopin, Prelude 13, più lento, m. 7; Schumann, Op. 12, No. 3, m. 1.
Section 31. Other Altered Steps. Made so by their surroundings.
References. Beethoven, Op. 10, Xo. 1, III, 37; Grieg, Op. 6, No. 4, m. 3; Czerny, Op. 299, No. 27; Cramer, Etude 9, m. 50; Etude 19, m. 7; Chopin, Nocturne No. 2, m. 11; No. 6, m. 81 ; Schumann, Op. 68, No. 17, m. 13 and 17; No. 26, m. 3; No. 28, m. 3, 7, 20; No. 30, m. 2, 3, 7; No. 38, m. 3; No. 39, m. 27; Bizet, V Arlesienne, Suite I, First Movement, Tempo I; Wagner, Tannhäuser, 211, 220, 23S, 254; Flying Dutchman, 13.
Section 32. Apparent and Real Modulations. These Apparent Modulations may often be regarded as intensifications of secondary scale steps, through the precedent use of their apparent dominant or diminished seventh chords – as has already been stated; or, as a series of dominant seventh chords preceding a cadence, the roots involved being usually the III, VI, II, V, I (see Appendix, No. 1).
Whether or not real modulations are present, each analyst must decide for himself. At all events, the succession III, VI, II, V, with or without sevenths, and in whatever form, is one which confirms the ultimate tonic; it is one in which, however strong these questionable key impressions may be, the total impression is one of pushing on to the close in that final tonic harmony which rounds out the whole. This feature of the thing leads many to say "altered chords" where the man of the old school says "modulation."
References. Beethoven, Op. 10, No. 3, III, 17 ; Op. 22, II, 34; Chopin, Prelude No. 8, m. 7; Cramer, Etude 18, m. 9.
Section 34. Enharmonics. Enharmonic notation is the use of that double notation which may be applied to any tone; thus F 8 may be written Gb, or E, Fb.
Enharmonics are used:
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as a means of modulation;
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as a means of simplifying the reading or playing of a passage, which, if written out logically, would pass through a remote and difficult key;
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as the result of careless or willful notation.
It is probable that no feature in Analysis causes trouble equal to that given by Enharmonic Notation, especially by that careless and illogical kind last mentioned, which is remarkably common in modern music. Countless cases exist in which the ear hears one thing, – the impression of a key, an impression consistent and undisturbed, – while on the paper the eye beholds another thing – two contradictory keys. In a passage in sharps, for instance, stands a flat chord, and the mind through the eye is aware of a hitch, unwarrantable and without reason, while to the ear all is smooth and satisfactory. Such a passage will oblige the student to find and to change mentally the enharmonics to their correct and legitimate notation, if he would account for things satisfactorily.
General Rules are these :
- When a passage, in flats, for instance, goes into sharps, and stays there permanently, the chord where the change of accidentals occurs will contain the tone or tones enharmonically altered; in such a case a definite modulation is made and is to be recognized as such (see Ex. 76);
- When, for example, in a passage in sharps, a few measures are written in flats and are followed by sharps again, this passage in flats should be regarded as an enharmonic notation of the sharp strain, and in marking it two methods may be employed: (a) the chords may be marked as they appear to the eye, and "Enh. Not. of such and such a key "be added, or, the better way, (b) the chords may be marked as they sound and hang together, not as they are notated, and "Enh. Not," be added (see Ex. 77);
- When an occasional contradictory chromatic intrudes, it may be readily changed for its rightful equivalent by spelling the chord in question and finding the tone foreign to the scale (see Ex. 79).
In marking the exercises it may be necessary to use words instead of signs. The author has indicated above some of the exercises the question the scholar is to ask himself, and below the manner of marking.
References. Schumann, Op. 12, No. 2, m. 17 ; No. 8, m. 1; Chopin, Nocturne No. 9, m. 62; Prelude 12, m. 12; Prelude 8, m. 22; Prelude 19, m. 21, Wagner, Lohengrin, p. 14, 19, 22; Tannh äuser, 144, 246; Flying Dutchman, 41.
35. Modulation through the Six-Four.
References.Chopin, Polonaise No. 3, m. 41; Wagner, Tannhäuser, 224.
Section 36. Assumption of Key. A modulation may be made by assuming, taking, a new key. The chord taken may be a tonic or a dominant, preferably the former, and a regular progression will confirm the key effect. This procedure is often made in sequence form, and by hitches of a third.
References. Beethoven, Op. 10, No. 3, I, second part, m. 92; Chopin, Prelude 9; Wagner, Tannhäuser, pp. 7, 49, 245; Flying Dutchman, 36, m. 13.
Section 37. Incomplete Modulation. A progression is sometimes made to a foreign major triad, which triad, by reason of its place at the end of a phrase or section, holds the mind in suspense, and thus performs the function of a dominant harmony. Although the apparent modulation be not completed, it is well to mark such a chord as modulatory, including as many of the preceding chords as may rationally belong to the key. This kind of a progression occurs many times in Wagner as a vi V, or IV V. Remember Principle No. 5.
References. Wagner, Tannhäuser, 124, 233, 234 ; Flying Dutchman, 3.
Section 38. The Deceptive Resolution.
References. Beethoven, Op. 7, II, 20; Chopin, Prelude No. 13, m. 15; Prelude, Op. 45; Schumann, Op. 12, No. 8, Coda; Wagner, Lohengrin, p. 51, m. 2; also pp. 64, 65 ; Tannhäuser, pp. 4, 37, 146, 157, 256 ; Flying Dutchman, 119,227.
Section 39. Passing Diminished Seventh Chords. These usually rise or fall by seconds, major or minor, most often the latter. Composers notate them very irregularly. The roots appear here and there, as is shown in the Examples below, and often in a very arbitrary manner. A general rule of notation is as follows: When these chords move along the chromatic scale, every fourth chord should have the same root. This is also shown below. In phrases of this nature, no firm hold is felt of any key, except at the ends of the phrase or section – everything is passing, fleeting, which lies between these bounds.
Mark each and every chord according to its notation, or, what is better, mark the chords at the ends of each phrase or section, and pass over the other chords.
References.Chopin, Prelude 19, m. 29; Schumann, Op. 6, Nо. 18; Bizet, L'Arlesienne, Suite No. 1, I, Un poco più lento : Wagner, Tannhäuser, pp. 5, 11, 47, 146, 238, 240; Flying Dutchman. 213.
Section 40. The Diminished Seventh on the Raised Fourth Step.
References. Beethoven, Op. 10, No. 2, I, 46; Cramer, Etude 1, m. 19; Etude 8, m. 27; Wagner, Flying Dutchman, 11, 123.
Section 41. Secondary Seventh Chords in General. Extended successions of secondary seventh chords often give trouble as regards the definition of key. Some passages, as in Exercise 91, when shorn of the passing tones, suspensions, etc., which form many of the apparent secondary seventh chords, present a very simple structure; in which case the analyst must decide whether or not to mark all the combinations as real chords. Other passages, as in Exercises 93 and 94, present a series of secondary sevenths, often unmistakable in key, which turn suddenly, by the fact that any one chord may belong to several tonalities, into another key, possibly into a key quite remote. And, finally, other passages, on close examination, will be found to be made of alternations of supertonic seventh and dominant seventh, a favorite device in the restless music of this day, especially since the advent of Tristan.
When used in succession, or in clusters, so to speak, secondary sevenths gravitate toward a dominant harmony or toward a super-tonic, though the latter case is rare. This leading chord defines the key of the preceding chords. Consequently it is necessary, as in Exercise 93, before fixing on a decision, to survey the entire passage in question and, having found the dominants, to figure from them, to possibly reason backward to the first and opening chord.
References. Schumann, Op. 6. No. 4 , m. 30; Op. 6, Nos. 8, 13, 18, 1 ; Cramer, Etude, No. 1, m. 16; Grieg, Op. 12, No. 5; Chopin, Prelude, No. 2.