Passage chord
As a passage chord in the are harmony sounds referred to the considered isolated as triads or seventh chords (or reversals thereof) appear, as a result of related but diminution by passing notes can be understood.
The term refers to a hierarchy between sounds: a passage chord is structurally subordinate to the surrounding chords. In addition, the term is used to explain apparent peculiarities in the treatment of dissonance or in the progression of the root note that impose themselves when such a sound is interpreted as an independent triad or seventh chord.
Accordingly, in example a) the second sound is not a seventh chord with a root d and a seventh c , which, as an exception, does not resolve gradually downwards. Instead, the bass note d is a passing note to which the middle voices react ( d also as a passing note , f as an alternating note ). In example b) all notes of the second and third harmony are through notes. Thus, it is not a question of a chord progression with the root sequence C - B (or G ) - A - G ( step sequence I – VII – VI – V), but only a progression of C - G (I – V). In example c) the sixth chord is a chord within a passage with chord root G . A key change G - F - G does not take place here.
Interpretations in this sense were made in the early 18th century, for example by Johann David Heinichen . In 1773 , Johann Philipp Kirnberger went into greater detail on the subject of “continuous accords”. Rudolf Louis and Ludwig Thuille denote continuous sixths and Quartsextakkorde as opinion dissonances . The following example shows in their view a sequence "continuous chords" to a "non-material Orgelpunct" G . This tone must therefore be considered the basic tone of all the interrelationships in the excerpt:
Such a view is also based on Heinrich Schenker's specific concept of the "level" as a "higher [r] abstract [r] unity", under which several harmonies may be subsumed that "look like independent three or four chords". So z. For example, in the Prelude op. 28 No. 4 by Frédéric Chopin according to Schenker, the first step change does not take place until after m.4. All "individual phenomena within these broad levels, however often interpretable they may be - viewed absolutely in themselves", therefore presented "only continuous sounds, but not levels":
Sources and literature (chronological)
- Johann David Heinichen : The general bass in the composition. Dresden 1728 ( digitized version ).
- Johann Philipp Kirnberger : The true principles for using harmony. Decker & Hartung, Berlin and Königsberg 1773 ( digitized version ).
- Ernst Friedrich Richter : Textbook of the theory of harmony. Breitkopf & Härtel, Leipzig 1853 ( digitized version ), chap. 15th
- Simon Sechter : The principles of musical composition. Volume 1. Breitkopf & Härtel, Leipzig 1853 ( digitized version ).
- Heinrich Schenker : Harmony . J. G. Cotta, Stuttgart / Berlin 1906 ( archive.org ).
- Rudolf Louis / Ludwig Thuille : Harmony . Klett & Hartmann, Stuttgart 1907. 7th edition (1920) on archive.org .
- Robert W. Wason: Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg (= Studies in Musicology. Vol. 80). UMI Research Press, Ann Arbor MI 1985, ISBN 0-8357-1586-8 (also: New Haven CT, University, Dissertation, 1981: Fundamental Bass Theory in Nineteenth Century Vienna ).
- David Damschroder: Thinking about Harmony. Historical Perspectives on Analysis . Cambridge University Press, Cambridge 2008, ISBN 978-0-521-18238-6 , pp. 113-126.
Individual evidence
- ↑ See Kirnberger 1773, p. 34. Cf. also Louis / Thuille 1920, p. 68.
- ^ Richter 1853, p. 117.
- ↑ Sechter 1853, p. 40.See also Kirnberger 1773, p. 36.
- ↑ Heinichen 1728, p. 151.
- ↑ Kirnberger 1773, pp. 34-38.
- ↑ Louis / Thuille 1920, pp. 53, 61ff.
- ↑ Louis / Thuille 1920, p. 299.
- ↑ Schenker 1906, p. 181.
- ↑ Schenker 1906, p. 192f.