Omnibus (music)
Omnibus is the name of a musical sentence model that is related to the so-called Teufelsmühle or Vogler's tone circle . The term was spread through a book by Victor Fell Yellin published in 1998. There, however, Yellin expresses the assumption that the name comes from French music education.
The model is based on an exchange of voices between the root and third of a dominant seventh chord , in which the bass is involved. The third jumps in countermovement that arise are filled in with semitones , while the other voices remain. This results in a sequence of five passage chords that diminish the dominant seventh chord and thus lengthen (prolong) it:
When viewed in isolation, these chords are potentially ambiguous. So in the note example, the tones dis can also be understood as es and vice versa. In this way, dominant seventh chords would become excessive fifths sixth chords (and vice versa), allowing the chords in question to be assigned to other keys. This opens up other opportunities for progression with which the vote exchange model can be broken out.
literature
- Marie-Agnes Dittrich : "Teufelsmühle" and "Omnibus". In: Journal of the Society for Music Theory. Vol. 4, No. 1/2, 2007, ISSN 1862-6742 , pp. 107-121 .
- Paula J. Telesco: Enharmonicism and the Omnibus Progression in Classical-Era Music. In: Music Theory Spectrum. Vol. 20, No. 2, 1998, pp. 242-279, doi : 10.2307 / 746049 .
- 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. ).
- Victor Fell Yellin: The Omnibus Idea (= Detroit Monographs in Musicology, Studies in Music. 22). Harmonie Park Press, Warren MI 1998, ISBN 0-89990-081-X .