Syncope dissonance

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Syncope dissonance is a type of dissonance treatment. A syncope dissonance is


  \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ set Score.tempoHideNote = ## t \ time 3/2 \ tempo 4 = 160 << \ new Voice = "first" \ relative c '' { \ voiceOne s1 d2 ~ \ tweak NoteHead.color #red \ tweak Stem.color #red dc s2 \ bar "||"  s1.  a2 s1 \ bar "||"  } \ new Voice = "second" \ relative c '{\ voiceTwo s1.  e2 s1 \ bar "||"  s2 g1 ~ \ tweak NoteHead.color #red \ tweak Stem.color #red g2 f} >> \ new FiguredBass {\ figuremode {<_> 1.  <7> <_> <2>}} >>

This method originated in the 14th century and was described in the composition teachings of the Renaissance and set out in rules. Since then it has been a fundamental element of composition technique, also in tonal music .

With regard to its bar position, syncope dissonance differs from all other types of dissonance in Renaissance music ( passage notes , alternating notes , secondary notes and anticipations ), as these were basically set on unstressed parts of the bar. In the Renaissance, the syncopated note was usually a ( dotted ) semibrevis .

Two-part

The doctrine of counterpoint originally referred to two-part music and was later methodically based on two-part music. In this context she knows as dissonances:

Before and after a syncope dissonance there are usually consonant intervals ( prime , octave , fifth , third , sixth ). These are known as the preparation and resolution of syncope dissonance.

Gioseffo Zarlino and other theorists recommend that after a syncope dissonance, the closest consonance should follow. However, other intervals can also follow, in that the dissenting voice does not stop when the syncope dissonance is resolved, but moves:


  \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ set Score.tempoHideNote = ## t \ time 2/2 \ tempo 4 = 160 << \ new Voice = "first" \ relative c '' { \ voiceOne s2 d ~ dc \ bar "||"  sd ~ dc \ bar "||"  sd ~ dc \ bar "||"  } \ new Voice = "second" \ relative c '{\ voiceTwo s2 f e1 \ bar "||"  s2 def \ bar "||"  s2 gea \ bar "||"  } >> \ new FiguredBass {\ figuremode {<_> <6> <7> <6> <_> <8> <7> <5> <_> <5> <7> <3>}} >>

Syncope above / syncope below

In the seventh, the syncope dissonance is in the higher voice. For seconds and fourths, it can be in the higher or lower voice. Zarlino demonstrates these different possibilities and also shows that after a syncope dissonance u. A diminished fifth can also follow.


\ new PianoStaff << <<% because of figured bass \ new Staff << \ set Score.tempoHideNote = ## t \ time 3/2 \ tempo 4 = 160 \ override Staff.TimeSignature.transparent = ## t \ relative c '{ s2 rd ~ dcs \ bar "||"  s2 d1 e s2 \ bar "||"  s2 re ~ eds \ bar "||"  s2 e1 f s2 \ bar "||"  } >> \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ clef "bass" \ relative c '{s2 b1 c s2 \ bar "||"  s2 r2 d ~ dcs \ bar "||"  s2 a1 b s2 \ bar "||"  s2 rc ~ cbs \ bar "||"  } >> >> \ new FiguredBass {\ figuremode {<_> 1 <3> 2 <2> <1> <_> 1.  <1> 2 ​​<2> <3> <_> 1.  <5> 2 <4> <3> <_> 1.  <3> 2 <4> <5 />}} >>% because of figured bass

Agents / patients

Giovanni Artusi compared the processes in the context of a syncope dissonance with a duel: the dissonance arises when a voice that does not move and thus behaves 'passively' receives a blow (“ percossa ”) from the movement of another voice . Artusi calls the 'passive' (syncopated) voice “ parte patient ”, the “active” countervoice “ parte agent ”.

Second / none

Since the 18th century a distinction has been made between the syncope dissonance of the 'second' and the 'ninth', depending on whether the syncope is in the lower or in the higher voice (i.e. regardless of the actual distance between the voices):


  \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ set Score.tempoHideNote = ## t \ time 2/2 \ tempo 4 = 160 << \ new Voice = "first" \ relative c '' { \ voiceOne s2 d ~ dc \ bar "||"  sd ~ dc \ bar "||"  s1 d \ bar "||"  s1 d \ bar "||"  } \ new Voice = "second" \ relative c '{\ voiceTwo s1 c \ bar "||"  s1 c '\ bar "||"  s2 c ~ cb \ bar "||"  sc, ~ cb \ bar "||"  } >> \ new FiguredBass {\ figuremode {<_> 1 <9> <_> <9> <_> <2> <_> <2>}} >>

Additional votes

A two-part progression with a syncope dissonance tones can be set, with the other voices in Agente or (as more syncope dissonance) with the Patiente consonant. Many dissonant sounds that remained common after the 16th century can be derived in this way, e.g. B .:



\ new PianoStaff << <<% because of figured bass \ new Staff << \ set Score.tempoHideNote = ## t \ tempo 4 = 160 \ override Staff.TimeSignature.transparent = ## t << \ new Voice = "first" \ relative c '' {\ voiceOne s2 d ~ dc \ bar "||"  s2 d ~ dc \ bar "||"  s2 d ~ dc \ bar "||"  s2 <f d> ~ <f d> <e c> \ bar "||"  s1 f, 2 s2 \ bar "||"  s2 b ~ ba \ bar "||"  s1 g2 s2 \ bar "||"  s1 a2 s2 \ bar "||"  } \ new Voice = "second" \ relative c '{\ voiceTwo s1 e2 s2 s1 e2 s2 s1 e2 s2 s1 g2 s2 s2 d ~ dc s2 d ~ dc s1 e2 s2 s1 e2 s2} >> >> \ new Staff < <\ override Staff.TimeSignature.transparent = ## t \ clef "bass" \ relative c '{s1 a2 s2 s1 g2 s2 s1 c2 s2 s1 e, 2 s2 s1 a2 s2 s1 a2 s2 s2 d ~ dc s2 d ~ dc } >> >> \ new FiguredBass {\ figuremode {<_> 1 <5 4> <_> 1 <6 5> <_> 1 <9> <_> 1 <9 7> <_> 1 <6 4 > <_> 1 <9 4> <_> 1 <4 2> <_> 1 <5 2>}} >>% because of figured bass

Detachment from the cadence, chains of syncope

Syncope dissonances were initially mainly used in the context of cadences (in the treble clause ). From the second half of the 16th century, however, they were increasingly used within sections.

Syncope chains became a popular compositional tool in the 17th century. They are based on a variety of sequence patterns , e.g. B .:



\ new PianoStaff << <<% because of figured bass \ new Staff << \ set Score.tempoHideNote = ## t \ tempo 4 = 160 \ override Staff.TimeSignature.transparent = ## t << \ new Voice = "first" \ relative c '' {\ voiceOne s2 e ~ ed ~ dc ~ cb \ bar "||"  s2 e d1 c bes a \ bar "||"  } \ new Voice = "second" \ relative c '{\ voiceTwo s1 fed s2 c' ~ cb ~ ba ~ ag ~ gf} >> >> \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ clef "bass" \ relative c '{s1 a2 bgafgse f sharp g sharp ac, defa,} >> >> \ new FiguredBass {\ figuremode {<_> 1 <6 5> <6 5> <6 5> <_> 2 <6> <6 5> <6 5> <9> <6> <6 5> <6 5> <9> <6>}} >>% because of figured bass

Syncope dissonance versus lead

According to the contrapuntal approaches outlined here, a sound progression often contains a structurally fundamental interval progression to which further intervals are added. In the theory of harmony of the 18th century, however, a new understanding was established that gradually pushed back these ways of looking at things and also led to a changed understanding of syncope dissonance.

According to Johann Philipp Kirnberger, all sounds can be derived from inversions of the triad and the seventh chord . The seventh chords in seventh chords are considered to be “essential dissonances”, “because they are not placed in the place of a consonance, to which they immediately give way, but instead claim a position for themselves”. A seventh in a seventh chord does not represent a chord tone, but is one itself. On the other hand, all other dissonant chords contained “accidental dissonances”, “which can be viewed as suspensions [...] which for a short time take the place of the consonant ones, and a prolonged [!] Duration of the keynote with which they dissonate in their next consonances skip ".

  • The seventh under a) are therefore lead that represent a tone of a triad inversion (the sixth of a sixth chord).
  • The seventh under b) are not a lead, but part of seventh chords.
  • In c) there is a lead to the bass note of a seventh chord reversal (third fourth chord); The f in the upper part, on the other hand, as a chord seventh, is “essential dissonance”.
  • In d), h and f are leads within a sixth chord:

\ new PianoStaff << <<% because of figured bass \ new Staff << \ set Score.tempoHideNote = ## t \ tempo 4 = 160 \ override Staff.TimeSignature.transparent = ## t << \ new Voice = "first" \ relative c '' {\ voiceOne s2 e ^ "a)" ~ ed ~ dc \ bar "||"  se ^ "b)" ~ ed ~ dc \ bar "||"  s2 <ce> <b f '> 1 ^ "c)" ~ <b f'> 2 ^ "d)" <ce> \ bar "||"} \ new Voice = "second" \ relative c '' { \ voiceTwo s2 g a1 g s2 gabga s2 g g1 g} >> >> \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ clef "bass" \ relative c {s2 c f1 e s2 cfb, ea , s2 e '~ e2 d e1} >> >> \ new FiguredBass {\ figuremode {<_> 1 <7> 2 <6> <7> <6> <_> 1 <7> 2 <_> <7 > <_> <_> <6> <5 3 2> <6 4 3> <9 5> <8 6>}} >>% because of figured bass

Sources and literature (chronological)

Individual evidence

  1. ^ First Tinctoris 1477, 2nd book, chap. 23 and Gaffurius 1496, book 3, chap. 4th
  2. Tinctoris 1477, 2nd book, chap. 1-17.
  3. Zarlino 1558, 3rd book, chap. 42.
  4. This expressly addresses u. a. Artusi 1598, p. 41ff.
  5. Zarlino 1558, 3rd book, chap. 42.
  6. Artusi 1598, p. 40. See also Daniel 1997, p. 204 and (in detail) Menke 2015, p. 230–233.
  7. Heinichen 1728, pp. 160, 194.
  8. Menke 2015, p. 243ff.
  9. See Kaiser 1998, Menke 2009.
  10. Kirnberger 1774, p. 30
  11. Kirnberger 1774, p. 28
  12. Kirnberger 1774, pp. 49, 74.