Syncope dissonance
Syncope dissonance is a type of dissonance treatment. A syncope dissonance is
- the back part of a syncopated note ,
- which falls on a stressed beat position ,
- forms a dissonant interval with at least one other voice
- and then move down a second :
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:
- Seconds ,
- Fourths ,
- Sevenths ,
- whose Oktaverweiterungen ( None , eleventh , etc.),
- as well as all excessive and decreased intervals.
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:
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.
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):
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 .:
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 .:
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:
Sources and literature (chronological)
- Johannes Tinctoris : Liber de arte contrapuncti . 1477.
- Franchinus Gaffurius : Practica musicae . Milan 1496.
- Gioseffo Zarlino : Le istitutioni harmoniche . Venice 1558.
- Johann Philipp Kirnberger : The art of the pure sentence in music . Vol. 1. Decker and Hartung, Berlin and Königsberg 1774.
- Thomas Daniel: counterpoint. A set theory for vowel polyphony of the 16th century . Dohr, Cologne 1997, ISBN 3-925366-43-1 .
- Ulrich Kaiser : ear training. Sentence theory, improvisation, hearing analysis. Bärenreiter, Kassel 1998, vol. 1 ( basic course ) ISBN 3-7618-1159-4 , vol. 2 ( advanced course ) ISBN 3-7618-1160-8 .
- Johannes Menke : Historical-systematic considerations on the sequence since 1600. In: Christian Utz, Martin Zenck (Ed.): Passages. Theories of transition in music and other art forms (= music.theories of the present. 3). Pfau, Saarbrücken 2009, ISBN 978-3-89727-422-8 , pp. 87-111.
- Johannes Menke: Counterpoint I: The Music of the Renaissance . Laaber-Verlag, Laaber 2015, ISBN 978-3-89007-825-0 .
Individual evidence
- ^ First Tinctoris 1477, 2nd book, chap. 23 and Gaffurius 1496, book 3, chap. 4th
- ↑ Tinctoris 1477, 2nd book, chap. 1-17.
- ↑ Zarlino 1558, 3rd book, chap. 42.
- ↑ This expressly addresses u. a. Artusi 1598, p. 41ff.
- ↑ Zarlino 1558, 3rd book, chap. 42.
- ↑ Artusi 1598, p. 40. See also Daniel 1997, p. 204 and (in detail) Menke 2015, p. 230–233.
- ↑ Heinichen 1728, pp. 160, 194.
- ↑ Menke 2015, p. 243ff.
- ↑ See Kaiser 1998, Menke 2009.
- ↑ Kirnberger 1774, p. 30
- ↑ Kirnberger 1774, p. 28
- ↑ Kirnberger 1774, pp. 49, 74.