Change note

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Alternating note (from Italian nota cambiata : "confused note") in today's music theory usually denotes a note that changes

Alternating notes can be dissonant .

example

In this example ( Wolfgang Amadeus Mozart , Twelve Variations on " Ah, vous dirai-je, Maman ", KV  265 (300e), Var. VI), diatonic lower alternating notes are colored red ; Chromatic lower alternating notes are colored blue :


\ version "2.14.2" \ header {tagline = ## f} upper = \ relative c '{\ clef treble \ key c \ major \ time 2/4 \ tempo 4 = 96 <eg c> 8-.  r <eg c> -.  r <c 'e g> -.  r <ce g> -.  r <cg 'a> r <cf a> r <cf g> r <ce g> r <ae' f> r <gd 'f> r <gd' e> r <ac e> r <fa d> r <df b> r <eg c> 4 r \ bar "||"  } lower = \ relative c {\ clef bass \ key c \ major \ time 2/4 c16 \ tweak NoteHead.color #red bc \ tweak NoteHead.color #red bc \ tweak NoteHead.color #red bc \ tweak NoteHead.color #red bc \ tweak NoteHead.color #red bc \ tweak NoteHead.color #red bcdecf \ tweak NoteHead.color #red ef \ tweak NoteHead.color #red efgabc \ tweak NoteHead.color #red bc \ tweak NoteHead.color #red bcdecd \ tweak NoteHead.color #blue cis dcb \ tweak NoteHead.color #red abc \ tweak NoteHead.color #red bcba \ tweak NoteHead.color #blue gis agf \ tweak NoteHead.color #red efdg \ tweak NoteHead.color #blue fis gg, cgegc, 4} \ score {\ new PianoStaff << \ new Staff = "upper" \ upper \ new Staff = "lower" \ lower >> \ layout {\ context {\ Score \ remove "Metronome_mark_engraver"}} \ midi {}}

Other / more general meanings

In older scripts, alternating notes were used for other types of dissonance. Franz Xaver Murschhauser explains the term in terms of the stressed passage note ( transitus irregularis ). Heinrich Christoph Koch, on the other hand, uses it for free reservations .

Ernst Friedrich Richter uses alternating notes, in addition to the meaning discussed at the beginning, also for free leads and for jumping secondary notes. Rudolf Louis and Ludwig Thuille also subsume the jumping secondary note (including the “Fuxian alternating note”) under the term.

Fux's alternating note

Johann Joseph Fux used the term nota cambiata a dissonant parachutist lower auxiliary note that from a Terzsprung followed Down:



\ new ChoirStaff << \ new Staff << \ set Score.tempoHideNote = ## t \ tempo 2 = 92 \ override Staff.TimeSignature.transparent = ## t \ relative c '' {d \ tweak NoteHead.color #red \ tweak Stem.color #red cab c1 \ bar "||"  cb \ bar "||"  } >> \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ relative c '{d1 c a'4 \ tweak NoteHead.color #red \ tweak Stem.color #red ge fis g1} >>> >

Fux explains the expression cambiata with the fact that the third from the second note to the third “strictly speaking” (“ de rigore ”) would have to occur from the first to the second note, so that the second harmony would be consonant:



\ new ChoirStaff << \ new Staff << \ set Score.tempoHideNote = ## t \ tempo 2 = 92 \ override Staff.TimeSignature.transparent = ## t \ relative c '' {dbab c1 \ bar "||"  cb \ bar "||"  } >> \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ relative c '{d1 c a'4 fe fis g1} >> >>

literature

(chronologically)

  • Franz Xaver Murschhauser: Academia musico-poetica bipartita, or high school of musical composition . Nuremberg 1721.
  • Johann Joseph Fux: Gradus ad Parnassum . Vienna 1725 ( online) .
  • Johann Georg Sulzer : Art. Change notes . In: General Theory of Fine Arts. Leipzig 1774 ( textlog.de) .
  • Heinrich Christoph Koch: Art. Change note . In: Musical Lexicon . Frankfurt 1802, Sp. 1736–1737 ( Textarchiv - Internet Archive ).
  • Ernst Friedrich Richter: Textbook of Harmony . Breitkopf & Härtel, Leipzig 1853 ( limited preview in the Google book search).
  • Rudolf Louis, Ludwig Thuille: Harmony . Klett & Hartmann, Stuttgart 1907. 7th edition (1920) on archive.org .
  • Reinhard Amon: Lexicon of harmony. Reference work on major minor harmony with analysis codes for functions, levels and jazz chords. Doblinger et al. a., Vienna a. a. 2005, ISBN 3-900695-70-9 , p. 95.
  • Jürgen Ulrich : Harmony for practice. Schott, Mainz a. a. 2008, ISBN 978-3-7957-8738-7 , p. 46.

Web links

Individual evidence

  1. Consonant alternating notes are possible because the fifth and sixth are both consonant in the sense of counterpoint theory.
  2. Murschhauser 1721, chap. 14th
  3. Koch 1802.
  4. Richter 1853, pp. 107–111.
  5. Louis / Thuille 1920, pp. 185-188.
  6. Fux 1725, pp. 64-65.