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Modes of Phrygian Functionality: b^2-Centered Progressions in Chromatic Music

JiHyun Woo
음악연구소 (Ewha Music Research Institute)|2010.06|이화음악논집 (journal of Ewha Music Research Institute)|제14권 제1호|pp. 129-157|DOI 10.17254/jemri.2010.14.1.006

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참고문헌

키워드

조성체계Chromatic MusicPhrygian ModeTonal SystemHarmonic SyntaxChromatic Scale-step b^2b^2-syntax반음계적 음악프리지안 모드화성론반음계적 스케일-스텝 b^2b^2-화성론

초록

This paper explores the late nineteenth-century expansion of the tonal system, by constructing and characterizing a harmonic syntax centered the chromatic scale-step b^2. An alternative mode of functionality is considered—not based on the pivot of the leading-tone (^7) that is responsible for traditional tonal progression, but rather on the chromatic scale-step, a minor second above the Tonic, b^2—as a kind of mirror or dual of the leading-tone. I developed a systematic language of b^2-progression, by considering all triadic and seventh-chord possibilities containing b^2. Progressions of the type Tonic-to-b^2-X-to-Tonic (where b^2-X is each of these possible triads and seventh-chords in turn) are then sought in the late-nineteenth-century and early-twentieth-century tonal literature, with surprising success. Almost every possible configuration has been found exemplified in real music, mostly in passages that are almost completely opaque when analyzed from the perspective of traditional functionality. Therefore, the end result of this study is to provide an alternative harmonic paradigm and syntax for understanding heretofore difficult chromatic music.

Abstract

This paper explores the late nineteenth-century expansion of the tonal system, by constructing and characterizing a harmonic syntax centered the chromatic scale-step b^2. An alternative mode of functionality is considered—not based on the pivot of the leading-tone (^7) that is responsible for traditional tonal progression, but rather on the chromatic scale-step, a minor second above the Tonic, b^2—as a kind of mirror or dual of the leading-tone. I developed a systematic language of b^2-progression, by considering all triadic and seventh-chord possibilities containing b^2. Progressions of the type Tonic-to-b^2-X-to-Tonic (where b^2-X is each of these possible triads and seventh-chords in turn) are then sought in the late-nineteenth-century and early-twentieth-century tonal literature, with surprising success. Almost every possible configuration has been found exemplified in real music, mostly in passages that are almost completely opaque when analyzed from the perspective of traditional functionality. Therefore, the end result of this study is to provide an alternative harmonic paradigm and syntax for understanding heretofore difficult chromatic music.

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