Music Theory and Composition Unit 10 ReviewChromatic Harmony & Modulation

Key Concepts

• Chromatic harmony introduces notes outside the diatonic scale to create tension and color
• Modulation changes the tonal center or key within a piece of music
• Secondary dominants are chords borrowed from related keys to create temporary tonicization
• Augmented sixth chords (Italian, French, and German) contain a raised 4th scale degree and are used for chromatic voice leading
• Neapolitan sixth chords are built on the lowered 2nd scale degree and often precede the dominant
• Pivot chords serve as a common chord between the original key and the new key during modulation
• Enharmonic equivalence allows for smooth modulations to remote keys by reinterpreting a chord's function

Historical Context

• Chromatic harmony and modulation techniques developed during the Romantic era (19th century)
• Composers such as Chopin, Liszt, and Wagner expanded the harmonic language and explored distant key relationships
• The increased use of chromaticism and modulation reflected the emotional intensity and expressive goals of the Romantic aesthetic
• Earlier composers, such as Mozart and Beethoven, had used chromatic harmony and modulation more sparingly
  • Mozart's "Dissonance" Quartet (K. 465) features a chromatically complex introduction
  • Beethoven's "Waldstein" Sonata (Op. 53) employs a dramatic modulation to the mediant key
• The late Romantic period saw the furthest expansion of chromatic harmony, pushing tonality to its limits
  • Wagner's opera "Tristan und Isolde" is known for its extensive use of chromatic harmony and delayed resolution
• The innovations in chromatic harmony and modulation paved the way for the atonal and serial techniques of the 20th century

Chord Types and Functions

• Secondary dominants are chords that temporarily tonicize a degree other than the tonic
  • They are labeled with a slash, e.g., V/V (read as "five of five") is the dominant of the dominant
  • Secondary dominants often resolve to their corresponding diatonic chord (V/V resolves to V)
• Augmented sixth chords are chromatic pre-dominant chords that contain an augmented sixth interval
  • Italian sixth (It6): consists of an augmented sixth, major third, and doubled root (scale degrees b6, #4, 1)
  • French sixth (Fr6): adds a perfect fourth to the Italian sixth (scale degrees b6, #4, 1, 2)
  • German sixth (Ger6): consists of an augmented sixth, perfect fifth, and major third (scale degrees b6, #4, 1)
• Neapolitan sixth chords (bII6) are built on the lowered 2nd scale degree and typically lead to the dominant
  • They contain a minor third and diminished fourth above the root (scale degrees b2, 4, b6)
• Borrowed chords are chords taken from the parallel major or minor key to add color and variety
  • Example: using a iv chord in a major key, borrowed from the parallel minor

Chromatic Harmony Techniques

• Tonicization temporarily establishes a new tonal center within a phrase or section using secondary dominants or leading-tone chords
  • Example: In the key of C major, a D7 chord (V7/V) tonicizes G major (V)
• Modal mixture incorporates chords from the parallel major or minor key
  • Commonly used borrowed chords include iv, bVI, and bVII in major keys
• Chromatic mediant relationships involve chords whose roots are a third apart and share a common tone
  • Example: In C major, an E major chord (III#) is a chromatic mediant that shares the note G
• Chromatic sequences are passages where a melodic or harmonic pattern is transposed by a consistent interval, often a third or a second
  • Bach's "Prelude in C Major" from The Well-Tempered Clavier features a descending chromatic sequence
• Omnibus progression is a chromatic descent of fully diminished seventh chords that often leads to a dominant chord
  • The roots of the diminished seventh chords descend by semitone, creating a sense of inevitability and tension

Modulation Methods

• Common chord modulation uses a pivot chord that belongs to both the original key and the new key
  • The pivot chord is reinterpreted as a chord in the new key, facilitating a smooth transition
  • Example: In a modulation from C major to G major, a D minor chord (ii in C, vi in G) can serve as a pivot
• Chromatic modulation involves a direct chromatic shift or a chromatic chord that leads to the new key
  • Enharmonic reinterpretation of diminished seventh chords or augmented sixth chords is often used
  • Example: A German augmented sixth chord in C major (Ab-C-Eb-F#) can be reinterpreted as a dominant seventh in G major (Ab=G#)
• Phrase modulation occurs when a phrase ends in one key and the next phrase begins in a new key without a pivot chord
  • This type of modulation is often used for abrupt key changes or for dramatic effect
• Sequential modulation moves through a series of keys by transposing a melodic or harmonic pattern
  • Example: A sequence that descends by thirds (C major, A minor, F major, D minor) creates a sense of tonal instability
• Common-tone modulation uses a sustained or repeated pitch as a link between the old key and the new key
  • The common tone is often held in an upper voice or bass while the harmony changes around it
  • Example: In a modulation from C major to E minor, the note E can serve as a common tone

Analysis of Musical Examples

• Chopin's "Prelude in E Minor" (Op. 28, No. 4) features extensive use of chromatic harmony and modulation
  • The opening section tonicizes the relative major key (G major) using a secondary dominant (D7)
  • The middle section modulates to the subdominant key (A minor) using a common chord modulation (E minor as iii in C major and i in A minor)
• Schubert's "Erlkönig" employs dramatic modulations to depict the shifting emotions of the characters
  • The song begins in G minor but modulates to the relative major key (Bb major) during the child's pleas
  • The modulation back to G minor for the Erlking's menacing replies is achieved through a chromatic mediant relationship (D major to G minor)
• Brahms's "Intermezzo in A Major" (Op. 118, No. 2) showcases his use of chromatic harmony and modal mixture
  • The opening theme features a borrowed bVI chord (F major) that adds a sense of nostalgia and warmth
  • The contrasting middle section modulates to the parallel minor key (A minor) using a phrase modulation
• Wagner's "Tristan und Isolde" is a landmark work in the history of chromatic harmony and modulation
  • The famous "Tristan chord" (F-B-D#-G#) is an augmented sixth chord that resolves unexpectedly to another dissonant chord, creating a sense of unresolved longing
  • The opera features extensive use of chromatic mediant relationships, sequential modulations, and delayed resolutions

Practical Applications

• When composing with chromatic harmony, use secondary dominants and leading-tone chords to create tension and resolution within a phrase
  • Resolve secondary dominants to their corresponding diatonic chords to maintain a sense of tonal coherence
• Use augmented sixth chords and Neapolitan sixth chords as pre-dominant substitutions to add chromatic color and variety
  • Voice-lead these chords properly to ensure smooth resolutions to the dominant
• When modulating, choose a method that suits the musical context and desired effect
  • Common chord modulations work well for smooth, gradual transitions between closely related keys
  • Chromatic modulations can be used for more abrupt or dramatic key changes
• Consider the emotional and expressive impact of chromatic harmony and modulation in your compositions
  • Use chromatic chords and modulations to create tension, ambiguity, or surprise
  • Match the harmonic language to the mood and character of the piece
• Analyze works by composers known for their use of chromatic harmony and modulation to gain insight into their techniques and strategies
  • Study the scores of Romantic-era composers such as Chopin, Liszt, Wagner, and Brahms
  • Identify the types of chromatic chords and modulation methods used and examine their effect on the music

Common Pitfalls and Tips

• Avoid overusing chromatic harmony, as it can lead to a sense of tonal ambiguity or aimlessness
  • Use chromatic chords and modulations judiciously and purposefully to maintain a sense of tonal coherence
• Be mindful of voice leading when using chromatic chords, especially augmented sixth chords and Neapolitan sixth chords
  • Ensure that the chromatic notes resolve properly to avoid awkward or unresolved dissonances
• When modulating, establish the new key clearly by emphasizing its tonic and dominant chords
  • Avoid modulating too frequently or to too many different keys within a short span, as this can be disorienting for the listener
• Consider the harmonic rhythm (the rate at which the harmony changes) when using chromatic harmony and modulation
  • Rapid harmonic rhythm combined with chromatic chords can create a sense of instability or tension
  • Slower harmonic rhythm can help stabilize the music during modulations or after chromatic passages
• Practice identifying chromatic chords and modulation methods in the works of other composers
  • Develop your ear and analytical skills by studying scores and listening to recordings
  • Apply the techniques you learn to your own compositions, adapting them to suit your musical style and goals