Module # 4 Musical analysis and contemporary music Designer : Anthony Girard

Module # 4 Musical analysis and contemporary music Designer : Anthony Girard

1. Learning Unit 3: Expanded tonality - Added notes, unresolved appoggiaturas 1.1. Generalities 1.1.1. Expanded tonality The concept of expanded tonality cannot be a presentation of some lines. The scheme that we can have of tonality, when we increase "differences" with the traditional tonality, changes considerably from one composer to another. For the first approach, we chose the example of Ravel, who proposes a very controlled conception of expanded tonality. Ravel searches iridescent harmonies, sensual, unusual. But he does always keeping in mind a certain underlying logic tonality. So his most surprising chords must be analyzed and understood in relation to a latent harmony, not made, but that illuminates the meaning of the chord and therefore the meaning of the phrase. In general, any incursion in an uncertain tonality is resolved quickly in an explicit tonality. 1.1.2. Added notes method Regularly since Chopin, composers have included sixth to the tonic chord, first in Neighbor note, and increasingly as a note of the tonic chord. At the end of the 19 th century, this added note has become natural. The added ninth becomes increasingly common, and gradually the fourth or seventh are readily added to chords, regardless of their function. The addition of altered notes is also considered: minor sixth to major sixth, major sixth to minor sixth (with a Dorian color) augmented fourth, minor third added to minor dominant seventh or ninth chord, and so on. These accidental notes are hardly assimilated by the ear, and are often perceived as notes pending a resolution, appoggiaturas, based upon anything, except a latent note, that is why we took the used to call these added accidental notes "unresolved appoggiaturas." Very often, in fact, the resolution note is missing from the chord, which is why the idea of an unresolved appoggiatura is better than the concept of added note, implying the proximity of the resolution note. When the harmonic note and the added notes are separate by a second (especially lower minor second) speaks of acciaccatura.

1.2. Examples 1.2.1. Example 1 Maurice Ravel, Valses nobles et sentimentales, IV, mes. 1 to 16. Before discussing the syntax, vocabulary study: Mes. 1 and 2, it is a dominant minor ninth chord with minor third, unresolved appoggiatura. This ninth is in the chord (left hand mes. 2), but is not resolved after the E natural (right hand). Mes. 2, A sharp and C sharp are respective upper appoggiaturas of G sharp and B. Both notes are resolved by enharmony in the next chord. In the middle register (right hand) the successive minor thirds are built linear, so, mes. 2, E natural and G natural are passage notes between E sharp/g sharp, real notes (harmonics) and D/E sharp, also harmonics. Briefly, we ear the minor third and eleventh (F double sharp by enharmony). Mes. 3 and 4 is a similar chord, a dominant minor ninth. Here, nonchord notes are only E natural and

G, both unresolved appoggiaturas of a latent F, which appears measure 5. The two eighth notes in upbeat of the measure 5 are part of this new chord (in advance). Mes. 5 and 6, it is now a dominant major ninth. Nonchrod notes are linked by chromaticism. C and B natural are connecting D flat to B flat, while A natural and A flat are connecting B flat to G. G flat of the measure 6 brings a minorisation of the chord; fugitive minorisation resolved on the last eighth of the measure, while B flat, real note, is altered (if natural) to drive to the C of the next chord. A subtle chromatic use, but no added notes or unresolved appoggiaturas strictly speaking. The sequence by fifth down mes. 4 and 5 suggested a tonal orientation, this is confirmed with a new fifth down at the bass. Chord of the measure 7 is unequivocal a major A-flat tonic chord. F is added note, even D natural, added tritone. Chords being identified, the tonal syntax lights. The original chord remains voluntarily enigmatic since it doesn t give tonality by chaining minor third down with the following chord. This sequence is easier than it looks, with its three common notes. It has, however, its full justification as linking chord with the previous waltz, since it takes, by changing its color, the fourth E-B ending it (E, added sixth on G well being resolved): refer to complete partition. The chord on mes. 3 is a dominant of the dominant major A-flat. The second sequence of eight measures contains in the same way the first six measures of the first sequence, as a consequent, but to finish on a surprising C chord. Application Do you analyze this chord in C or as a dominant F (perfect cadence or half cadence?) This sequence in third-down does remind you anything? Identify nonchord notes in mes.15 and 16.

1.2.2. Example 2 Maurice Ravel, Valses nobles et sentimentales, IV, mes. 17 to 37. By becoming familiar with the harmonic language of Ravel, we are able to guess the nature of the real chord, which does not exempt you to verify this intuition by analysis. The chord on mes. 17-18 is C7+: B natural is a passing note, as well as A leading to suggested G sharp

of mes. 19. F sharp on the bass is the added augmented fourth Ravel particularly like, when it is located "under" the root. Chord of mes. 19-20, a C sharp minor chord, with a modal color given by the lowed leading-tone, is relatively simple if we highlight chromaticisms of the median parts: G sharp suggested on the first beat; G natural, F sharp and E sharp passing notes to reach E natural echoed by the right hand. In parallel, A sharp and A natural are also chromatic passing notes from B to G sharp. B, lower neighbor note of the tonic mes. 19 introduces a modal color. Mes. 21-22 covers mes. 17-18 one octave higher, chaining on a chord simple to identify, since only the C is a foreign note (appoggiatura). This echoes a color that the composer loves: major chord with a minor sixth : see Ondine. As much as the phrasing is simple, an obvious 4 + 4 structure, the syntax may seem confusing. But Ravel never leaving anything to chance, we can attempt an explanation. According to the analysis above, the last beat of measure 18 includes two foreign notes : F sharp and A. But as it stands, it sounds like a chord already include in C sharp minor: F sharp A - B sharp - E, so that the connection is gentle. The sequence of mes. 22-23 has a simple analysis, if we consider the C7+ enharmony with the E chord with an augmented sixth. Analysis of measures 25 to 30. Application Start with the chord of the measure 27 to identify the key (with a modal nuance) of those three repeated measures. From the idea that the chord of mes. 25-26 is a dominant chord of the tonality identified mes. 27. From there, analyze foreign notes to show the nature of the chord. Properly done, this analysis should let you clarify the color of this modal sequence (modality highly colored with chromaticisms, but may be highlighted). Deepening of personal work Explain precisely, as we did above for mes.1-8, the vocabulary and syntax of mes. 31-37.