By David Kopp
David Kopp's e-book develops a version of chromatic chord family members in nineteenth-century song by means of composers equivalent to Schubert, Beethoven, Chopin, Schumann, and Brahms. The emphasis is on explaining chromatic 3rd family and the pivotal position they play in conception and perform. Drawing on tenets of nineteenth-century harmonic thought, modern transformation conception, and the author's personal procedure, the booklet provides a transparent and stylish capability for characterizing regularly stated yet loosely outlined parts of chromatic concord. The old and theoretical argument is supplemented by way of many analytic examples.
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Additional info for Chromatic transformations in nineteenth-century music
31, the common tone is carried in the upper voice of the piano, while the vocal line abandons E for the G a minor sixth lower. 6, does not preserve any form of the tonic pitch, while it introduces another pitch outside of the tonic major/minor collection. But this progression also sounds very much in place, due in part to an aural association with the ﬁrst stanza sparked by the very similar voicings at the moments of juxtaposition, and also by its earlier preparation through the striking arrival at G in m.
This is followed by the direct juxtaposition of a chromatic mediant at the entrance of the ﬁrst word of the third line. The mediant endures for the length of the line, its root forming a pedal point, and its dominant surfacing twice on weak beats. At the beginning of the fourth line of text comes the direct juxtaposition of tonic E in ﬁrst inversion, followed by another cadential progression to the tonic, more elaborate than the previous ones. The excursion to C major in the ﬁrst stanza, at m. 31, involves the direct juxtaposition of two root-position triads, the barest possible chromatic mediant move.
8 The four chromatic mediant cadences: a) Lower ﬂat mediant (common tone 1); ˆ ˆ b) Lower sharp mediant (common tone 3); c) Upper ﬂat mediant (common tone 5); ˆ d) Upper sharp mediant (common tone 3) 16 Chromatic transformations in nineteenth-century music tonic pitch is the common tone between the two chords. This combination lends the progression an easy intelligibility, while the familiar leading-tone sound coupled with the unaccustomed harmonic syntax gives this progression much of its particular color.