Beyond Functional Harmony Wayne Naus Pdf Merge

Functional harmony actually has two jobs. Most people know about the first - progress towards the Tonic.

• Beyond Functional Harmony Wayne Naus Pdf Merge Pdf
• Beyond Functional Harmony Wayne Naus Pdf Merge Online

Most people do not understand the 2nd, which is to establish the tonality.Non-Functional harmony does not progress to the tonic or assist in the establishment of the tonal center.Progressions in Common Practice Period Tonal music (basically the Baroque, Classical, and Romantic periods) are.largely. functional though they contain non-functional passages.Functional progressions are generally the so-called 'ascending progressions' which are up a 4th, up a 2nd, and down a 3rd.In CPP Tonality:iii - vi - ii - V - I-IV-viio-Left to right is functional. From the lower row to the upper row is functional. Okay from studying in Jazz schools about how chords pull.Tonic chords that sound at home, at rest. Subdominant chord wanting to move away from home. The Dominant chords that want to return home.In diatonic harmony thenTonics are I, III, VI.Subdominants are II, IV.Dominants are V, VII.Functioning and non-functioning would be used to describe if a chord is acting like itself. A diminished is functional, or X is a functioning dominant.

Beyond Functional Harmony Wayne Naus Pdf Merge Pdf

How a chord is functioning determines your scale choices for improv or composition.So that is why I asked what you meant. Ken brings up a good point that maybe I didn't make as articulately as possible - yes - not only is it a grey area between styles, but even within a single style it can be sometimes hard to tell.For example, the famous Pachelbel Canon goes 'the wrong way':I - V - vi - iii - IV - I - IV - VBut look at every other chord:I - vi - IV - (IV)- VThat's a 'standard' functional progression. But in this piece, each of these 'functional pillars' are 'decorated by' a chord a 4th below (which by the way does produce a functional progression to the next chord - V-vi, iii-IV, etc.). So it's a 'largely functional progression' that contains non-functional elements (it's also a Sequence and many non-functional passages are sequential - in the absence of functional harmony to 'give direction' to a passage, a Sequence can do that instead).Another example is:i - v6 - iv6 - V. Non-functional harmony - to simplify - is what so-called 'modal jazz' was (is) all about.It consists - as steve suggests - of chords with no apparent 'leading' purpose. IOW, with no job to do regarding the chords before and after. There's plenty out there to read.

You might look in the later chapters of many harmony books. Maybe one of your texts? Sometimes those books don't get finished, even by the end of a 4th semester.Persichetti has a book on 20th century harmony, I used to consult it, but it's been 20yrs.To me, non-functional harmony is often a coloristic use of harmony.If you have a good music library, I'd check out books dealing with the harmony of Debussy and Ravel to start with.Maybe a good jazz theory text, though much jazz is functional, some is not.

One of my jazz teachers was a student of Milhaud and certainly used lots of coloristic harmony, not so tied to functions as we often think of them. Again, this goes back to looking at Ravel, Debussy. In CPP Tonality:iii - vi - ii - V - I-IV-viio-Left to right is functional. From the lower row to the upper row is functional.

Vi-IV, IV-ii, viio-V, ii-viio, and IV-V and viio-I are all functional progressions.Likewise, V-vi is considered a progression as is skipping diagonally down - iii-IV and vi-viio are progressions (note these are all 'deceptive type' progressions - up a 2nd).Steve, can you explain the above again? I know my numerals well but I dont understand your diagram and instructions. Btw viio is half diminished? Click to expand.This is only partly true for CPP tonal music.I is the Tonic. Period.iii and vi do have 'tonic-like' attributes, and composers of course took advantage of this in the V-vi deceptive progression/cadence.

Vi basically 'sounds so similar' to the Tonic that the progression is highly logical, but with a 'twist', which is why it works.iii though rarely functions as a 'tonic substitute' in CPP music (though people trained with different backgrounds sometimes analyze it that way).In jazz, since the fundamental chord structure is a tetrad instead of a triad, vi and iii do take on much more similarities to the Tonic - obviously, vi7 is basically a I6 (not first inversion here, but like C-E-G-A). Likewise, many structures in jazz are seen as 'rootless' versions of other harmonies, so iii is itself an extension of IM7 thus the similarity in sound and function.There's the same obvious connection between IV6 and ii7, and V9 (b9) and viim7b5 (o7).In fact, the more extensions you add, the 'more similar' chords become. A V13 basically uses all of the notes of the scale so really all the chords become one. That's why perception of root (i.e.

Beyond Functional Harmony Wayne Naus Pdf Merge Online

Maintaining functionality) becomes important, and why chromatic voice leading can help to define harmonic movement in a way that a lot of notes can't (because so many tones have the option of being common tones between chords - way more so than when using simple triads).Steve. Maybe I'll add why the 'ascending' progressions are called that:G-AE-EC-CI - vi - roots down a 3rd (or you could call it up a 6th)G-AE-FC-CI - IV - roots up a 4th.G-AE-FC-DI - ii - roots up a 2nd.Those are the only possible combination of note movements that produce other chords common to the key and of course they have one, two, or all three notes ASCEND. All other motions - DOWN - make the other three possible changes - up a 3rd (I-iii), down a 4th (I-V) and down a 2nd (I-viio). These are DESCENDING progressions.The only remaining possibility is to have none of the notes of the triad move, creating I-I, a 'non-progression'.So that's a total of 7 - 3 ascending, 3 descending, and 1 stationary (7 chords in the key, 7 possible movements).One of the big distinctions between pre-CPP modality (Renaissance period) and CPP Tonality is that prior to the CPP (and modality in general) tended to favor.all types. both ascending an descending progressions. CPP music tends to favor ascending types.Much rock and pop, modal jazz, folk, etc. Do not focus on ascending progressions either (though a lot does of course).