Sometimes the opening section of the musical phrase is subdivided into two syntactic elements. The initial static harmony is then
preceded by a dynamic chord progression that I will refer to as a dynamic introduction. This is a kind of extended upbeat or lead-in to the static harmony. It can be present in the first phrase of a piece of music or any subsequent phrase. This type of phrase extension is less common than the previous two types explained above.
All the techniques explained in chapter 2 for creating dynamic harmony can be applied. These are:
• The use of strong α, β, and γ chord progressions,
• The addition of essential sevenths and sharpening of minor 3rds to strengthen the harmonic movement.
• The use of passing notes and passing chords filling in between functional chords.
• The use of linear progressions filling in between functional chords.
Dynamic introductions end with a dominant chord that moves to the initial tonic chord of the static harmony. The final dominant chord can be extended into a dominant prolongation. Thus the form of dynamic introduction is similar to a structure of a complete closing section but with the final tonic chord overlapping with the first tonic chord of the static harmony.
For dynamic harmony at the start of a phrase to be a Dynamic Introduction it must be fully integrated or internal to the phrase.
Dynamic harmony may also exist as independent lead-ins to
phrases either as introductions or as linking passages. In the latter case the dynamic introduction is an incomplete phrase and is external to the complete phrase. (See Chapter 6.)
The following figure shows the form of a complete phrase extended by a dynamic introduction:
The first subject of the Beethoven Piano Sonata, Opus 31 No. 3.
starts with a dynamic introduction:
This dynamic introduction is based on a simple II - V - I progression.
This is elaborated by a cadential 6 4 appoggiatura chord and a passing dominant leading diminished seventh chord. After an
ascending scale passage, the dynamic introduction repeats and the static harmony starts at bar 17 and continues to bar 27 where the
dynamic harmony of the closing section starts. The dynamic introduction belongs to the same phrase as the static harmony in bars 17 to 27 as both syntactic elements contain the similar motivic material (the descending 5th dotted figure) and are both part of the first subject. In this example, the dynamic introduction is an integral part of the syntactic phrase.
To avoid any confusion it should be made clear that there is no relationship between a dynamic introduction and a formal introduction. A dynamic introduction is a syntactic element and performs a syntactic function in a musical phrase. The only purpose of the expression dynamic introduction is to explain how the
harmony functions in relation to the musical phrase. It can exist at the start of any phrase in a piece of music not necessarily the first phrase. A formal introduction may contain whole syntactic phrases.
Sometimes a dynamic introduction may precede a phrase without being integrated within the phrase. This type of external phrase extension will be dealt with in Chapter 6.
Demo 3 is an example of a full phrase containing a dynamic
introduction although the dynamic introduction here consists of only a single dominant chord extended over two bars.
The full book will contain further examples of the dynamic introduction.
CHAPTER 7 (PART 1) MODULATION
In this chapter we will consider how modulation works in the context of a theory of chord progressions and syntactic structures.
For a description of some basics on modulation, click here.
Modulation by Dynamic Harmony
As modulation is a process of moving from one tonal center to
another and dynamic harmony is a movement of chord progressions linking one static element to another, dynamic harmony and
modulation often go hand in hand.
In the first example, we'll consider an instance where a common chord is in evidence and in the second example where the
modulation is carried out by a direct movement to the dominant of the new key. Please refer to the basics of modulation section for more details of these methods.
The following theme from Haydn's Sonata in D major contains two phrases. The first contains dynamic harmony which modulates from the tonic key to the dominant key and the second phrase contains dynamic harmony which modulates back to the tonic key:
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The first phrase is a complete phrase ending in the dominant key (bars 1 to 8). The modulation to the dominant takes place in the dynamic harmony of the closing section where the progression moves the tonality from the tonic D to the cadence in the dominant key of A major. We can describe the modulation from D major to A major by saying that the B minor chord in bar 6 acts as a common chord (or pivot chord) between the two keys. It would thus function as chord VI in D major and simultaneously as chord II in A major. An alternative interpretation is to say that the modulation is carried out by the dynamic harmony which moves the tonality forward from D major to the A major cadence via the chord progression made up of one β progression and one α progression. The third of the E chord is made major so that it can function correctly as the dominant chord in the cadence.
The second phrase is a complete phrase returning to the home tonality. It starts with a dynamic introduction which is responsible for the modulation back to the home key. For this key change, it is not possible to identify a common chord, because, rather than use the B minor chord as a common chord to smooth the movement, Haydn heightens the chromatic effect by using the B7 chord which is not a diatonic chord in either key. A more satisfactory explanation is
that the modulation is facilitated by a chord progression constructed by dynamic harmony made up of one γ and two α progressions, as indicated in the example. The third of the B chord is made major just as any diatonic minor chord can be made major to strengthen the sense of dynamic movement. It creates a 'transient cadence' in E minor but this key is not established as a new tonal base by any static harmony in E minor.
In the following example from the development section of the first movement of the Mozart K545 sonata, two static elements are
connected by a short dynamic element made up of one γ and one α progression. The G minor static harmony of bars 29 to 31 is thus smoothly joined to the D minor static harmony of bars 33 to 35:
The dynamic harmony is constructed just as it would be if it were non-modulating. The third of the A chord in bar 32 is sharpened just as it might be in non-modulating dynamic harmony but in this case the A chord is the dominant chord in the new key. Again, no diatonic common chord is used. In this instance the movement is direct to the new key's dominant chord.
As can be seen from the examples above it is not an individual chord that defines the key but the arrival of the dynamic harmony at a stable tonal position as defined by static harmony or a perfect cadence. Thus, the B7 chord in Example 7.1., at bar 9, does not signify a modulation to E minor since the E minor tonality is not confirmed by static harmony and it is not the end of a phrase. It merely functions as part of the dynamic harmony that carries the
movement forward. The A7 chord at bar 11, in contrast, does signify a modulation to D major since the home key is confirmed by 6 ½ bars of static harmony.
A modulation 'direct to the new dominant' is possible for a modulation to any key. This is carried out either by a secondary dominant (a minor or diminished chord converted to a dominant 7th) or via a German augmented 6th chord which is reinterpreted as the dominant 7th chord of the new key. Either method normally takes place within an episode of dynamic harmony.
One important example of 'direct to dominant' modulation is the modulation from a minor key to its relative major. In this instance, the chord progression used is a falling second progression. i.e. a γ' progression. This is a frequent key change in the classical and
romantic periods and accounts almost exclusively for the use of this progression in dynamic harmony.
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This use of this (otherwise uncommon) progression supports the view that modulation functions as a conscious process whereas syntax is largely subconscious. Please refer to the thesis section for further discussion of this.
The book will give more details about 'direct to dominant'
modulations. Here we will concentrate on the more common types of modulation.
CHAPTER 7 (PART 2) MODULATION
Modulation via Chromatic Chords
German 6th chords can be created on all chromatic and diatonic notes within the scale. As these are the same, enharmonically, as dominant seventh chords, they can be reinterpretation as dominant 7th chords in all keys. However, this is really just a form of "direct to dominant" modulation. A more common method of modulation is for a chromatic chord to move onto the new dominant rather than
becoming the dominant itself. The diminished 7th and augmented 6th chords are the chords most commonly used for this purpose.
These progressions normally take place within an episode of
dynamic harmony. The movement to a new key is thus made by the use of a musical 'pun'. The chord progressions used can be
summarised in the following table:
The chromatic chord is moved to as a passing chord from the tonic of the old key and is immediately reinterpreted as dominant leading in the new key. It then moves on as a passing chord to the new dominant chord with or without an intervening cadential 6 4
appoggiatura chord. The diminished seventh chord and augmented 6th chords are the most useful and common ways of making this type of modulation. They act as chromatic pivot chords. Here, the composer is using a 'trick of the trade' by reinterpreting the
meaning of a chromatic chord. Consequently, the normal strong root progression between functional chords is broken and the two
functional chords may be related by a weak chord progression. The
composer is using a consciously learned process which is overriding the normal subconscious use of strong chord progressions. These progressions are normally used, nevertheless as part of a dynamic harmony episode.
Following are two examples:
In this example, bar 51 ends in C minor. The C minor chord is immediately followed by a passing diminished 7th chord which is dominant leading in C minor. This is reinterpreted as dominant leading in the new key of E-flat major. The diminished 7th chord is followed by the B-flat dominant chord of E-flat. This brief dynamic harmony acts as link passage from the first subject in C minor to the second subject in E-flat. The progression from the C minor chord to the B-flat chord would normally be too weak a progression to use in dynamic harmony but the modulation makes the chord progression acceptable. The modulation and harmony support the background syntactic structure.
In this example, the closing section of the phrase has arrived at a perfect cadence in C major. The C major chord moves onto the augmented 6th chord by linear movement. This is immediately reinterpreted as a dominant leading chord in the new key of A minor. The augmented 6th chord is followed by a cadential 6 4 chord and then the E major dominant harmony. This starts off a dominant prolongation that extends for a further 9 bars. The dynamic harmony thus includes a progression from a functional C chord to a functional E chord. This rising third progression would normally be too weak a progression to use in dynamic harmony but the needs of the modulation override the expected strong chord progression. However, the syntactic structures remain clear.
CHAPTER 7 (PART 3) MODULATION
Tonic to Tonic Modulation
By far the most common type of modulation is modulation during dynamic harmony as indicated in the last two sections. However, composers occasionally modulate by juxtaposing two keys directly next to each other. This can be by two static harmony elements in different keys joined to form one static harmony element or can be one phrase following another directly in a different key without any dynamic harmony to facilitate the modulation.. The first has its origins in the contrapuntal writing of fugue. In the following fugal example, the need to bring the second voice in at the dominant pitch requires that the initial C minor static harmony be repeated one fifth higher with no intervening dynamic harmony. Thus two static elements are immediately juxtaposed in different keys
forming a single static syntactic element. The falling 4th progression from the C minor chord to the G major chord is too weak to be
interpreted as dynamic harmony.
When analysing examples of contrapuntal writing, as here, some interpretation is required to determine what harmony is implied by the single or two part writing. The interpretation can often be tested by making a comparison with a similar passage elsewhere in the
piece with fuller part writing. For instance, the interpretation of the third beat as chord IV is supported by the fuller harmonisation later in bar 7. However, whether this beat should be interpreted as
auxiliary chord IV or some other auxiliary chord or just plain
auxiliary notes does not make any difference. Whatever the implied harmony is, bars 1 - 2 are a static prolongation of the C minor tonic chord.
Since the second voice enters with the answer to the fugal subject one fifth higher, static harmony on G starts immediately. At bar 5, the first fugal 'episode' starts. This is a rising sequence based on dynamic harmony using α and β progressions.
Following is an example of modulation, 'tonic to tonic' in a non-contrapuntal context:
Here the end of one phrase in C major is immediately followed by a new phrase in the unrelated key of A-flat with no intervening
dynamic harmony. The only connection is the common note C.
The full book will contain a further example from Brahms of modulation within static harmony in a non-contrapuntal context.