By Joseph P. Swain
An obtainable exploration of a massive and understudied song concept subject, Swain's ebook examines the dimensional means of examining harmonic rhythm. easily outlined, harmonic rhythm is the connection among adjustments in concord and perceived alterations in rhythm. This phenomenon performs a wide position in shaping the feel and elegance of a lot of Western tune, from Renaissance polyphonic items to the works of Debussy. Swain presents a transparent and thorough dialogue of the way harmonic thought works, utilizing a small center of repeated musical examples.
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Additional resources for Harmonic Rhythm: Analysis and Interpretation
The more abstract the level, the more caution is required. In this case, however, the case for a third one is quite convincing. Bach’s counterpoint, so simple and innocent to the ear, provides for three rhythmic streams with remarkable consistency. The first level, dominated by eighth-note motion, is unquestionable. Bach’s own figured bass ratifies it. The second level becomes real as soon as the bass breaks into a compound melody at the end of the first measure, linking the G major triad with the previous step-motion and articulating a clear change with the D major triad.
12 8 12 8 Texture Phenomenal Allegro non molto simile Texture Phenomenal The phenomenal dimension is useful for at least two reasons. One is that the comparison of phenomenal rhythm with the textural may define an essential characteristic of a passage. It is very plain to the ear that the Bach has a lot of harmonic activity, but there is a serenity to that movement that proceeds from the unanimity of the textural and phenomenal rhythms. There is no conflict, no competition. The Vivaldi opening, on the other hand, conveys a rather mysterious nervousness, because it is strange to hear each dissonant chord reiterated so many times without any change.
Traditional music seems not to require the representation of added or subtracted seventh factors in the root/quality dimension (they appear in the phenomenal harmonic rhythm), but if such changes in other kinds of music act syntactically as do triads in functional harmony, the symbology should represent those changes. It may even be necessary to separate root from quality and construct two dimensions of them. In functional harmony these parameters are highly dependent on one another and so require only one graph, but they could conceivably move independently in other harmonic idioms.
Harmonic Rhythm: Analysis and Interpretation by Joseph P. Swain