Transcription
Bi- - ‐tonalQuartalHarmonyemploysfourth- ictodiatonictonon- hinapre- I- ‐VI)hasobviousadvantagesfortheability,inanon- esandnon- ‐chordtones.Mostimportantly,thebi- ‐tonalaspectofthistheorypermitsnon- hetonalvocabularytoemphasizenon- llegeMusicSocietyMid- forreleaseonthePnOVArecordingslabel.
B- ‐E- ‐A- ‐D- forgeneratingnew,non- tandPost- estoanysignificantextent.Bi- ‐TonalQuartalHarmonyintroducesa“bi- vocabularyconsiderably,andallowsfortheuseofnon- contrasttotheoriesbasedoncomposer- dfromdiatonicmajorandminorscales,bi- icharmonyintoamorecomplex,multi- ‐dimensional,visavisbi- lartothosederivedfromdiatonicscales.Bi- ryratherthandepartsfromit.Theco- ‐existenceoftwoharmoniclayerscreatesabi- ostimportantly,thebi- ‐tonalaspectofthistheorypermitsnon- instsonoritiescommontodiatonicharmony.
Thetheoryincorporatestheterm“Bi- yersinBi- tomostdissonant(classVI)basedon
vectorresideinthesamechordclass.Inbi- .Example3.ClassIsonorityContrarytoroot- isnamedthe‘root,’bi- resentedhere.
Rootpositionchordsinbi- dpentatonicIIMajor6thDiatonicmajor(non- Chromatic,non- ‐tonalDescriptionExample4.ChordClassesDefined
elation.
romonescale
troduced(classIII)inplaceofB- recatalogofpossiblechordsconstructedinbi- chordsshouldbeconstructedinachordprogression.
swithinagivenbi- classshareabundantcommonnotes,justas3rd- entallynew‘bi- pbetweentwo‘dissonant’tones,such
ngharmony,sincethe17th- tinordertomaintainthetwolayersnecessaryforbi- fabi- nically- atonalcontext.
ntly.Thisbi- opstaffindicatetherelativepositionofeach
position,chromaticsemitonalvoice- ffectivewaytomovefromonetonalitytoanother.
Example7.Preludeno.12,mm.43- andmusicfrommeasures43- esnotnecessarilyoccurasa
simultaneitybut,
in!tonal!harmony.! Thistheoryalsocodifiesthep reciserelationship!between!thetwo defined!first!through!greater!or! tion!and,!second,!by!classification!on!a! dissonant(classVI)basedon
