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The Role of Triadic Harmony in Ligett's Recent Music

The Role of Triadic Harmony in Ligett's Recent Music Music Analysis, 22/iii (2003) 283 ß Blackwell Publishing Ltd. 2003. Published by Blackwell Publishing, 9600 Garsington Road, Oxford OX4 2DQ, UK ERIC DROTT Ex. 1 Fanfares, bars 1±17  Etudes pour Piano. Premier livre. ß Schott Musik International GmbH & Co. KG, Mainz. Reproduced by kind permission. practice is oblique at best. Fanfares engages with, as Mike Searby writes, `the vocabulary but not the syntax of tonal music'.3 What is retained of this `vocabulary' is the constitution of the harmonies themselves. They are all tertian sonorities; or, as the excerpt from Fanfares indicates, they are all chords built upon the foundation of the triad. This is evident in the expansion of the major triads of phrase 1 into minor seventh chords in phrase 3. In phrase 1, when the dyads are situated above the ostinato, the resulting triads are exclusively major (C, F, D‘, A‘, etc.); in phrase 2, when the dyads are below the ostinato, the resulting triads are exclusively minor (D, F, A, B‘, etc.). In phrase 3, the dyads return to the upper register, and the chords are major once again ± at least until the entry of the C minor seventh chord in bar http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

The Role of Triadic Harmony in Ligett's Recent Music

Music Analysis , Volume 22 (3) – Oct 1, 2003

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Publisher
Wiley
Copyright
Copyright © 2003 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/j.0262-5245.2003.00187.x
Publisher site
See Article on Publisher Site

Abstract

Music Analysis, 22/iii (2003) 283 ß Blackwell Publishing Ltd. 2003. Published by Blackwell Publishing, 9600 Garsington Road, Oxford OX4 2DQ, UK ERIC DROTT Ex. 1 Fanfares, bars 1±17  Etudes pour Piano. Premier livre. ß Schott Musik International GmbH & Co. KG, Mainz. Reproduced by kind permission. practice is oblique at best. Fanfares engages with, as Mike Searby writes, `the vocabulary but not the syntax of tonal music'.3 What is retained of this `vocabulary' is the constitution of the harmonies themselves. They are all tertian sonorities; or, as the excerpt from Fanfares indicates, they are all chords built upon the foundation of the triad. This is evident in the expansion of the major triads of phrase 1 into minor seventh chords in phrase 3. In phrase 1, when the dyads are situated above the ostinato, the resulting triads are exclusively major (C, F, D‘, A‘, etc.); in phrase 2, when the dyads are below the ostinato, the resulting triads are exclusively minor (D, F, A, B‘, etc.). In phrase 3, the dyads return to the upper register, and the chords are major once again ± at least until the entry of the C minor seventh chord in bar

Journal

Music AnalysisWiley

Published: Oct 1, 2003

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