Agreement moving

In tonal harmony, one says that a agreement is moving when it is connected with the following agreement. Consequently, to connect a agreement means to write the harmonic movements between the notes of this agreement and those of the following agreement. When two agreements has and B are connected, it is also said that the agreement has progresses towards the agreement B, or, the agreement has produced the agreement B.

It is appropriate to note on this subject, that to two there voice, it has one harmonic movement, with three votes, there is three of it , with four votes, six , with five votes, ten , etc

To carry out a low data , means “ to correctly connect the agreements above this low ”, while to carry out a song given , means “ to correctly connect the agreements below this song ” - one can also say: “to harmonize a melody”.

Whatever the type of sequence selected, the realization of this one must avoid certain unpleasant effects called false relations . For more information on this subject, to consult the article false relation.

Natural sequence

One calls natural sequence the progression between two agreements whose Fondamentale S respective follow one another as follows:

is by perfect fifth ascending - or perfect fourth downward -, according to the model of the Cadence plagale - in this case, the progression is felt like a tension or an opening (examples C & D);

is by downward perfect fifth - or ascending perfect fourth -, according to the model of the perfect Cadence - in this case, the progression is felt like a relaxation or a closing (examples has & B).

That it produces a tension or a relaxation, the natural sequence is always a excellent sequence . According to this principle, degrees III, VI, II, V and I, can follow one another by “ cascades of fifths ” (B) example.

With regard to the sequences other than the natural sequence, it is appropriate to establish a distinction between the stable agreements and the gravitational agreements .

Sequence of the stable agreements

A stable agreement is a agreement not comprising any Dissonance. Only the triads - i.e., the agreements of three notes, in a fundamental state and whose fifth is right - can be regarded as such, except however for the major triad placed on the Dominante, which, because of its third, the sensitive , can be considered to a lesser extent, like a gravitational agreement , although deprived of all dissonance.

a stable agreement produces an impression of rest, of balance, and does not call a particular sequence. One can thus, theoretically, connect it with any other agreement. However, all the sequences are not equivalent. Indeed, the importance of the sequence of a stable agreement depends on two interdependent factors: the degree of the Fundamental of the following agreement, and the interval crossed by this one. Degrees and melody movements of fundamental being classified by decreasing quality, it will be appropriate to use as much as possible the goods or best of them, the poor ones in front of being held for the cases difficult, and placed preferably on the weak times.

It is very often possible to remove a poor or bad sequence, while intercalating between the two agreements which follow one another, an agreement intermediate, located, according to the case, with the third, the quad, or, with the lower fifth, compared to the fundamental one of the first agreement.

For example, the sequence V - IV - poor sequence although constituted better degrees - could be improved by the addition of the agreement located a fifth below Ve degree, which will give: V - I - IV - better degrees and better sequences.

Classification of the degrees of the fundamental one

The importance of the Fondamentale was highlighted by the Compositeur and Théoricien Jean-Philippe Rameau. For more information, to consult the article Low fundamental.

the principal degrees - Ier, IVe and Ve degrees - are regarded as the better degrees because they fill the tonal functions , namely, and respectively: tonic function of , function of Sub-dominant and Dominant function of .

With regard to the secondary degrees , one distinguishes the good degrees and the poor degrees . IIe and VIe degrees are good degrees. IIIe degree of the two modes is a poor degree.

As a minor, however, IIe degree is not regarded as a good degree that if it is followed of Ve, directly or indirectly - for example, when these two agreements, are separated by the quad and sixth from rate. In the other cases, it is uncommon.

As a minor, also, IIIe degree will be regarded as a poor degree only if its fifth is right, in other words, if the sensitive is transformed momentarily into Sous-tonique, if not, it is him also, uncommon.

As a minor always, VIIe degree, when this one is transformed momentarily into subtonic, can also be used like a poor degree, but preferably over weak time, and like agreement of passage, if not, it gives to the ear the impression to rock in the relative tonality major of which it is the dominant one.

All the other degrees are regarded as bad degrees, and do not have to thus be employed. They are precisely the following degrees: VIIe in the two modes, i.e. the sensitive one, which, let us recall it, can be fundamental of no agreement; IIe, as a minor, when it is not followed of Ve; finally, IIIe as a minor, with increased fifth, i.e., with sensitive.

Summarized:

Classification of the melody movements of the fundamental one

Put aside the sequences by quad or fifth, ascending or downward - natural sequences, always excellent whatever the degree of the fundamental one -, the following sequences are distinguished.

the better sequences are the sequences per downward thirds or ascending sixths (A) example;

the good sequences are the sequences of IVe in Ve degree (B) example, of Ve to the Life degree (example C), and of the Life in Ve degree (D) example;

the poor sequences : of Ier in IIe degree, when IIe is a Accord of sixth (examples E), of Ier in IIIe degree (example F), of IIe in IVe degree (example G), of IIIe in IVe degree (example H), of Ve in IVe degree (example I), Life in Ier degree (example J).

All the other sequences must be avoided.

Examples:

Sequence of the gravitational agreements

A gravitational agreement is an agreement comprising at least a constitutive dissonance.

Whereas by nature, a stable agreement is static , a gravitational agreement quite to the contrary, is necessarily dynamic because of the dissonance which directs this one in a given direction. The tension resulting from the dissonance being exerted on the entire agreement, the gravitational agreement, from its characteristic instability, gives desire to the ear for hearing a new agreement bringing a relaxation. Following the example dissonance which calls a resolution, the dissonant calls a precise sequence ineluctably making it possible to solve this dissonance.

Various types of gravitational agreements

is mainly regarded as gravitational agreements:

- all the agreements of four notes and all those of five notes, in particular agreements of seventh and ninth of dominant, with or without fundamental (A) example;

- any agreement whose fifth is decreased or increased (B) example;

- the Agreement of quad and sixth (example C);

- any agreement whose fundamental one, the third or the fifth is deteriorated by chromatic Mouvement (examples D & E).

In addition, but to a lesser extent, the following agreements can also be regarded as gravitational agreements:

- the agreement of three notes placed on the dominant one, because its third, the sensitive , is a gravitational note;

- any agreement comprising a foreign Note with melody value, such as delay, appoggiatura, embroidery, Passing note, anticipation, escaped, etc

Various types of sequences of gravitational agreements

According to whether a gravitational agreement brings or not the agreement “ had a presentiment of ”, the sequence will be qualified usually or of exceptional . That they are ordinary or exceptional, the sequences of the gravitational agreements are in any case excellent sequences , the only constraint of realization being to comply with the rules of resolution gravitational notes.

Ordinary sequence

A ordinary sequence - or normal sequence - is the sequence since a gravitational agreement towards the agreement “ had a presentiment of ”: in this case, the gravitational notes of the first agreement are solved regularly.

an ordinary sequence very often corresponds to a natural sequence - by perfect fifth or perfect fourth, ascending or downward.

Examples:

Exceptional sequence

A exceptional sequence is the sequence since a gravitational agreement towards an agreement other than the agreement “ had a presentiment of ”. In this case, the gravitational notes of the first agreement can be solved irregularly. An exceptional sequence always produces an unexpected effect. A gravitational agreement can be easily connected with a new gravitational agreement, belonging or not to the Tonalité (examples F, G, H and I). Many a modulations can be introduced by this skew.

Examples:

Sequence and rate/rhythm

The harmony is partially tributary of the rate/rhythm. Consequently, here some general considerations of a rhythmic nature allowing to avoid awkward sequences.

From the point of view of the frequency of the changes of agreements, the average is usually of an agreement by time, but a slow Tempo can authorize two or three agreements per time, while a fast tempo, an agreement all both or three times.

Strategic agreement and agreement of passage

One calls strategic agreement an agreement with given harmonic function - function of tonic, dominant or sub-dominant - on which one wants to insist, and which, precisely because of this function, will be placed on key period, or strong part of time, in order to be emphasized. In a general way, belong to this category, the agreements having for fundamental: Ier degree, IIe - mainly when this one is preparatory agreement -, IVe and Ve - to a lesser extent, the Life degree; more rarely, IIIe.

One calls agreement of passage an agreement of less importance being used as transition to two strategic agreements. For example, can be regarded as such, an agreement on degree poor - IIIe, for example -, or introduced by a poor sequence, also, an agreement of which the structure is not rigorously in conformity with the rules of Disposition of the agreement, or, an agreement which cannot be placed over key period because of sound state, etc the agreement of passage is tolerated exclusively on times weak or left weak time, and preferably, when the low proceeds by joint movement. Let us note that, under the terms of the principle “ he who can do more can do less ”, any strategic agreement can obviously be employed like agreement of passage.

Syncopes and harmony

The syncope, note attacked over weak time - or weak part of time - and prolonged on key period - or strong part of time -, calls some precautions of realization.

the strong part of a syncopated note which proceeds then by movement unites descendant, must preferably be harmonized in seventh (A) example, in ninth (B) example, or in higher delay (example C).

a double syncope is the simultaneous syncope of the extreme left. This one must be avoided in theory because it gives the impression to move the natural accent of the measurement. In a general way, it is preferable that only one part is syncopated (examples has & C), or at least, in the event of plurality of syncopated parts, that one of the two extreme parts is not to it (B) example.

a syncope of harmony - or syncope of agreement - is the prolongation or the repetition - with or without change of state - over the next key period, of an agreement placed over a weak time - it thus is not necessarily about a true syncope, with the rhythmic direction of the term. The syncope of harmony must be avoided for the same reasons as the double syncope. However, this one will not be faulty if it is a consequence of the rhythmic contour of the principal melody (example D: “ the good king Dagobert ”).

Examples:

See too

Internal bonds

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