Schoenberg: Theory Of Harmony (3)
I continued reading from Schoenberg’s Theory of Harmony.
Triads
Open position: generally mellow; if a chord tone can be inserted between upper three voices. Close position: generally sharper; upper 3 voices have no chord tones between them. Distance between tenor and bass doesn’t matter, unless it is too great.
Average balance in a chord
Average balance in a chord is best achieved when no two adjacent voices of the upper three are separated by more than an octave.
Doubling
To distribute a triad among 4 voices it is necessary to double a voice in this priority: root (fundamental), fifth, third. Priority order follows the nature of the harmonic series.
If we want to imitate by synthesis the sound of the natural tone, that is, if we want to obtain a sound whose euphony recalls the euphony inherent in the material, then we must do something similar to what nature does.
The third is doubled less often, moreover, because it already stands out prominently in determining the major/minor mode.
Law of The Shortest Way
Do only what is necessary to connect the chords: smallest possible step or leap; moreover, just that smallest step which will allow the other voices also to take small steps. Prefer common tones to be sustained in the same voice.
Connecting Chords With One Or Two Common Chord Tones
Chords with roots 2nd or 7th apart have 0 common tones. Chords with roots 3rd or 6th apart have 2 common tones. Chords with roots 4rd or 5th apart have 1 common tones.
| Degree | Has 1 common tone with | Has 2 common tones with |
|---|---|---|
| I | IV V | III VI |
| II | V VI | IV (VII) |
| III | IV (VII) | I V |
| IV | II VI | I (VII) |
| V | I II | III (VII) |
| VI | I IV | II III |
| (VII) | II V | III VI |
Limitation: The VIIth degree is not to be used at this time, as it demands special attention. Limitation: Fundamental tone (root) should always be in the bass. Limitation: Always double the root in the initial chord of the first exercises (to avoid mistakes that will be explained later).
To determine spacing of each chord, ask these questions:
- Which tone goes in the bass?
- Which tone in the soprano? (Octave, Fifth, or 3rd on top)
- What is missing?
To connect chords, ask these questions:
- Which tone is the root? (it goes in the bass)
- Which is the common tone? (sustained!)
- Which tones are missing?
Practice connecting each chord the available next chords according to the table above.