Passing and auxiliary turns for solving problems in harmony

Many experience difficulties in solving problems in harmony, and the reason is not a lack of theoretical knowledge of the subject, but some confusion: quite a lot of chords have been completed, but which one to choose for harmonization is a problem ... Partly this problem will be solved by my article, for which I tried to collect all the most famous, often used passing and auxiliary turns.

I must say that all examples refer to diatonic. This means that there are no revolutions with “Neapolitan harmony” and a double dominant, we will deal with them separately.

The range of chords covered is the main triads with their appeals, the second and seventh sekestkordy chords, the seventh chords with appeals are dominant, the second stage and introductory. If you do not remember on what steps chords are built, then use the cheat sheet - rewrite for yourself a sign from here.

What is the turnover going through?

Passing turnover - it is a harmonic sequence in which a passing chord of another function is placed between a chord and any of its calls (for example, between a triad and its sixth chord). But this is just a recommendation, and by no means a rule. The fact is that the extreme chords in this sequence can belong to completely different functions (we will see such examples).

It is much more important that another condition be met, namely, the incoming upward or downward movement of the bass, which in the melody can correspond to counter-movement (most often) or parallel movement.

In general, you understand: the most important thing in passing circulation is the received bass movement + if possible, the upper voice should mirror the bass progress (i.e. if the bass movement is ascending, then the melody should have movement along the same sounds, but descending) + Opportunities for a passing chord to connect chords of the same function (i.e., inversion of the same chord).

Another very important condition is that the passing chord is always taken on a weak time of tact (on a weak beat).

When harmonizing a melody, the passing traffic will be recognized just by the received tertiary tune of the melody up or down with the observance of the rhythmic conditions of this conduct. Having discovered the possibility of switching on the turnover in the task, one can be glad, only for a short while, so as not to forget to write the bass and note the corresponding functions.

The most common passing momentum

Passing turnover between tonic triad and his sekstakkord

Here the dominant quartekstektakord (D64) acts as the passing chord. This turn is shown both in a wide and in close arrangement. The norms of voting are as follows: the upper voice and the bass move opposite to each other; D64 doubles bass; the type of connection is harmonic (in Alto, the general sound is salt).

Other passing chords can also be placed between the tonic and its sekstakkord, for example, the dominant tertskvartakkord (D43), or seventh-stage sekstakkord (VII6).

Pay attention to the features of voting: in circulation with D43, in order to avoid doubling the third in T6, it was necessary to take D43 septim to the 5th step, and not to the 3rd, as it should be, as a result, in the upper voices we have a pair of parallel quints (mind5 - si-fa and h5 - do-salt), according to the rules of harmony in this turnover, their use is permissible; in the second example in the passing seventh sixth sekkakkorda (VII6) the third is doubled, this case should also be remembered.

Quartekstekkord passing between the subdominant and her sekstakkord

It can be said that this is a similar example compared to the first one we reviewed. The same rules of voting.

Passing turnover between the second-stage triad and his sektakkord

This turnover is used only in the major, since in the minor triad the second stage is minor. The second-stage triad generally belongs to the category of rarely introduced harmonies, the second-stage sekstakkord (II6) is much more often used, but in the passing circulation its appearance is very pleasant.

Here one should draw a snapshot to the fact that in the sekstakkord of the second stage (in II6), as well as in the passing tonic sektakkorda (T6) you need to double the third! Also, especially with a wide location, one needs to carefully check the harmonization for the appearance of parallel quints (they are absolutely useless).

3-4 clocks show the ability to connect the subdominant (S6) and the second stage (II6) with the passing T64 sekstakkordy. Pay attention to voice science in middle voices: in the first case, a jump in the tenor is caused by the need to avoid the appearance of parallel fifths; in the second case, in II6, instead of the third, the fifth was doubled (for the same reason).

Passing turns with a second stage seventh chord

In addition to actually passing between appeals of this seventh chord, various variants of “mixed” turns are possible - with the use of subdominant and dominant harmonies. I advise you to pay attention to the last example with the sixth-sixth grade sixth grade (VI64) between the main seventh chord and its fifth quest-sixth chord (II7 and II65).

Passing speed between chords introductory seventh chord

There are many possible variants of passing turns with the participation of different chords. If tonic harmony becomes a passing chord, then one should pay attention to the correct resolution of introductory seventh chords (doubling of the third is necessary): incorrect resolution of tritons, which are part of a reduced intro chord, can cause the appearance of parallel quints.

It is curious that the passing harmonies of the subdominant function (s64, VI6) can be placed between the chords of the introductory septum. A supersky version is obtained by taking the usual dominant as a passing chord.

What is an auxiliary turnover?

Auxiliary turnovers differ from those passing in that the auxiliary chord connects two identical chords (actually a chord and its repetition). The auxiliary chord as well as the passing chord is entered on the weak time of the beat.

Auxiliary harmonic rotation often occurs on sustained bass (but again, not necessarily). Hence the obvious convenience of its use in harmonizing the bass (another way of rhythmic crushing, along with the simple movement of the chord).

Auxiliary turns will show quite a bit and very simple. This is of course S64 between the tonic (similarly, the tonic quarteksektakord between the dominant). And one more very common - II2, it is convenient to use it after the resolution of D7 in an incomplete triad, in order to restore the full structure.

On this, perhaps, we will finish. You can write out these turnovers for yourself on a piece of paper, or you can just save a page in bookmarks - sometimes here are such workmen very much help out. Successes in solving puzzles!

P.S. Make it a rule! I liked the material - press the button "I like it!" (or "Tell a Friend"), then I’m not going anywhere to get you right away - in one click from my page in contact or on Facebook you will again go to this useful page.

Watch the video: Advanced Music Theory - Harmony (October 2019).

Leave Your Comment