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Journal Article
Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
... pitch class transpositions show the scales and melodies that prolong third-related harmonies also participate in their own third relations. Copyright © 2020 by Yale University 2020 diatonic modes pitch class Franz Schubert solfège solmization I am grateful to Julian Hook for his...
Journal Article
Journal of Music Theory (2004) 48 (2): 219–294.
Published: 01 October 2004
...Dmitri Tymoczko 2004 © Yale University, New Haven, Connecticut 06520 2004 Antokoletz, Elliott. 1993 . “Transformations of a Special Non-Diatonic Mode in Twentieth-Century Music: Bartok, Stravinsky, Scriabin, and Albrecht.” Music Analysis 12/1 : 25 -45. Baker, David. 1985 . How...
Journal Article
Journal of Music Theory (2005) 49 (2): 333–357.
Published: 01 October 2005
...,
recorded in 1959 and one of the important points of departure for modal
jazz. Example 2 shows the organizational plan for “Flamenco Sketches”:
notice that each harmony uses a single diatonic mode as the pitch source
for improvisation and for accompaniment. As Example 2 indicates, “Fla...
Journal Article
Journal of Music Theory (2016) 60 (2): 281–294.
Published: 01 October 2016
... as to be expected (the normative
backbeat is one obvious case), and cross-rhythms are considered categorically
different in their conspicuousness. Moore argues for analyzing harmony
according to the diatonic jazz modes, with his roman numerals reflecting this
stance, and he gives harmonic loops the unwieldy...
Journal Article
Journal of Music Theory (2011) 55 (2): 271–281.
Published: 01 October 2011
... the pitches of the gamut to
seven diatonic positions even as it retains the cantus durus/cantus mollis dual-
ism. One senses that the hybrid model proposed here is meant to account
both for the presumed hexachord-based diatonicism of pre-Renaissance eras...
Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
...
space.2 In short, tonal approaches reduce the resultant chromaticism of the
combined strata into deeper-level diatonicism, whereas atonal approaches
scatter surface diatonicism into deeper-level chromaticism.
While the combination of diatonic layers...
Journal Article
Journal of Music Theory (2019) 63 (1): 1–34.
Published: 01 April 2019
..., modality, chord succession, and harmonic function. In demonstrating these concepts, four categories of tonicization are illustrated: primary diatonic , in which a tonicization employs only diatonic chords of the mode; primary chromatic , which occurs due to chromatic inflection or modal borrowing...
Journal Article
Journal of Music Theory (2016) 60 (2): 213–262.
Published: 01 October 2016
... . 1993 . “Transformations of a Special Non-diatonic Mode in Twentieth-Century Music: Bartók, Stravinsky, Scriabin, and Albrecht.” Music Analysis 12 / 1 : 25 – 45 . ———. 2011 . “Diatonic Expansion and Chromatic Compression in Maurice Ravel's Sonate pour violon et violoncello.” In Unmasking...
Journal Article
Journal of Music Theory (2016) 60 (1): 89–95.
Published: 01 April 2016
... established to this point is the initial com-
posing out of the Naturklang by means of descending stepwise motion coun-
terpointed by an arpeggiation through the fifth. But there are five diatonic
modes in which such a composing out is possible (diatonic in present-day...
Journal Article
Journal of Music Theory (2019) 63 (2): 261–267.
Published: 01 October 2019
... the familiar diacritic mark, which is occasionally ambiguous or disconcerting), but, in a kind of mild democratization of diatonic modes, only the fixed scale degrees 1, 2, 4, and 5 have natural versions as well as flattened or sharpened versions. The variable scale degrees 3, 6, and 7 do not have natural...
Journal Article
Journal of Music Theory (2006) 50 (2): 253–275.
Published: 01 October 2006
... of the 5-6 cycle are separately considered. The 5-phase trajectories are classified as diatonic, idiosyncratic, or obstinate. Despite its long history and current dominance, the mode of analysis based on Roman numerals and tonicizations is eschewed for sequential progressions. Instead, the connective role...
Journal Article
Journal of Music Theory (2005) 49 (1): 141–180.
Published: 01 April 2005
... that the piece is in the
diatonic-enharmonic mode. In Rameau’s understanding, the enharmonic
is not a mode, in the way major and minor are, but a genus. As such, the
enharmonic can momentarily impinge on the diatonic mode, but cannot
in itself be the basis of a composition.18 In modern music, the pure...
Journal Article
Journal of Music Theory (2003) 47 (1): 215–222.
Published: 01 April 2003
... phenomena, from “strict diatony” (major, nat-
ural minor, and the church modes as understood circa 1900) to mixture
(“combination” in Borgese’s translation) to chromaticism. Instead of two
genera, the diatonic and the chromatic, there are three, although mixture
is regarded as an expansion...
Journal Article
Journal of Music Theory (2021) 65 (2): 239–285.
Published: 01 October 2021
.... Example 7. Diatonic semitones in the Guidonian diatonic. In Example 7 , a highlights the three locations of the diatonic semitone in the dorian mode. In b , we see these locations in the transposed dorian. 17 Following standard usage, I refer to the untransposed and transposed systems...
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Journal Article
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
... as a work of special significance, due to
its unusual design—beginning with an imposing variations movement
based on a rather cryptic, understated theme. The entire quartet is perva-
sively major, with minor-mode contrasts obtained mainly by briefly
touching upon the diatonic minor functions—ii (f minor...
Journal Article
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
... (e.g.,
BDF and D);
b. dominant sevenths, half-diminished sevenths, and their shared
perfect fifth;
c. diatonic scales, pentatonic scales, and the major third that is 1ˆ–3ˆ
of their major modes;
d. harmonic minor scales and their tonic minor...
Journal Article
Journal of Music Theory (2000) 44 (2): 323–379.
Published: 01 October 2000
... 31 : 116 –26. Zarlino, Gioseffo. 1558 . On the modes: Le istitutioni harmoniche, part 4. Translated by Vered Cohen. New Haven: Yale University Press, 1983. Zbikowski, Lawrence. 1997 . “Conceptual Models and Cross-Domain Mapping: New Perspectives on Theories of Music and Hierarchy...
Journal Article
Journal of Music Theory (2014) 58 (2): 257–263.
Published: 01 October 2014
... . “ The Descending Fourth and Its Symbolic Significance in Don Giovanni .” Theory and Practice 4/2 : 3 – 11 . ———. 1989 . “ A Mathematical Model of the Diatonic System .” Journal of Music Theory 33 : 1 – 25 . Brinkmann Alexander . 1986 . “ A Binomial Representation of Pitch for Computer...
Journal Article
Journal of Music Theory (2008) 52 (1): 13–40.
Published: 01 April 2008
...
(conjunct and disjunct) in the Boethian diatonic system brings on another
encounter between unfamiliar Greek terminology and chant practices (Musica,
178–80).34 Again, mode figures as a framework for comprehension...
Journal Article
Journal of Music Theory (2021) 65 (2): 375–386.
Published: 01 October 2021
... in rock, Temperley uses the sharp and flat directions of the diatonic modes arranged along a line of fifths (138). Thus phrygian and locrian, the flatmost modes, are the most negatively valenced. This makes sense in light of their prevalence in heavy metal, which is often negatively valenced in other...
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