1

Chapter Twenty-Five
Selected Harmonic Structures and Techniques
Triadic Extensions

A.
b ww w
?
1
# www
2
ww 3
b b www 4
b b www 5
#w
# www bw ww # # www
# w
bw
b b www
6 7 8 9 10
bw b www
& # ## wwww ww
# # www
b b www
bw ww bw
w

B.
1 2 3 4 5
#### #### # ### ˙ ˙ ##
& ˙ # ˙˙ ˙ ˙ ˙ bbb ˙ ˙˙ ˙˙
#˙ ˙˙ ˙ ˙ ˙˙
? #### ˙ ˙ # # # # # ˙˙ ˙˙ # # # ˙˙ ˙ ˙ ˙ # # # ˙˙ ˙
˙ ˙ # ˙ bbb ˙ ˙ ˙
c#: V-9 i F#: V13 I A: V9 I Eb: V13 I b: V-9 i
6 7 8 9 10
b b ˙ ˙ #
& b b bb ˙ ˙ ˙ ˙˙ bbbb ˙ ˙ ˙˙ bb ˙ ˙˙
#˙ ˙ ˙ n ˙˙ ˙
˙ ˙
? b b b ˙ ˙ # ˙
˙ ˙ ˙ ˙˙ ˙˙ ˙
b b b ˙ ˙ b b b b ˙ ˙˙ ˙ b b ˙

Gb: V9 I e: V-9 i Ab: V13 I f: V-9 i Bb: V9 I

C. 6
1 c#: i | V7/v | V-9 V7 | *V-9 i | VI 4 |
6
A: I 4 | #iio7 #3 ** | V9 V7 | I

c#: VI iiø7 |
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† V-9 V7 | V7/iv | V13/§VII V7/§VII | V13/III | V13/VI viio7/iv |

6
iv iiø7 | i 4 viio7 | i ||

* This analysis discounts the tonic c# in the bass in the interest of recognizing the
dominant-minor ninth chord formed above it. An analysis closer to the “harmonic
truth” might call the chord a tonic (i), regarding the tones above it as suspensions
from the preceding dominant seventh chord.

** The fairly exotic symbol given this chord (an embellishing diminished seventh
chord with raised third) precisely reflects its structure and spelling. It might be
analyzed in other ways that are perhaps closer to the “harmonic truth.”. For
example, it sounds as though it tonicizes the following chord—enharmonically
viio7 of E, even though its root is the chromatically raised DX. It is equally
possible to regard the root as merely absent since the DX is enharmonically the
same note as the bass E, which might then be considered a pedal point.

† Measure 25 begins a series of tonicizations that runs the circle-of-fifths, starting

with c# (the actual tonic), followed by f# (tonicized in m.26), b, and E. This can be
made more obvious in the analysis by replacing the roman numerals with the
actual letter names: V7/c# - V7/f# - V7/B - V7/E.
4
2 Eb: vi vi I 3 | V9/V | V9 V7 | V11/IV V-9/ IV | IV+ viiø77 | 11
c: iiø | V7 V -9| V7

D. 13
-9 9
Bb13 Ab Db7 G13 C (add 6) Bb13 DMaj9 Am7

F#m11 B 13 * em11 Ab13 DbMaj7

* Erratum: The blank above m.12 should encompass only the last two beats. The
C on beat 1 and C# on beat 2 cannot be considered part of the same harmony.
Linear Chromaticism

A.
&b c ˙ œœ b ˙˙ œœ # œœ b ˙˙ b ˙˙
˙ # œœ b ˙˙ n# ˙˙
˙ ˙ n˙ œ œ ˙ ˙
? c ˙ œ œ
˙
b ˙ œ œ ˙ b˙ n˙ œ œ b˙

F: iii I V + /IV iv N
G: V/iii iii I V+/IV iv N
A: V/iii
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œœ n œœ bb ww
& b n# ˙˙ œœ # œœ ˙˙ ˙˙ b ˙˙
#˙ œ œ ˙ ˙ b˙ nœ œ w
? #˙ ˙ b˙ bw
b œ œ ˙ bœ œ
A: iii I V+/IV iv N 7 +7
+
Db: V/ii ii V V + I
Topics overlap here. Linear chromaticism results from an underlying harmonic
sequence. The analysis recognizes the harmonic sequence, which is upward by
step every two measures, yielding the keys of F, G, and A in turn. Acknowledg-
ing the key changes keeps the chord symbols relatively uncomplicated and recog-
nizable (an altered secondary dominant, a modal borrowing, and the Neapolitan
that provides the chromatic pivot in each modulation). The unusual chord of beat
4 in m.7 results from the continued chromatic ascent of the alto.

B.
c: Gr+6 | V | Gr+6 | iiø7 V7 | iv7 viio7 | ii7 viio7 | iv7 viio | iiø7 V7 |
eb d g c d

a: iv | VI i | V7 | iv6 VI | V7/N | N | V7 | I ||

To keep things simple, inversions have not been indicated in the tonicizing chord
groups.

Harmonic Sequence

A.
1
œ
b œ # œœ . œ n œœ œ #œ n œœ . b œ bb œœ œ
&c œ œ œ b œœ # œœ nœ b œ b
b œœ
?c œ œœ # œœ n œœ b b œœ n œœ
bœ # œœ # œœ

Ab: I V bVI viio7 I V bVI Ab : viio7

E D Bb
( deceptive) ( deceptive)
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2 pts pts
j bœ j
bœ œ b œ . bœœ bœ b œ n œ .
nœ œ #œ œœ
&c ˙ bœ bœ bœ œ b˙
j j
bœ œ bœ œ bœ . œ bœ œ bœ bœ œ . #œ
? c bœ . nœ œ bœ nœ bœ . nœ #œ œ #œ
J J
* *
6 7 6 7
5 -5 5 -5
Eb: I V7/IV Gb: V V I V7/IV A : V V
* These chords are spelled enharmonically. The first is (from the root)
Db-F-Abb-Cb and the second is E-G#-Bb-D.

3
# œœ ## œ˙ œ # œ # œœ
c ˙ ˙˙ œœ
& ˙ b œœ bn œœ nn œ˙ œ œ # œœ
œ œ

œ œ #˙ nœ œ #˙ œ œ
? # c ˙œ n œ bb œœ œ
œ
˙
#˙ œ nœ œ œ œ œ œ nœ
#˙
6 6 6 6
2 5 5 2 2 2
G: I V /IV I V V /V V V B: I V /IV I V 5 V 5/V V V
Eb


G
The tonicizing chord groups of m.1 and m.3 could be6analyzed more convention-
ally if more cumbersomely and less clearly: bVI - V5 /bVI in G and B respectively.
B.
Bb: V11 | V7 I | V11 | V7 I | V7/V V7 | V7/V V7 | V7/V V7 | V7/V V7
F Eb Db Cb

V7/V | V7 I ||