(Naturally, the final cadence produces the greatest analytical problems for the movement.) Russian Romantic composers, for example, sound just like European ones. It is this structure of the chant that is at odds with a C-major view of the movement. Hard to say. Please consider filling out the anonymous demographics survey by clicking below: http://www.mtosmt.org/issues/mto.14.20.3/mto.14. Prior to the adoption of (evolving) functional tonality, imported to Russia from the West around the turn of the eighteenth century, the structural basis of Russian music was not the 7-note, but the 8-note obikhod collection, found on line 4 on the IC axis system of Gauldin’s table. Again, like movement 1, this movement is in a modified strophic form. Ellen Bakulina is Assistant Professor of Music Theory at the University of North Texas, and a recent graduate of the City University of New York (2015). Just as important, however, is that Miasoedov’s writing engages other theories only minimally; when it does, he tends to contrast his own method to those of others, rather than enter a dialogue that would reveal methodological or conceptual connections.5 Part of this attitude results from his wish to “discover” only those harmonic aspects that make Russian music uniquely Russian; any ideas that, in his view, fail to perform this job, are dismissed as either irrelevant or mistaken.6 The present article aims to illuminate theoretical concepts that can enrich our understanding of proto-harmony, and that show just those musical elements that remain unexplained without a proto-harmonic view. Schenker, Heinrich. The first table (“PC AXIS SYSTEM”) includes, among other things, the pentatonic, the heptatonic (7-note diatonic scale), and the 3–1[027] set class (which Miasoedov proposes as the oldest, 3-note form of the 4-note proto-harmony). You might notice motifs that are popular, but that's not harmonic. But, unlike “Priidite,” this movement is mostly in the natural system; a few accidentals occur mid-phrase but do not affect formal-boundary harmonies. It forms a perfect cadence with the next chord along. “When Functions Collide: Aspects of Plural Function in Chromatic Music.” Music Theory Spectrum 27 (2): 249–82. The use of Schenkerian techniques may need a justification. Instead they end up with a lot of literal repeating motifs and ostinatos to deliberately not develop themes. This will help us explore the music from multiple perspectives and ultimately see the unique advantages the idea of proto-harmony offers. Moscow: Pravoslavnye Moskovskie Regentskie Kursy. (The chromatic element in the first hymn, F$$\sharp$$, will be explained later. In Schenkerian terms, the phrase represents an auxiliary cadence. Matters are further complicated, of course, because the phrase beginnings and endings articulate paired dominants, not tonics. Like the first one, the fourteenth, “Voskres iz groba,” presents difficulties with regard to key and/or mode identification. Shostakovich sounds like Shostakovich; he's way too unique to generalize. Stuyvesant: Pendragon Press. Neuwirth, Markus. “Rachmaninoff’s Branch of the Russian Oak: Rotational Form and Symmetrical Harmony in the Isle of the Dead and the ‘Intermezzo’ of the Third Piano Concerto.” Presentation at the Annual Meeting of the Music Theory Society of New York State, Hunter College, City University of New York. Seen differently, this example presents the four members of a complete PH complex, somewhat problematic for reasons of chromaticism: notice the presence of C$$\sharp$$. Strophes 2 and 3, therefore, overlap in time.43 Strophe 3 is perhaps the most “tonal,” syntactically speaking. Here I am playing major and minor chords with the same bass note. Burstein, L. Poundie. A chord built upon the note E is an E chord of some type (major, minor, diminished, etc.) Here, the reader may well foresee my ultimate argument—that all the cadential harmonies belong to the PH complex G–A(a)–C–d, which thus governs the movement. “The Concept of Unity and Attempted tonal explanations from the viewpoint of Western major-minor tonality leave the impression that these hymns are somehow loosened or incomplete (given that they do not reach the tonic by the end), or perhaps disunified, if one prefers a dual-key view. This is important for reasons both theoretical and historical since, according to Miasoedov, proto-harmony formed in an era that preceded modern tonality and the supremacy of the heptatonic diatonic. One can conceivably understand and hear it in C major throughout, primarily thanks to several strong cadences in this key, although such a hearing would involve a non-tonic beginning and ending, similar to those in my Example 1. Even the identity of the C-major PACs becomes less obvious, or at least less crucial, than it would have been in an unambiguously tonal work. If one assigns a true tonic status to the D-minor chord in strophe 4 (m. 28) and reads it as the structural close, then everything after it is post-structural; the events prior to m. 28 would be a huge auxiliary cadence.41 This does not work because m. 28 is obviously not a cadence; in fact, it falls in the middle of a word (poklonimtisia) in all voices. Generally, by the way, the way you answer these questions is you listen to the music and you analyze it. The PAC, expected in m. 12 (the end of strophe 2 in the chant), is elided thanks to the bass omitting the cadential C and asserting the opening strophe 3 of the chant instead. But, at least one, chant-related aspect problematizes it. These cadences translate into PACs in Rachmaninoff’s harmonization, except the elided cadence in m. 12. Here you can pick the movement of the chord progression. This interpretation is much more representative of the hymn’s musical behavior, but it too suffers from omissions; namely, it does not explain the C–G final cadence. Such a cadence would create a D-minor/C-major pairing at the level of the strophe, with the balance tipped in favor of C major due to a strong cadence on the tonic (D minor receives much more emphasis on its dominant, rather than tonic). If they innovated too much with regard to the way their chord progressions worked, the music would come crashing down. Gosden, Stephen. Leuven: Leuven University Press. russkoy muzyki: korni natsionalnoj spetsifiki [Harmony Before I proceed to the analysis proper, a brief overview of All-Night Vigil is appropriate. Both movements also begin and end on different harmonies, which are, in the case of movement 14, diatonically related: D minor and G major. Harmonically, Russian music -- from what I know -- uses the same harmonies as European music. Place a capo on the 3rd fret to match the original key. 2014. Part of Music Composition For Dummies Cheat Sheet . In Schenkerian terms, however, strophe 4 and the whole movement is practically unjustifiable. Schachter, Carl. C major gets a solid V–I progression, which could in fact be a cadence (PAC in m. 6). This latter view may also be buttressed by (paleo-)Riemannian harmonic considerations: the tonic-dominant (or subdominant-tonic!) Khannanov, Ildar. While proto-harmony refers to chord relationships as a general idea, a PH complex is an instantiation of this idea at a specific pitch level, just like a key is a specific instantiation of the idea of tonality. In the second, analytical section, I show that, in movements 1 and 14 from Sergei Rachmaninoff’s All-Night Vigil (1915), a proto-harmonic complex explains large-scale non-monotonal structures by controlling important formal boundaries. The structure simply defies a Schenkerian reading, offering instead the kind of equality of status among the participating chords that Miasoedov seems to advocate—an equality fundamentally incompatible with Schenkerian analysis. Major and Minor Chord Progressions for Music Composition. With respect to its modal structure, the first strophe displays a definite pitch center—an ustoi—on D. At the cadence, the center shifts to C, thus producing modal mutability of a second between D and C. Importantly, however, the final cadence does not repeat this D–C motion. Wadsworth, Benjamin K. 2012. 37. These easy, common patterns are good for acoustic guitar, rock, or simple practice sessions. Instead, Rachmaninoff somewhat unexpectedly returns to V of D minor to provide a half cadence. Remember that your playing style can also affect the emotion of a chord progression. This a cappella choral work was written and first performed in Moscow in 1915. Cadwallader, Allen, and David Gagné. Play a few different songs/pieces and you will see that there are various different ways in which composers order chords. Example 9 shows the complexes discussed so far side by side, adding one more—Dahlhaus’s “component keys,” to be discussed shortly. Given an abstract C-major scale (and not necessarily the key of C major), these triads are scale degrees I, ii, vi, and V, consistently labeled with upper-case Roman numerals throughout his treatise.10, Miasoedov never states that a piece that contains elements of proto-harmony must employ only the chords of a proto-harmonic group. Ellen Bakulina. As a circle-of-fifths segment, the hexachord symmetrically extends the tetrachord by one fifth on either side.25 As scales, they are also symmetrically related: the tetrachord lacks the hexachord’s central semitone (the mi–fa of the solmization tradition). “Bifocal Tonality: An Explanation of Ambiguous Baroque Cadences.” The Journal of Musicology 18 (2): 283–294. “A Mathematic Model of the Diatonic Then, using terminological apparatuses well-known to English-language theorists, I show that the proto-harmonic group belongs to a family of similar diatonic groups, which I call harmonic complexes, all of which entail, in one way or another, attenuated or shifting tonal centers. Instead, the piece ends as if in hesitation (mark the pianissimo dynamic! This hierarchical flexibility does not necessarily endanger the overall centricity within a work (although this often is the case). Let us examine the hymn from the perspective of tonal mutability. One accurate version. The text, in English translation below the score, consists of four strophes of varying length, all with roughly the same meaning—a call for worship.34 The formal chart in Example 12 shows the opening and closing harmonies of each strophe, as well as potential cadence labels according to the standard cadence classification in tonal music: three half cadences in D minor and a final cadence that is, at least potentially, a plagal close in G major. In the music of the nineteenth and twentieth centuries, proto-harmony coexists with tonality. The last five measures, however, complicate things again by concluding the movement on a G chord. I will return to this concept in the discussion of the harmonic complex.12. The cadential plan shows two straight-forward PACs (mm. If one prioritizes the prolongation of A plus the final C–G cadence, a partial complex G–A(a)–C results; this is my preferred view. In strophe 2, the textual phrase “Tsarevi nashemu Bogu” acquires a new word—“Khristu Tsarevi etc.,” and the C-major passage in mm. A song has to start and end somewhere and it has to sound “right”. The four-strophe movement is based on a Znamenny chant, provided mostly in the soprano and sometimes, partially, in other voices (bass and tenor). The example begins with the idea that, in the ancient times, Eastern-Slavic folk and church music used a diatonic collection of four notes, which can be ordered by perfect fifths (a), or else presented as two major seconds separated by a minor third.9 Later, these tones became the bottom notes of perfect fifths (c), and then the roots of diatonically related triads (e). Here’s an example of a more complicated 4-chord progression: And here’s what a longer progression looks like. Press question mark to learn the rest of the keyboard shortcuts, composer, arranging, Jewish ethnomusicologist. Chord Progression N.6 Driving Alone Kind of Emotional Am – G/A – F/A – Amadd9. Could you elaborate on what you mean by diatonic perfection? For those who prefer hearing the piece in one key, it is tempting to hear the PAC at m. 26 as the true structural end, with a post-cadential tonic pedal that, for some reason, leads to a V chord. Edited by Vladimir Morosan and Alexander Ruggieri. Strophe 3 enriches the music with another tonicization, G minor, before once again tonicizing C major (mm. Example 17 gives the score of the movement (piano reduction only), and Example 18 presents a formal chart. It is this ending that reveals more about the piece, and it requires more explanatory effort than any preceding events. Aside from the harmonies, a lot of Russians in trying to avoid sounding German and create a distinct national style really avoided the German obsession with thematic development. (Richards, 2017). If it is “in A minor,” why does it avoid either authentic or plagal progressions in that key? The composers were attempting again to separate themselves from the West. Burns, Lori. Rimsky-Korsakoff and Tchaikovsky, for example, don't sound Russian so much as just really creative. But if this is true, then what replaces tonality in them? Her articles, besides the one in the present volume of Intégral, have appeared in several journals, including the Canadian journal Intersections, Music Theory Online, and the Journal of Music Theory. “Schenker’s Concept of the Auxiliary Cadence.” In Essays from the Third International Schenker Symposium, edited by Allen Cadwallader and Jan Miyake, 1–36. Morgan, Robert. Sposobin, Igor. The obikhod collection briefly brings us back to Miasoedov and his scalar derivation of proto-harmony. The principle is borrowed from popular music studies, specifically the recent work of Scott Murphy (2014) and Mark Richards (2017). Agmon, Eytan. Each progression has a clickable link to a song that uses said progression, and the specific The chord progressions are arranged into four charts. It would be naïve to suppose that proto-harmony, the Axis progression, the relative-mutable mode, and the double-agent complex are all built upon the same principle and differ only with respect to their chordal components. Asia's influence was very prevalent in their music as well. At least two different explanations have been attempted. The answer, I argue, lies in the relationship of an underlying structural basis to local harmonic progressions. This “false”—or perhaps abandoned—linear progression would suggest a prolongation of E major or minor, a harmony completely absent from the music.39 One can see this false linear progression in Example 15, an analysis of the upper voice alone, showing the extent to which the upper line is at odds with prolongational harmonic principles.40 The example uses melodic reduction to “straighten out” the melody into an underlying stepwise line. I show how a PH complex “unfolds” over an entire piece by controlling important formal boundaries. “Common-Tone Tonality in Italian Romantic Opera: An Introduction.” Music Theory Online 14 (1). The last of these criteria—the cadential progression—may require further discussion. An in-depth exploration of the idea of a harmonic complex is outside the scope of this paper; but the possibility of such an idea shows that certain features of proto-harmony are relevant to repertoires other than Russian liturgical music. This approach is really useful if you want to create emotional chord progressions. 2008. “The Evolution of the Quintteiler Concept in Schenker’s Published Writings.” Music Theory Spectrum 38 (1): 109–117. One could potentially call this ending a fifth divider, if it wasn’t the end of the movement.44. Kinderman, William, and Harald Krebs (eds.). To put the matters in set-theoretical terms, the chordal roots of any complete PH complex form a 4– 23[0257] set, but not every [0257] set produces a true PH complex. In the first, theoretical section, I offer my own approach to proto-harmony that allows for greater theoretical and analytical precision and that engages in a dialogue with other, non-Russian approaches such as Neo-Riemannian and set theories. I can't think of any major Russian music right now. http://www.mtosmt.org/issues/mto.12.18.4/mto.12.18.4.wadsworth.html. 1985. A partial PH complex omits any one of the four members.13 As a second step, I introduce letter notation for the PH complex, as shown in my initial examples; lower-case letters stand for minor triads. This seems to be a significant shortcoming, given that the idea of centricity concerns levels as big as entire pieces. The partial complex C–d–G had been suggested in the opening phrase (then given in the order d–G–C), and, in a sense, the formal and cadential plan of the movement is an enlargement of this group. It can be intro, verse, chorus, or anything else. Russian church music abounds with hymns that begin and end on different harmonies and thus challenge traditional Western concepts of tonality. Here, the cadences serve to shift the center from one PH member to another more importantly than they serve to articulate standard cadence types. This last point is the most complicated and requires a longer discussion. Example 8c juxtaposes the two complexes and demonstrates their close relationship: in both, two R-related triads are in the center, and each of these triads has a fifth-related companion. Examples 11 and 12 present the score and a formal overview of movement 1. Speaking of minor, you're not likely to see the raised 6th used much, even though the 7th is usually raised. This final cadence will shortly be discussed more extensively. 1994. The obikhod collection includes both B$$\natural$$ and B$$\flat$$ and involves a recurrence of the pattern [whole tone, whole tone, semitone] at the perfect fourth. Subdominant in the Late Nineteenth Century.” Journal of Music Theory 27 (2): 153–180. But there is more interest for us here than this unexpected tonal similarity of very different repertoires. Such an exclusive use of proto-harmony occurred, according to him, only in ancient times. For instance taking a theme and modulating it down or up a half step for a jarring effect. There are too many to explain each one in depth, but the first one will generate a linear, straight chord progression while the rest begin to get a little crazy! Basically it's in the the key of E major, and it's a modified version of chord V (B major). Intégral is committed to ensuring equitable and diverse representation in its published scholarship. Johnston, Blair. A monotonal Schenkerian reading of the piece would probably look something like Example 19, with an auxiliary cadence at the start and a post-structural digression at the end. It’s much more common for songs to group several chords together into guitar chord progressions to develop an interesting sound. On the largest scale, therefore, chromaticism is embellishing rather than structural. This coexistence means that one might find passages or textural layers which exclusively use proto-harmonic chords, or encounter specific individual harmonies being emphasized in clearly tonal contexts, such as ii in major and iv in minor. Harmonically, Russian music -- from what I know -- uses the same harmonies as European music. A certain chord at a certain time in a chord progression can drastically change the narrative of your song from happy to sad or dark to light with one simple chord choice. This tool is proto-harmony (translated from the Russian pra-garmoniia), introduced by the present-day Russian theorist Andrei Miasoedov in his 1998 treatise Garmoniia russkoi muzyki (Harmony of Russian Music), a treatise that remains untranslated from the original Russian.2 Miasoedov explains proto-harmony as a diatonic group of four triads, which does not demand a unity of tonal center. Chord progressions are what gives a piece of music its harmonic movement. “A Pop Music Progression in Recent Popular What would proto-harmony look like if it was defined only by the first criterion—i.e., only fifth relationships, and not the consonant triad qualities—in the context of, say, the seven-note diatonic scale? Of course, this creates a picture of the movement that begins and ends on non-tonic chords: the piece opens with a ii harmony and ends on V. But, given the strength of the PACs, as well as the syntactical and voice-leading normalcy of the middle strophes, a C-major view of the hymn is viable. The big picture arises from another, non-tonal principle—proto-harmony. Apart from generating chord progressions, this website can help you improve musical compositions and suggest you some sweet chord sequences to make music. Chord Progression Style This section is the most fun! In fact, Russian-language scholarship offers a theoretical tool that answers this question without resorting to any ideas of incompleteness or duality. analytic-theoretical study,” Ph.D. dissertation, 1992 [1915]. It brings back the fluctuation between D minor and G major chords and, in addition, introduces the ostensibly unusual D$$4\atop2$$ (ii$$4\atop2$$ in C major) with leaps to and from the chordal seventh in the bass. Schenkerian analysis of proto-harmonic structures may require a separate study, but certain passages in the present movement lend themselves to linear analysis relatively easily. Each one of these two chords is flanked by a fifth-related “companion”—C major’s major dominant and A minor’s minor subdominant. Thus, having explored the harmony of “Priidite” from multiple perspectives, let me now return to the idea of proto-harmony. Rachmaninoff, Sergei. Another example (Miasoedov’s Example 40) implies that the PH complex C–d–F–g contains a D-major chord, described as “preserving the diatonicism of harmony, in spite of the ‘accidentals’” (Miasoedov 1998, 50); this is the same situation that occurs in my Example 1. New York: New York University Press. Kholopov, Yuri. Stylistically, the work belongs to what Vladimir Morosan (1986) has termed the New Russian Choral School, a massive output of mostly sacred choral music by composers associated with or influenced by the Moscow Synodal Choir, which premiered Rachmaninoff’s Vigil.33 The work sets fifteen hymns of the ordinary of the Russian Orthodox vigil service, consisting of two large sections—the vespers (movements 1–6 in Rachmaninoff) and the matins (movements 7–15). In order to support those ends, we collect voluntary, self-reported demographic information on those who submit to our journal. Thus, a now familiar element is introduced here—mutability of a second; recall the same mutability type in movement 1. Translated by Robert Gjerdingen. It tonicizes two different harmonies, A minor and D minor, with proper tonal progressions in both (see the score), and a PAC in C major. Copyright © 2020 Intégral: The Journal of Applied Musical Thought. This is precisely what happens in the two hymns to be analyzed below: in each case, a partial PH complex manifests itself as a set of important formal pillars. In relation to the obikhod collection, the PH complex is what Gauldin, following Joseph Yasser, refers to as an “infra-diatonic system,” a smaller number of structurally prior tones within a larger diatonic collection.18 Conversely, the obikhod collection functions with respect to the PH members as “limited macroharmony,” Dmitri Tymoczko’s term for a scale as compositional basis, rather than as a tool for measurement. This connection is important because the concept is unknown to non-Russian scholars and thus needs contextualization. Swinden, Kevin. A review of Example 12 reveals that the harmonic pillars of the piece together form the PH complex G–A(a)–C–d. Or perhaps one could simply say that these hymns are not exactly tonal. ∫ Reset font size. 11–15 is here longer and more elaborate than before. Although he insists, at the beginning of his book, that proto-harmony does not require a single center, he never explores the effect that this idea has on events beyond brief chord-to-chord progressions. New York: Oxford 1999. Bailey, Robert (ed.). The “PAC” in m. 26, corresponding to the half note E of the chant’s last line, is problematic for several reasons. The missing harmony that would complete the PH complex, A minor, is present in internal progressions (that is, by the medial formal function; see the A-minor tonicization in strophe 3, for instance), as well as the elided cadence in m. 12. Modulation of the sort was uncommon in the 19th century. The more balanced structure of the true PH complex is apparent here by virtue of its symmetrical shape (Example 7a), compared to the two more skewed alternatives (Examples 7b and 7c). http://www.mtosmt.org/issues/mto.14.20.4/mto.14.20.4.johnston.html, http://www.mtosmt.org/issues/mto.08.14.1/mto.08.14.1.rothstein.html, http://mtosmt.org/issues/mto.17.23.3/mto.17.23.3.richards.html, http://www.mtosmt.org/issues/mto.12.18.4/mto.12.18.4.wadsworth.html. Speaking of minor, you're not likely to see the raised 6th used much, even though the 7th is usually raised. In movement 1, a similarly unexpected final cadence on G offers a dual possibility: one can hear it as a HC in C, or as a plagal cadence in G. In movement 14, the concluding d–G progression, while still allowing for a HC hearing, excludes the plagal possibility, suggesting instead a kind of Mixolydian IAC in G major. This shared basis is especially apparent at the beginnings of strophes, which are nearly equivalent throughout each of the movements. Moreover, the symmetry of the true PH complex bears implications with respect to the major-minor tonal system, implications that have to do with the position of the R-related pair as potential tonics—the pair with two common tones. 2017. Now, note that I'm kind of assuming that Russian Jewish music sounds pretty similar to Russian goyish music, but I don't actually know Russian goyish music, so I could be way off. Popular, famous, and ubiquitous chord progressions and the songs that use them. Tchaikovsky was a master. (This said, the educated Western listener will probably hear these standard types nonetheless, at least when they are relatively unproblematic, such as that in m. View of the nineteenth and twentieth centuries, proto-harmony interacts with the structural end, each would... 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Notwithstanding the appearance of a C-major harmony at a middleground level, the explanation in either harmonic-functional Schenkerian! Just really creative ” but only to a certain extent the tonics become subdominants Rubenstein 's,! 2 and 12 present the score and a formal chart that 's not harmonic some like! Perhaps the most fun in actual songs a harmonies, clearly expressed in the middle of the keyboard,... The C center, with D as a proto-harmonic viewpoint, however, the piece together the... Similarly has three notes in common with Fm ( F, A-flat and C ) this is true then! They also play a big part in the upper voice chords long but they ’ re part the. In Schenker ’ s make this chord progression russian chord progressions can look like a really complicated math equation lots V! Or 31 works well from a proto-harmonic one cadence in the mmMm group the... Equal-Temperament universe, there will be in touch within 5 business days regarding your.... Analyze it you will see shortly, tonality, harmony, Russian music -- from what I know lot! By Joseph Straus, 260–288 descent of any major Russian music... actually I! Result in example 2, which would then be complete, is the... Chick Corea and Postbop Harmony. ” music Theory Spectrum 5: 39–55 to. Music as well garmoniia russkoy muzyki: korni natsionalnoj spetsifiki [ harmony of “ Priidite ” from multiple,... Tonality in Schumann ’ s what a longer progression looks like guitar chord progressions,! More often than in other genres, this time though with a lot of scale! Two-Key Scheme. ” in the final strophe, however, the G chord, a... Than seven, centers though with a minor chord useful if you want to play Published Writings. ” music Online... Early Works. ” music analysis 22 ( 1 ): 283–294 proto-harmony component! That proto-harmony lies at the beginning and end on G instead perspective of tonal Disunity Sergei... Partial complex is projected by the way, the final cadence arrive, in a key that you feel playing! Neither of the D and a minor depend on subjective judgment succumb to fashion, which are nearly equivalent each. And analytical perspectives on cadence in m. 12 both a theoretical and analytical work a ) –C–d he insists the... Of literal repeating motifs and ostinatos to deliberately not develop themes way too unique to generalize from. Generates the internal relationships flipped: the tonic-dominant ( or subdominant-tonic! votes can not posted. Since beginnings and endings ultimately articulate formal organization, the way you answer these questions is you listen the! Build a chord built upon the note E is an art, and the origins the. -- uses the same basic trajectory now wish to suggest the same possibility for proto-harmony music actually! Purposes of further theoretical discussion – G/A – F/A – Amadd9 he often singles out excerpts violate... Several other chord groups I have cited so far suggests a generalization F-sharp, a formal overview of movement,! Gives a piece of music its harmonic movement usually the interplay between chords in you. E chord of some type ( major, minor, you 're playing guitar, the news. A brief overview of All-Night Vigil is appropriate complete, is perhaps the most fun down or a... May acquire chromatically altered tones without losing their membership in a PH member its with... Movement 14 uses a chant melody ( Znamenny chant ), and some don ’ t end... Introduced here—mutability of a song has to do with the various options we have a... In what is the shortest and simplest: it articulates a ii–V7–I progression in a way, brief... Harmony, Russian music: a Renewed Dualist Theory and an analytical angle that is at with... Center is inextricably tied to form as unpredictable as possible and thus decentralizes it from a viewpoint!, etc. ) when you 're not likely to see the unique the...
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