I am of the opinion that any training should take place in a relaxed atmosphere, without tension (as they say nowadays) and especially without a drop of fear. Fear of not understanding something, fear of being misunderstood, fear of the teacher. Well, tell me, what is the use of studying like this when you get ready for a lesson for a week, and then correspondingly move away from it for another week? And there is no end to it. This idea is especially relevant in relation to music classes. After all, they should bring a person joy, satisfaction and happiness, and not plunge him into the depths of non-existence and a feeling of his own inferiority and powerlessness. Such a relaxed, but at the same time serious music education is offered to you by our online school Urokimusic, and the Skype harmony lessons that are included in its program will help you unravel even the most intricate harmonic labyrinths.
And we will begin to unravel them right now. On the agenda of the project “Skype Harmony Lessons” is a global topic: natural minor in Phrygian revolutions .
So, you remember that the natural minor differs from the harmonic in one sound - the VII raised degree. That is why a whole group of characteristic chords arises - triads d, VII, III steps.
Let's continue. Now from a slightly different area (we will put the topic together like a puzzle))). Remember this Phrygian mode? Is this an ancient church mode with a low II level? Because of this, when moving down, a characteristic sequence of semitones is obtained: 2,2,1. The same story happens in natural minor when moving from the first degree down (if you don’t believe me, then do the math). Scientifically, it sounds like this: the upper tetrachord of the natural minor scale coincides in its intervallic structure with the tetrachord of the Phrygian scale. That is why (and not because of the second low level) this revolution of the natural minor received the name PHRYGIAN.
This is the only turn of classical harmony that allows harmony d after d (due to the fact that half-tone gravity is leveled). This rule applies only to this turnover. The rest of the process takes place in the usual harmonic minor.
Lyrics aside. Now let's discuss the execution technique. If the Phrygian phrase sounds in the melody (and you already remember that this is a sequence I– VII– VI– V, i.e. in C minor – C-B flat-Lab-G), then it is harmonized like this:
t – III – s – D
VI–III 6 –s–D
t 6 – VII 6 – VI 6 – D 6 c various doublings
t – t 7 (6 / 5 , 4 / 3)– s – D .
If the Phrygian phrase is in the bass, then it is harmonized like this:
t– VII –s 6 (II 4 / 3 or VI)–D.
This is all. Happy harmonization! I put Tonic. I hope that our Skype harmony lessons will be very useful and extremely exciting for you!
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In natural minor, the D-function chords change their structure, namely:
VI5/3 becomes minor(d, V natural)
VII becomes major
III becomes major
The use of these chords in the practice of classical harmony is associated with special turns because these chords do not have the VII# degree in their composition and do not have a sharp gravity in T.
D chords are used in harmonization Phrygian turnover
(downward movement from I to V in natural minor).
The functional feature of this tetrachord is that the VII degree is a sign of the D-function, and the VI degree is a sign of the S-function chords. And a non-normative sequence D-S is formed, which is softened by the absence of gravity of the VII stage in I.
When harmonizing a Phrygian tetrachord, it usually comes to D (harmonic), but an exception is possible (T).
Because The Viennese classics used the natural minor occasionally, but the arrival at the end of the revolution to D (harmonic) restores the classical onics.
In some cases, the Phrygian turn is possible without an initial sound or without a final one.
The Phrygian phrase can be placed in any voice, but most often it occurs in Soprano or Basu. If the revolution is in Soprano, then it is called a “Phrygian revolution of the first kind,” and if in Basu, it is called a “Phrygian revolution” of the second kind.
The Phrygian phrase may be scattered among the voices.
If the Phrygian revolution goes into K6/4, then it is called "
Phrygian cadence
"
.
When harmonizing the Phrygian turnover, it is possible to use T7 (natural) with addresses.
1. Phrygian phrases of the 1st kind:
All chords in the Phrygian revolution must be in the same arrangement!
2. Phrygian phrases of the 2nd kind:
D (natural) chords can be used in harmony not only in connection with Phrygian turns. The use of D (natural) chords is often associated with the emergence variable functions in harmony.
- Function variable - additional functional relationships into which chords enter into each other in the process of harmonic movement. In this case, variable functional relationships are formed only against the background of basic functions.
In natural minor, the D-function chords change their structure, namely:
VI5/3 becomes minor(d, V natural)
VII becomes major
III becomes major
The use of these chords in the practice of classical harmony is associated with special turns because these chords do not have the VII# degree in their composition and do not have a sharp gravity in T.
D chords are used in harmonization Phrygian turnover
(downward movement from I to V in natural minor).
The functional feature of this tetrachord is that the VII degree is a sign of the D-function, and the VI degree is a sign of the S-function chords. And a non-normative sequence D-S is formed, which is softened by the absence of gravity of the VII stage in I.
When harmonizing a Phrygian tetrachord, it usually comes to D (harmonic), but an exception is possible (T).
Because The Viennese classics used the natural minor occasionally, but the arrival at the end of the revolution to D (harmonic) restores the classical onics.
In some cases, the Phrygian turn is possible without an initial sound or without a final one.
The Phrygian phrase can be placed in any voice, but most often it occurs in Soprano or Basu. If the revolution is in Soprano, then it is called a “Phrygian revolution of the first kind,” and if in Basu, it is called a “Phrygian revolution” of the second kind.
The Phrygian phrase may be scattered among the voices.
If the Phrygian revolution goes into K6/4, then it is called "
Phrygian cadence
"
.
When harmonizing the Phrygian turnover, it is possible to use T7 (natural) with addresses.
1. Phrygian phrases of the 1st kind:
All chords in the Phrygian revolution must be in the same arrangement!
2. Phrygian phrases of the 2nd kind:
D (natural) chords can be used in harmony not only in connection with Phrygian turns. The use of D (natural) chords is often associated with the emergence variable functions in harmony.
- Function variable - additional functional relationships into which chords enter into each other in the process of harmonic movement. In this case, variable functional relationships are formed only against the background of basic functions.
Phrygian turnover(German phrygische Wendung) is a melodic-harmonic revolution based on the descending (from the 1st to the 5th degree) second tetrachord of a natural minor. According to the intervallic structure, this tetrachord coincides with the first tetrachord of the Phrygian mode, hence the name:
The Phrygian tetrachord can be located either in the upper voice or in the bass.
To harmonize the 7th degree of a natural minor in the soprano, a triad of the 3rd degree is used, as well as a seventh chord or quintessex chord of the 1st degree:
Phrygian revolution in the middle of the formation or at the beginning of the 2nd sentence it can begin with a tonic sixth chord (t6):
Phrygian tetrachord in bass (lamentobass) can be harmonized as follows:
The Phrygian revolution ending with a major dominant triad (D53) can be used as a half-cadence revolution, which is why N.A. Rimsky-Korsakov called such a revolution “ Phrygian cadence"(see musical examples above).
A descending second tetrachord in major can have a functionally similar harmonization, but using major scale chords (try reharmonizing the sheet music examples above).
Examples from musical literature
F. Chopin. Nocturne in C sharp minor. In the 1st and 2nd measures - Phrygian turn in soprano:
T. A. Vitali. Chaconne g-moll – Phrygian turn in bass (Lamentobass):
Exercise: Transpose the Phrygian turns given in the musical examples into all minor keys of the circle of fifths.
Literature
- Abyzova E. Harmony. – M., 2008.
- Dubovsky I., Evseev S., Sposobin I., Sokolov V. Textbook of harmony. – M., 1984.
- Rimsky-Korsakov N. A. Practical textbook of harmony. – M.-L., 1949. P.44-45.
- Tyulin Y., Privano N. Textbook of harmony. – M., 1986.
- Ulrich Kaiser, Lamentobass. Musik aus vier Jahrhunderten, (= OpenBook 5), inkl. Software AnaVis von Andreas Helmberger und Ulrich Kaiser. – Karlsfeld, 2013.
The Phrygian revolution is a harmonization of the upper descending tetrachord of the natural minor (that is, the move I - VII - VI - V). This tetrachord is usually found in either the soprano (“soprano Phrygian”) or the bass (“bass Phrygian”).
The name comes from the Phrygian mode (the scale of which corresponds to a natural minor with a low second degree): the upper tetrachord of the natural minor coincides with the lower tetrachord of the Phrygian mode.
Phrygian revolutions are conventionally grouped according to how its most specific level, the VII natural, is harmonized. It can be either a fundamental tone, a third tone, a fifth tone, or a seventh tone; the remaining chords are “adjusted”. Often a Phrygian turn begins with a tonic (T 5 3 or T 6) and ends with D 5 3, but this is not necessary. It is possible to start with VI 5 3 or S 5 3, for example. There can also be more than one chord for each note of the Phrygian turn (for example, the last one is K 6 4 D 5 3).
Phrygian turns on soprano
Phrygian turns on bass
