| Bach
| Haydn
| Berlioz
| Wagner
| Debussy
| Tippett
|
| 18th century - functional harmony
| 18th century - functional harmony
| 19th century - unconventional harmony, 'economy' in harmonic and tonal resources
| 19th century - less functional harmony, more chromatic and dissonant
| 19th century - Even more ambiguous harmony, colour takes precedence over function
| 20th century - some functional harmony spiced up with dissonances and modal and atonal phrases
|
| I - V - I progressions frequent. Diatonic sequences. Circle of 5ths
| tonic - dominant harmony. Circle of 5ths b. 57-65
| rustic folk-like imagery created through basic harmony
| voice leading harmony, less obvious and predictable
| -
| -
|
| ritornello form - keys visited make sense: G - D - C - G
| dissonant intervals occasionally - key is not always clear when harpsichord is omitted
| C major throughout
| Keys passed through are dealt with in an unconventional way - piece starts with subdominant key, moving into tonic in the middle section
| Key is very ambiguous throughout. Some tonal areas but no definite key
| Modes used. Atonality. Pentatonic scale in b. 1-4. Some sense of key but due to the number of techniques used, it is seldom sustained for long
|
| prepared suspensions and resolutions
| mainly conventional appogiaturas and resolutions
| irregular resolutions and chromatic ornaments
| long appoggiaturas. Fewer resolved phrases - rests added or interrupted cadences used. Dissonant melodic lines - tension created
| cadences weakened by added notes. Resolutions not obvious
| free use of unresolved dissonances from diatonic scale. 'wrong note' style - pandiatonicism from Neoclassicicism.
|
| -
| dominant pedal b. 65-68
| double pedal - bare 5ths like bagpipes
| -
| inverted dominant pedal b. 79-82
| -
|
| absolute music' - no background story, just pure music
| symphony used as a 'vehicle' for reflection on Christ's crucifixion. Juxtaposition of tonic minor and tonic major in b. 80-99 then b. 100-133 - triumph of the cross over Christ
| harmony and tonality used to create rustic bohemian atmosphere. Simple style reflects the peasant lifestyle
| piece is backdrop to the play. The Prelude introduces the characters' leitmotifs. Tristan and Isolde represented in the music, as are their emotions
| based on a tune played by a faun on his pipe - inspired by a poem?
| no background story - harks back to Bach with 'absolute music'
|
| -
| dim 7ths present
| flattened 7ths used (B flat in key of C). Half dim 7ths (b. 44) and secondary dominant chords used
| Tristan chord - a half dim 7th chord. Dim 7ths and secondary dominants used. Neapolitan 6th also use
| half dim 7ths used (and probably other more unusual chords)
| chromatic alterations and false relations used. Phyrgian cadence used
|
