chapter five modality - tu dublin
TRANSCRIPT
176
CHAPTER FIVE
MODALITY
Over the course of music history, the term, modality has been understood in a variety of
ways.1 In the context of Irish traditional music, its modern definition appears to be most
appropriate.
Taking the term in the modern, twofold sense, mode can be defined as either a ‘particularized scale’ or a ‘generalized tune’, or both, depending on the particular musical and cultural context. If one thinks of scale and tune as representing the poles of a continuum of melodic predetermination, then most of the area between can be designated one way or another as being in the domain of mode. To attribute mode to a musical item implies some hierarchy of pitch relationships, or some restriction on pitch successions; it is more than merely a scale. At the same time, what can be called the mode of a musical item is never so restricted as what is implied by referring to its ‘tune’; a mode is always at least a melody type or melody model, never just a fixed melody.2
From informal conversation with musicians from within the tradition, it is apparent that
the terms modality and tonality are sometimes confused. According to Harold Powers,
the term ‘tonality’ was first used:
by Choron in 1810 to describe the arrangement of the dominant and subdominant above and below the tonic and thus to differentiate the harmonic organization of modern music (tonalité moderne) from that of earlier music (tonalité antique).3
As can be seen, the term modality recalls an earlier system (tonalité antique), that was
displaced by tonal music, which in turn was followed by atonality in twentieth and
twenty-first-century music. Here, the term modality is used to encompass the various
‘particularized scales’ that are found in Irish traditional instrumental music and this
includes both the traditional pseudo-Greek modes and the gapped scales.
1 See: Powers, Harold S.: ‘Mode’, Grove Music Online. http://0-
www.oxfordmusiconline.com.ditlib.dit.ie/subscriber/article/grove/music/43718pg1 (Accessed 15 March 2013).
2 Ibid. 3 Ibid.
177
5.1 Historiography
Some of the earliest discussions on modality are characterised by the idea that the age of
a tune can be determined from its mode. In Ireland, this may have begun with Edward
Bunting. Although he did not comment on the idea in his publications, a recent study by
Dr Colette Moloney has found that in a margin note in one of his manuscripts he
‘indicates various harp scales from different centuries […]. He does not, however, state
the source of these scales’.4 In the Ancient Music of Ireland (1840), under the title ‘Of
The Characteristics of Irish Melody’, Bunting considers two classes of Irish melody:
‘[…] those, namely, which are marked by the omission of the fourth and seventh tones
of the diatonic scale, or one of them, […]’.5 He insists that this absence of the fourth
and seventh degrees of the mode is a characteristically Irish trait,6 a statement that, as
will be discussed, has been the source of much debate until the mid-twentieth century.7
Petrie does not give much space to the discussion of modes in his published collections
but instead reserves commentary for the discussion of individual pieces. Perhaps his
most notable reference to the modes can be found in his discussion of ‘The Magic
Mist’, found in Volume Two of The Ancient Music of Ireland. Published posthumously
in 1882, here he notes that the presence of the tune’s ‘antique tonalities’ ‘[…] will, no
doubt, be somewhat startling and unpleasant to ears accustomed only to modern music;
though, to those familiarised to such tonalities, they will, I am persuaded, add to the
racy and impressive character of the air’.8 He continues:
I will not assert that the tonalities of this melody are exactly those found in either of the so-called Dorian or Eolian modes [sic], nor even of that Phrygian, to which Selden tells us "the Irish were wholly included"; but I may venture to say that their affinity with the tones of the Canto Fermo or old modes of the church – and particularly with those which have a minor character – must be at once apparent to, and arrest the attention of, all those who have made themselves acquainted with the peculiar characteristics of the old ecclesiastical or
4 These are from MS12/1, to be found as marginalia and do not appear in his published works.
Therefore, while they are relevant to the discussion, they are best viewed in: Moloney, Colette: The Irish Music Manuscripts of Edward Bunting (1773–1843): An Introduction and Catalogue, (Dublin: Irish Traditional Music Archive, 2000), 69,70.
5 Bunting, Edward: The Ancient Music of Ireland, (Dublin: Hodges and Smith, 1840), 13. 6 Ibid., 14. 7 While the debate on this matter ceases to be found from the mid-twentieth century onwards, in my
opinion, this argument was most convincingly overturned by James Travis, who provided numerous exceptions to the rule. See: Travis, James: ‘Irish National Music’, The Musical Quarterly, Vol. 24, (Oxford: The Oxford University Press, 1938), 465-473.
8 Petrie, George: The Ancient Music of Ireland, Vol. 2, (Dublin: Society for the Preservation and Publication of the Melodies of Ireland, 1882), 42.
178
Gregorian mode. Interestingly, Bunting’s idea concerning the omission of the fourth and seventh degrees
of the mode is one of the few things that Petrie does not challenge.9 Perhaps one of the
first authors to critically consider Bunting’s statement is Frederick St. John Lacy who in
1890 wrote:
Well and good. Many airs can be produced in support of both of these assertions, but what of the multitude of those, unmistakably Irish, which have the fourth and seventh from the key-note, or which omit the submediant? How are we to explain away the fact of the exceptions to these rules outnumbering the examples that can be adduced in support of them?10
Lacy goes on to introduce a theory to demonstrate how modality has evolved in Irish
traditional music.11 Not unlike the opinion held by Bunting, Lacy’s thesis is that the
pentatonic modes are the oldest, and that heptatonic and diatonic modes later evolved.12
From the pentatonic mode – given as C, D, E, G, and A – and which might be thought
of as an Ionian pentatonic mode, Lacy derives a further four pentatonic modes by
beginning on each of the letters of the initial mode whilst retaining the interval
relationships. This can be thought of as correlating with the Dorian, Phrygian,
Mixolydian and Aeolian modes.13 Then, the process repeats with five hexatonic and a
further five heptatonic modal scales, yielding a total of fifteen examples in all.14 While
in earlier accounts authors had discussed the ‘omissions’ that they had observed in the
modes, and therefore they had at least implicitly discussed gapped modes, Lacy appears
to be the first writer to explicitly investigate the music’s pentatonic, hexatonic and
heptatonic modal characteristics.15
In 1903, the Rev. Dr Richard Henebry published Irish Music: being a matter of the 9 See: Ibid., 43 where it is apparent that indeed, Petrie has the evidence to challenge Bunting on this
aspect. To take one example, he draws attention to the omission of the second degree of the mode in the case of ‘The Magic Mist’.
10 Lacy, F. St. John: ‘Notes on Irish Music’ Proceedings of the Musical Association, 16th Session, (1889–1890), (Dublin: Taylor & Francis, and the Royal Musical Association), 184.
11 Ibid., 184-192. 12 The author himself uses the term ‘periods’ rather than modes to avoid confusion with the church
modes. 13 This gives 1. C, D, E, G, A, 2. D, E, G, A, C, 3. E, G, A, C, D, 4. G, A, C, D, E and 5. A, C, D, E, G. 14 Ibid., 185-186. 15 This type of commentary decreases significantly from here on in but resurfaces to great effect in the
work of Lacy’s pupil, Aloys Fleischmann, about a century later.
179
examination of scales, modes, and keys, with practical instructions and examples for
players.16 This document is significant in that it is possibly the only one to attempt a
detailed discussion on temperament in Irish traditional music and his thoughts on this
appear to have been influential in his time.17 Henebry identifies two temperaments, a
first and a second ‘Irish scale’ and provides a fiddle fingerboard diagram so that the
positions of these modes can be located.18 However, since it is not possible to check
these examples against his sources, it is difficult to comment on their accuracy.
Nevertheless, the text does raise the point that while the tonal period has inclined
towards twelve tone equal temperament, it is almost without doubt that there was a
much more colourful spectrum at play within the modal system of Irish traditional
music.
For the time, James Travis’s 1938 paper Irish National Music is refreshing in its
objectivity.19 Even before Travis’s time, there was a claim that the inclusion of the
raised seventh in minor tunes was an affront to authenticity.20 Travis argues against the
absolutism of this stance noting that although the major seventh is rarely used in minor
tunes, it is by no means unknown.21 With the benefit of the array of recordings that exist
today, Travis would have had his point even further supported based on his basic thesis
that individual creativity will always provide an exception to the rule.22 Similar to Lacy,
Travis is critical of the ‘blind following’ of Bunting regarding the omission of the fourth
and seventh degrees.23 However, unlike Lacy, he refutes the idea of a Darwinian-type
16 Henebry, Richard: Irish Music: Being an Examination of the Matter of Scales, Modes, and Keys, with
Practical Instructions and Examples for Players, (Dublin: An Cló Cumann, Straid Mór na Trága, 1903).
17 As can be inferred through a reading of Cathaoir O’Braonain’s 1909 forward to The Roche Collection where Henebry’s work is referenced: See: Roche, Frank: The Frank Roche Collection, 2nd ed., (Cork: Ossian Publications, 1993).
18 Henebry: Irish Music: Being an Examination of the Matter of Scales, Modes, and Keys, with Practical Instructions and Examples for Players, 31.
19 Travis, James: ‘Irish National Music’, The Musical Quarterly, Vol. 24, (Oxford: The Oxford University Press, 1938), 451-480. While it is known that Travis was American, little else is known of him.
20 See: Joyce, Patrick Weston: Old Irish Folk Music and Songs, (London; New York: Longmans, Green, and Co.; [etc.], 1909), xvii. While Joyce does not specifically refer to Bunting, his message regarding the inappropriateness of the raised seventh, is abundantly clear.
21 Travis: ‘Irish National Music’, 466-467. 22 For instance, the raised seventh may be found in some versions of ‘The Colraine Jig’, and the ‘The
Blackbird Hornpipe’. While it is much more difficult to find examples of the harmonic minor scale, these inflections point to its usage as a colour.
23 Ibid., 472.
180
evolution of modes,24 instead, rather convincingly arguing that they were selected for
their expressiveness whenever needed.25
Finally, Travis is possibly the first to demonstrate that modulation takes place ‘not only
between diatonic, hexatonic and pentatonic modes, but also between modes
representative of these different types’.26 By this statement, he is drawing attention to
the fact that there are many types of pentatonic and hexatonic modes, an area of
modality that as will be seen, is not fully explored until the late twentieth century. To
support this assertion, he gives examples from both tune parts and full tunes. In this
respect, his work differs from the largely restrictive writing of earlier authors and is
more musical as a result.
In more formal terms, in Our Musical Heritage Seán Ó Riada introduces the term ‘bi-
modality’.27 Despite the fact that Ó Riada used the term in describing a song, it is just as
applicable to instrumental music and describes a situation where a melody is found to
be in more than one mode. In Folk Music and Dances of Ireland Breandán Breathnach
understands modality in terms of ‘three systems’ and in doing so, echoes the earlier
work of Lacy. Breathnach’s first system relates to the heptatonic pseudo-Greek modes,
in relation to which he states that:
The Doh mode is the predominant one in Irish folk music. In fact over 60% of our music belongs to this mode. [...] Pieces ending on Soh account for approximately 15% of the total, [...] Airs in the Ray mode, accounting for somewhat over 10% of the music. [...] Airs in the La mode are the least numerous.28
The above estimate is notable for its omission of the hexatonic and pentatonic modes –
24 For example, Bunting and Lacy’s evolution of modes as described above. 25 Ibid., 471-473. His reference to Galilei’s 1581 Dialogo on p. 467 is particularly persuasive. Travis
states that ‘Galilei’s treatise is more illuminating. It establishes that Ireland possessed the double harp in the 16th century. The method of tuning the double harp described by Galilei reveals that the Irish were familiar with chromatics. It would be absurd to fancy them confined, with such an instrument, as regards scales or modes’. This is also not to say that in a genre so associated with the social element, a slip of the finger has not produced a tonal ‘mistake’ that was deemed to be nice and then commonly used.
26 Ibid., 476-477. 27 Ó Riada, Seán: Our Musical Heritage, eds. Tomás Ó Canainn; Thomas Kinsella, (Mountrath: Dolmen
Press, 1982), 37. 28 Breathnach, Breandán: Folk Music and Dances of Ireland, Revised Ed. 1977, (Dublin; Cork: Mercier
Press, 1993), 10-11.
181
his second and third systems respectively, which Breathnach contends ‘constitute only a
relatively small proportion of the national repertory’.29 He also argues that there is only
one hexatonic mode, which is characterised by its omission of the seventh degree, and
similarly, that the only pentatonic mode is that which does not contain the fourth and
seventh degrees.30 As will be demonstrated when the work of Aloys Fleischmann is
discussed, these assertions are simply inaccurate. Rather, there is a variety of pentatonic
and hexatonic possibilities.31
Another of Breathnach’s ideas is the ‘underlying principle’, which states that a tune’s
mode can be identified by its key signature and its final note.32 While this approach
stretches back to the theoretical beginnings of modality,33 it is based on the idea of the
tune being heptatonic. Secondly, as acknowledged by Breathnach,34 some tunes are
‘circular’ meaning that they do not end on their home-note. Rather, these are designed
to propel into a repeat and must be ended on either the first note of the A-part or by
selecting an appropriate final note.
The concept of circularity is largely a tonal effect and can be found earlier in a number
of publications including Annie W. Patterson’s ‘The Characteristic Traits of Irish
Music’ (1897)35 and latterly, Ó Riada’s Our Musical Heritage (1963/1982).36 Most
notably, the circular tune is one in which its final note cannot in any circumstance be
29 Ibid., 12. 30 Ibid. 31 Although Fleischmann’s observations on tonality were exclusively based on material up to c.1850, his
statement that the fourth and fifth were the most usual absentees of a scale makes it difficult to consider that the pentatonic mode is less popular than the heptatonic variety.
32 Ibid., 10-11. This is worth remembering in relation to Breathnach’s statement as printed on the previous page.
33 See: Powers, Harold S.: ‘Mode’, Grove Music Online. http://0-www.oxfordmusiconline.com.ditlib.dit.ie/subscriber/article/grove/music/43718pg1 (Accessed 15 March 2013) where it is stated: ‘The nucleus of the concept of mode in its basic Western form may be illustrated in two early 11th-century Italian formulations: A tone or mode is a rule which distinguishes every chant in its final [scale degree]’ (Pseudo-Odo, Dialogus de Musica, Gerberts, 257); and ‘The first degree A and the fourth, D, are alike and are designated “of a single mode” because both have a tone beneath and [have] tone–semitone–tone–tone above’.
34 Breathnach: Folk Music and Dances of Ireland, 8-9. 35 Patterson, Annie W.: ‘The Characteristic Traits of Irish Music’, Proceedings of the Musical
Association, 23rd Sess., (1896–1897), (Taylor & Francis, 1897), 103. See also: Joyce, P.W.: Ancient Irish Music (Dublin: McGlashan and Gill, 1873), I7, 33, which is the source for Annie Patterson’s references to two examples of these ‘unending tunes’. It is worth noting that Joyce himself does not comment on this feature in respect of these two tunes.
36 Ó Riada: Our Musical Heritage, 21.
182
used reliably to indicate its mode. Breathnach argues that circular tunes can be made ‘to
end on the appropriate final note and are so ended when a player concludes a bout of
music on playing one of them’.37 However, this cannot be taken as a rule of thumb
because some circular tunes, such as ‘The Connaughtman’s Rambles’,38 where its final
note, G would, in order to end the tune, most likely resolve onto either the F-sharp or A
because the home-note of the tune is D.39 As would become evident in accompanying
this tune, it is not correct to say that it is in a mode with a home-note of G, F-sharp or A.
While Breathnach’s writing is aimed at a more general audience, his advice is best taken
as a rule of thumb rather than a replacement for defining the modes by their
organisation of tones and semitones. The section ends with a nod at inflection and
range.40
In the opening lines of his chapter on ‘The Structure of Irish Traditional Music’, Tomás
Ó Canainn is critical of previous authors such as Bunting, Petrie, Joyce, and implicitly,
Breathnach, when he asserts that in only identifying the modes, authors are viewing the
topic too simplistically.41 One of Ó Canainn’s attempts at a more nuanced
understanding of the modes is through what he terms ‘note-frequency’.42 This is
essentially a quantitative system for calculating which notes are the most important
within a melody. It is based upon criteria such as the number of appearances of each
note in a tune and its appearance on strong beats of the bar.43 From this, it is then
possible to give each note a score so that those which are most ‘important’ can be
identified.44 While it serves a purpose as an analytical tool, Ó Canainn’s use of note
frequency to determine tonality is problematic.45 Taking the tune, ‘Cailleach an Airgid’,
which is reproduced at Ex. 5.1 below, he incorrectly states ‘this tune has […] a tonic A
and a dominant D’,46 this obviously due to the fact that the most commonly-found note
37 Breathnach: Folk Music and Dances of Ireland, 8-9. 38 For a transcription, see Chapter Ten, 484, Ex. 10.9. 39 If looking at the tune in terms of its individual parts, the A-part has a home-note of d’ and the B-part
has a home-note of b’. 40 Ibid., 14-15. 41 Ó Canainn, Tomás: Traditional Music in Ireland, 2nd ed., (Cork: Ossian, 1993), 27. 42 Ibid., 27-30. 43 Ibid. 44 Ibid., 29. 45 He did state that the deduction of tonality using note frequency would produce results that are
different from those arrived at when the key signature and/or final note are considered. 46 Ibid.
183
was A, followed by D. He later notes that ‘the subdominant is either G or E’. In actual
fact, using the approach to defining modality that will be explained later in Section 5.2,
the A-part of the tune is in D Mixolydian hexatonic (minus the 3rd degree) while the B-
part is for the most part in D Ionian with c’’-naturals only being introduced in the final
two bars. Therefore, as can be seen, the note frequency idea is perhaps helpful in
understanding melodic design but it is misleading in determining modality.47
Ex. 5.1 Reproduction of Tomás Ó Canainn’s version of ‘Cailleach an Airgid’.48
The term ‘inflection’ is defined by Ó Canainn as ‘a note which appears in both [its]
sharpened and unsharpened forms’.49 Depending on the home-note, this could be
revised to include its flattened forms also.50 According to Ó Canainn: ‘The seventh is by
far the most commonly inflected note, but the third and occasionally the fourth degree
of the scale may be inflected’.51 However, in the playing of the Donegal fiddler Con
Cassidy, there are instances where the second and sixth degrees of the mode are also
inflected.52 Breathnach also discusses inflection using the term ‘accidental notes’53 and
while he notes the use of the C-sharp and F-natural, he does not state the keys to which
he is referring.54 Given that earlier he discusses the keys G, A, D and E, it can perhaps
47 However, it is very possible that this idea had influenced Mícheál Ó Súilleabháin’s set tone idea,
which will be explored in the following chapter. 48 Ó Canainn: Traditional Music in Ireland, 29. 49 Ibid., 30. 50 See Section 5.2, 188 for a definition. 51 Ibid., 33. 52 Cassidy, Con: Traditional Fiddle Music from Donegal, (Donegal: Cairdeas na bhFidiléirí, 2007), track
1. 53 See: Breathnach: Folk Music and Dances of Ireland, 13. Also a passing reference to inflection may be
found in: Travis: ‘Irish National Music’, 468. 54 Breathnach: Folk Music and Dances of Ireland, 13. Here I am using the term ‘key’ because it is used
by Breathnach.
184
be assumed that his observations on inflection applies to modes that require these key-
signatures but this is unclear.55 To summarise, this means that all five degrees56 are
possibilities for inflection in a diatonic mode.
Both Breathnach and Travis have touched upon this topic but Ó Canainn goes the
furthest by giving a number of examples and uses these as the basis for a series of rules
to be postulated.57 Interestingly, Ó Canainn appears to see inflection as a better way of
conceptualising tunes than that of modal modulation. In contradicting the view of both
Travis and Ó Riada, Ó Canainn states that ‘Irish tunes rarely change mode and to base a
method of analysis on the assumption that they do seems foolish’.58 While it is
undeniable that some tunes make use of more than one mode, inflection is a helpful
solution to the problem of an eight-bar part potentially having to be thought of as being
in more than one mode in the same part. With the exception of one reel, the examples
upon which Ó Canainn bases his observations are song airs and so perhaps it requires a
leap of faith to apply the same rules to instrumental music. Notably however, no
mention is made of the importance of the inflection being placed on strong or weak
positions within the bar.
Ironically, the most valuable source for information on modality in Irish traditional
music is not a document relating to style but rather, is Aloys Fleischmann’s introduction
to his Sources of Irish Traditional Music.59 Published in 1998, the introduction includes
an overview of the different modes found in the material contained in the collection.
However, because the work is comprised of tunes that date from c.1600 until c.1855, it
may not bear witness to the idiosyncrasies of modality and the ways in which it may
have evolved since. However, it introduces a level of nuance that is considerably more
detailed than any of the studies that precede it, and in the context of this study it
establishes both a standard, and an approach that can be adapted and used here.
55 Breathnach: Folk Music and Dances of Ireland, 12. 56 See: Ó Canainn: ‘Traditional Music in Ireland’, 33. These are the 2nd, 3rd, 4th, 6th and 7th degrees of the
scale. Although the raised 4th and lowered 5th are enharmonic equivalents, known in other terms as the augmented fourth and diminished fifth. In his discussion of one of his examples, ‘Slow by the Shadows’, Ó Canainn actually talks about the need to ‘avoid the diminished fifth interval’ viewing it as a raised fourth instead.
57 For Ó Canainn’s rules, see: Ó Canainn: Traditional Music in Ireland, 33-34. 58 Ibid., 32. 59 See: Fleischmann, Aloys: Sources of Irish Traditional Music, (New York; London: Garland, 1998).
185
In his analysis, Fleischmann covers six heptatonic modes over six pitches from C to A
and although he does not use the terms, by C he means Ionian, by D, Dorian, etc. until
he reaches the Aeolian mode. It is interesting that the Phrygian and Lydian modes are
found in the collection since they are not normally associated with Irish traditional
music. It is in relation to the hexatonic and pentatonic modes that the nuanced level of
Fleischmann’s work is apparent in that he indicates which notes are absent from each
mode whilst indicating enharmonic equivalents. This creates the largest number of
modes printed for its time.
Part of the reason for Fleischmann deciding on 1855 as a stopping-point, is due to a
proliferation of tune collections from this date onwards, and also the new influx of tune-
types, as discussed in the previous chapter.60 As styles, instrument specifications, and
virtuosity have evolved since, it can be assumed that an evolution in the modal language
has also occurred.
It is noticeable that in terms of each of the modes listed by Fleischmann, some
hexatonic and pentatonic options exist only in relation to particular pitch centres. Yet,
given the degree of transposition that occurs in music today, it is highly unlikely that a
particular mode would only be found in relation to one pitch centre. Rather, the same
mode can be found in relation to any of the pitch centres without sounding any less
traditional and indeed, this type of transposition is common. Therefore, while the list
includes a great deal of detail, it may be postulated that significantly more modes have
yet to be identified.
From the writings that have been investigated, the primary themes and hence, the
conceptual fields that will be explored here are: (1) home-notes, which are defined in
Section 5.2 and presented in Section 5.3, (2) modality: where the heptatonic modes are
focused on in Section 5.4.1, the hexatonic modes in Section 5.4.2 and the pentatonic
possibilities in Section 5.4.3, (3) inflection, which is explored in Section 5.5 and finally
(4), modulation, which follows in Section 5.6.
60 Ibid., xxviii.
186
5.2 Method
As distinct from key-signature or key, within which a variety of modes can be found,
the term home-note is used to describe the ‘tonic’ note of the mode being used. This is
also distinct from the ‘final-note’, which in the case of circular tunes does not
correspond to the home-note. Moreover, as explained,61 the addition of an extra note to
a circular tune, which is used to bring the melody to a close, does not always correspond
to the home-note of a tune. This distinction will be observed throughout this thesis.
Following the approach laid down by Fleischmann, the heptatonic modes are taken as
the basis from which the hexatonic and pentatonic modes are determined. Technically
speaking, there are seven modes but in Irish traditional music as with most styles of
music, only six are used since the Locrian mode is omitted. As observed by Breathnach,
the modes have different frequencies of use within the genre, of which the Ionian,
Dorian, Mixolydian and Aeolian modes are significantly more popular than the
Phrygian and Lydian modes. Since all six have been observed in practice, they will be
explored here but since the Phrygian and Lydian modes are used so sparingly, these two
are not explored in terms of their hexatonic and pentatonic variations.
These six heptatonic modes are demonstrated below in Ex 5.2, following which, their
interval sequences are given in Table 5.1. The letter T signifies the interval of a tone and
the letter S denotes the interval of a semitone. I recommend that the individual modes
and their home-note be determined by the unique organisation of their intervals rather
than by the final note of a tune, which as was demonstrated above, is prone to error.62
61 See: Section 5.1, 178-179. 62 This is particularly true with ‘circular tunes’. Well-known examples of this include: ‘The
Connaughtman’s Rambles’ (see Chapter Ten, 484) and the March (to take one example) version of Welcome Home Gráinne’ (see Chapter Three, 103).
187
Ex. 5.2 The six heptatonic modes used in Irish traditional music.
Table 5.1 The interval sequences of the six heptatonic modes used in Irish traditional
music.
Mode Interval Sequence
1. Ionian T-T-S-T-T-T-S
2. Dorian T-S-T-T-T-S-T
3. Phrygian S-T-T-T-S-T-T
4. Lydian T-T-T-S-T-T-S
5. Mixolydian T-T-S-T-T-S-T
6. Aeolian T-S-T-T-S-T-T
Since the hexatonic modes make use of six notes, within the context of a diatonic modal
framework, it is evident that one of the seven notes must be omitted. If the home-note is
kept, then any one of six different notes can be omitted each time. This results in six
hexatonic modes relative to each heptatonic mode but because of enharmonic
equivalents across the four more common modes, the total is twenty-one hexatonic
modes rather than the expected twenty-four modes.
In order to determine the possibilities, Table 5.2 below contains four boxes, within
which, the four hexatonic modes are written using letter names. For ease, the tonal
centre of d’ is taken because it is the most common modal centre in Irish traditional
instrumental music. From here, the options are worked out systematically. The pitch
that is omitted is noted by both its letter name and number. While the # symbol is used
for sharps, the ^ symbol is used to denote flats as the typical lower-case letter b could be
188
confusing in combination with the note ‘b’. Through using this approach, it is easy to
see the enharmonic equivalents and omit them from the archive at Section 5.4.2.
Table 5.2 The hexatonic modes respective of the Ionian, Dorian, Mixolydian and
Aeolian modes.
Conceptual Field Hexatonic Modes
Conceptual Resolution Ionian, Dorian, Mixolydian & Aeolian.
Ionian 1. def#gab = no c# -7 2. def#gac# = no b -6 3. def#gbc# = no a -5 4. def#abc# = no g -4 5. degabc# = no f -3 6. df#gabc# = no e -2
Dorian 1. defgab = no c -7 2. defgac = no b -6 3. defgbc = no a -5 4. defabc = no g -4 5. degabc = no f -3 =MIX 5 6. dfgabc = no e -2
Mixolydian 1. def#gab = no c -7 = ION1 2. def#gac = no b -6 3. def#gbc = no a -5 4. def#abc = no g -4 5. degabc = no f# -3 6. df#gabc = no e -2
Aeolian 1. defgab^ = no c -7 2. defgac = no b^ -6=DOR 2 3. defgb^c = no a -5 4. defab^c = no g -4 5. degab^c = no f -3 6. dfgab^c = no e -2
Since pentatonic modes use five notes, there is an even greater number of possible
configurations. The same approach as described above is applied in Table 5.3 below.
Table 5.3 The pentatonic modes respective of the Ionian, Dorian, Mixolydian and
Aeolian modes.
Conceptual Field Pentatonic Modes
Conceptual Resolution Ionian, Dorian, Mixolydian & Aeolian.
Ionian 1. def#ga = no bc# -6.-7 2. def#gb = no ac# -5.-7 3. def#gc# = no ab -5.-6 4. def#ab = no gc# -4.-7 5. def#ac# = no gb -4.-6 6. def#bc# = no ga -4.-5
Dorian 1. defga = no bc -6.-7 2. defgb = no ac -5.-7 3. defgc = no ab -5.-6 4. defab = no gc -4.-7 5. defac = no gb -4.-6 6. defbc = no ga -4.-5
189
7. degab = no f#c# -3.-7 8. degac# = no f#b -3.-6 9. degbc# = no f#a -3.-5 10. deabc# = no f#g -3.-4 11. df#gab = no ec# -2.-7 12. df#gac# = no eb -2.-6 13. df#gbc# = no ea -2.-5 14. df#abc# = no eg -2.-4 15. dgabc# = no ef# -2.-3
7. degab = no fc -3.-7 = Ion. 7, Mix.7 8. degac = no fb -3.-6 = Mix. 8 9. degbc = no fa -3.-5 = Mix. 9 10. deabc = no fg -3.-4 = Mix. 10 11. dfgab = no ec -2.-7 12. dfgac = no eb -2.-6 13. dfgbc = no ea -2.-5 14. dfabc = no eg -2.-4 15. dgabc = no ef -2.-3 = Mix. 15
Mixolydian 1. def#ga = no bc -6.-7 = Ion.1 2. def#gb = no ac -5.-7 = Ion.2 3. def#gc = no ab -5.-6 4. def#ab = no gc -4.-7 = Ion. 4 5. def#ac = no gb -4.-6 6. def#bc = no ga -4.-5 7. degab = no fc -3.-7 = Ion. 7 8. degac = no fb -3.-6 9. degbc = no fa -3.-5 10. deabc = no fg -3.-4 11. df#gab = no ec -2.-7 = Ion. 11 12. df#gac = no eb -2.-6 13. df#gbc = no ea -2.-5 14. df#abc = no eg -2.-4 15. dgabc = no ef -2.-3 = Dor.15
Aeolian 1. defga = no bc -6.-7 = Dor.1 2. defgb^ = no ac -5.-7 3. defgc = no ab -5.-6 = Dor. 3 4. degab^ = no fc -4.-7 = Dor. 4 5. defac = no gb -4.-6 = Dor 5 6. defb^c = no ga -4.-5 7. degab^ = no fc -3.-7 8. degac = no fb -3.-6 = Mix. 8 & Dor. 8 9. degb^c = no fa -3.-5 10. deab^c = no fg -3.-4 11. dfgab^ = no ec -2.-7 12. dfgac = no eb -2.-6 - = Dor. 12 13. dfgb^c = no ea -2.-5 14. dfab^c = no eg -2.-4 15. dgab^c = no ef -2.-3
The heptatonic, hexatonic and pentatonic modes can be found along a range of home-
notes. While key signatures up to three sharps are most common, bands like Dervish
sometimes use keys signatures of up to four flats.63 In addition to the more common d’
chanter, uilleann pipers often also have a b or b-flat chanter in their possession. It is not
uncommon also for fiddlers to tune their instrument up a semitone from d’ to e’-flat, or
down to by as much as b-flat. In effect, since tunes are composed within a variety of
modalities and the home-note itself is variable, each of the modal options will be
explored across all twelve home-notes.
When multiplied across twelve home-notes, the twenty-one hexatonic possibilities
result in a total of 252 options. Similarly, forty-four pentatonic options produce 528
possibilities and the six heptatonic modes: Ionian, Dorian, Phrygian, Lydian, 63 This will be evident upon listening to any of their albums, an example of which is: Dervish: Spirit,
(Nashville: Compass Records, 2003).
190
Mixolydian and Aeolian, give rise to seventy-two options. In terms of modality, this
results in a total of 852 possibilities.
It is evident that authors such as Tomas Ó Canainn saw inflection and modal
modulation as being mutually exclusive ways of addressing chromatically altered notes
in a mode.64 However subjective, in the context of this study, inflection is considered to
be relevant in cases where the raising or lowering of a note is merely decorative and
does not induce any noticeable change to the modality of a tune or its part. In this sense
it applies to notes that are mostly on the weak parts of the beats as represented in Ex.
5.3 (also see Ex. 5.4 and 5.5).
It should be noted that there is a degree of subjectivity concerning the conceptualisation
of a metre. In this discussion, this is particularly true of 3/4, since it covers two tune-
types, the waltz and the mazurka, that are characterised by different organisations of
main beats within the bar.65 In terms of the waltz, the first beat is the strongest, the
second is less strong and the third is the weakest. Contrary to this however, the effect of
listening to a mazurka is that the second beat is the strongest. Given that in practice,
mazurkas are slightly more commonly-played than waltzes and that typically, Irish
traditional dance music moves in a quaver-based rhythm, the conceptualisation of three
strong crotchet beats appears to be more relevant to the type of music being studied
here.66
64 See: Ó Canainn: ‘Traditional Music in Ireland’, 32. As previously noted, Ó Canainn even went as far
as to say that ‘Irish tunes rarely change mode and to base a method of analysis on the assumption that they do seems foolish’.
65 The Narrative Air features a longer rhythmic value on the second beat of the bar and so might also be included in this list. However, this depends on how freely the tempo is interpreted.
66 This issue also applies to the area of melodic variation. See: Chapter Six, 240-241, 250 for further discussion.
191
Ex. 5.3 A demonstration of the weak parts of the beat in respect of the metres: 2/2, 3/4,
4/4, 2/4, 6/8, 9/8.
As identified in Section 5.2 above, the five degrees of the mode that can be inflected are
the 2nd, 3rd, 4th, 6th and 7th. For the purposes of this study, numbers are used to represent
the relevant degrees of the mode, each of which, except the fourth,67 may be in a raised
or lowered position. See Table 5.4 below.
Table 5.4 Number representing possible intervals.
Number and its associated scale degree
2 = Lowered or Raised 2nd
3 = Lowered or Raised 3rd
4 = Raised 4th
6 = Lowered or Raised 6th
7 = Lowered or Raised 7th
Whether or not the degree of the scale is lowered or raised depends on which of the four
most common modes is used. To demonstrate this, the Ionian, Dorian, Mixolydian and
Aeolian modes are listed in Table 5.5 below. In each section, the raised or lowered
nature of each degree of the mode is indicated. This is further illustrated in the context
of an improvised reel fragment in Ex. 5.4 below.
67 The fourth can only be raised.
192
Table 5.5 The options for inflection respective of the Ionian, Dorian, Mixolydian and
Aeolian modes.
Conceptual Field Inflection
Conceptual Resolution Ionian, Dorian, Mixolydian & Aeolian
Ionian 1. Lowered Second 2. Lowered Third 3. Raised Fourth 4. Lowered Sixth 5. Lowered Seventh
Mixolydian 1. Lowered Second 2. Lowered Third 3. Raised Fourth 4. Lowered Sixth 5. Raised Seventh
Dorian 1. Lowered Second 2. Raised Third 3. Raised Fourth 4. Lowered Sixth 5. Raised Seventh
Aeolian 1. Lowered Second 2. Raised Third 3. Raised Fourth 4. Raised Sixth 5. Raised Seventh
Ex. 5.4 Illustration of inflection in respect of the Ionian, Dorian, Mixolydian and
Aeolian modes.
193
As there are five chromatic possibilities, it is possible for anything from one to all five
or any combination thereof (e.g. in the Dorian mode, the raised third and raised
seventh), to be used. When the number of combinations for the five options is
calculated in relation to any one of the four modes, a total of twenty-nine possibilities
exist.68
Generally speaking however, only one degree of the scale is inflected in any one
performance of a tune and even then, it is sparsely used. Inflection is a notable feature in
the music of the Donegal fiddle player Con Cassidy whose versions of traditional tunes
are still played today. The following is one of his slip jigs, which appears on an Altan
album entitled Another Sky and is simply called ‘Con’s Slip Jig’.69
Ex. 5.5 Use of inflection demonstrating the use of the raised fourth in ‘Con’s Slip Jig’.
In the context of this study, modulation is understood to result from the placement of
chromatically altered notes on the strong beats of a bar (see Ex. 5.6), see ‘Mooney’s
Reel’ at Ex. 5.8 below for one such example.70 This is generally accompanied by the
presence of a particular melodic contour that would not be associated with the main
mode in question. While it is most common for modulation to occur between parts of a
tune, when this type of modulation occurs within a tune part and is therefore brief, it can
68 See Section 5.6. 69 Altan: Another Sky, (Milwaukee: Narada Productions, 2000). 70 As will be explained below, two particular types of modulation are considered here.
194
be termed a ‘transitory modulation’. Both types will be discussed below.
Ex. 5.6 A demonstration of the main beats of the metres: 2/2, 3/4, 4/4, 2/4, 6/8, 9/8.
As stated earlier, modulation can be said to occur in a transitory sense when one or
more bars deviate from the main mode of a tune part, or in a structural sense when an
entire part is in a different mode from that of the other part or parts. From a general
analysis of audio recordings, I would venture that there are two types of modulation in
Irish traditional instrumental music: 1. where both the modes and their respective home-
notes are different, and 2. where the modes are different but the home-notes are the
same.
An example of a change of mode and change of home-note that features between two
different parts of the tune can be found in the well-known reel ‘The Glass of Beer’ (see
Ex. 5.7) in which the A-part is in B Aeolian Pentatonic (minus the second and sixth
degrees) while the B-part is in D Ionian Hexatonic (minus the seventh degree) or in
shortened form, B Aeol. Pent. -2,-6 and D Ion. Hex. -7.
195
Ex. 5.7 Modal modulation in the reel ‘The Glass of Beer’.
An example of a transitory modulation where the home-note stays the same but the
mode changes can be found in the A-part of ‘Mooney’s Reel’ as played by the Donegal
fiddler John Doherty in John Doherty: The Celebrated Recordings. In this example (see
Ex. 5.8), the A-part is in A Aeolian Hexatonic -6 while bars 3 and 7 allude to A
Mixolydian Pentatonic -4, -7.71 Despite an extra note being missing (-6), since modes
that only use four notes are not addressed here, the nearest pentatonic option is
referenced.
Ex. 5.8 Transitory modulation in the A-part of ‘Mooney’s Reel’.
While in respect of modulation, initially, the four most common modes, Ionian, Dorian,
Mixolydian and Aeolian were explored, as may be seen in relation to the practice-based
71 This could also be conceptualised as A Ionian Pent -4, -7. However, owing to the Am to G
progression that underpins an Aeolian mode, the Mixolydian option selected, which utilises an A to G progression, would fit better were the G and other notes to be used.
196
component discussed in Chapter Ten, musicians are frequently eager to explore more
unusual modulations using the Phrygian and Lydian modes and so these were later
included.72 Following an approach that is similar to the previous explorations of
inflection and modality, the options are determined in Table 5.6 below.
Table 5.6 Options for modal modulation respective of the Ionian, Dorian, Phrygian,
Lydian, Mixolydian and Aeolian modes.
Conceptual Field Modulation Conceptual Resolution Within the diatonic framework Ionian
1. Ion. to Ion. 2. Ion. to Dor. 3. Ion. to Phryg. 4. Ion. to Lyd. 5. Ion. to Mix. 6. Ion. to Aeol.
Lydian 1. Lyd. to Lyd. 2. Lyd. to Ion. = Ionian 4 3. Lyd. to Dor = Dorian 4 4. Lyd. to Phryg. = Lydian 4 5. Lyd. to Mix. 6. Lyd. to Aeol.
Dorian 1. Dor. to Dor. 2. Dor. to Ion. = Ionian 2 3. Dor. to Phryg. 4. Dor. to Lyd. 5. Dor. to Mix. 6. Dor. to Aeol.
Mixolydian 1. Mix. to Mix. 2. Mix. to Ion. = Ionian 5 3. Mix. to Dor = Dorian 5 4. Mix. to Phryg. = Phrygian 5 5. Mix. to Lyd. = Lydian 5 6. Mix. to Aeol.
Phrygian
1. Phryg. to Phryg 2. Phryg. to Ion. = Ionian 3 3. Phryg. to Dor = Dorian 3 4. Phryg. to Lyd. 5. Phryg. to Mix. 6. Phryg. to Aeol.
Aeolian 1. Aeol. to Aeol 2. Aeol. to Ion. = Ionian 6 3. Aeol. to Dor = Dorian 6 4. Aeol. to Phryg. = Phrygian 6 5. Aeol. to Lyd. = Lydian 6 6. Aeol. to Mix. = Mixolydian 6
When any repetitions and or enharmonic equivalents are extracted, there are six
possibilities for each of the two types of modal modulation that are listed in Section 5.6.
It should be noted that modulation where the home-note as opposed to the mode
72 See Chapter Ten, 541-542 for an example of the Phrygian mode. Chapter Ten, 600-601 includes
references to the Lydian mode.
197
changes (e.g. D Ionian to E Ionian) is also included in this study. Lastly, while
hexatonic and pentatonic modulations could occur, owing to the number of possibilities
to be seen in sections 5.4.1 to 5.4.3, this must be deferred for future study.
5.3 Home-note
The most commonly used home-notes are G, D and A with tunes in E now becoming
increasingly heard in sessions. In some of the older collections, F, B-flat and E-flat were
favoured and while tunes in F can sometimes be heard in sessions, these are less
common.73 However, since some uilleann pipe chanters can be found in B, Bb and C-
sharp amongst others, and occasionally, bands such as Dervish will tune to notes other
than concert pitch, (usually up a semitone from concert pitch), it is fathomable that
every home-note is viable for use.74
Table 5.7 The home-notes used in Irish traditional music, relevant to equal
temperament.
Conceptual Field The home-notes used in Irish traditional music
Conceptual Resolution Relevant to equal temperament
1. C
2. C#/ Db
3. D
4. D#/ Eb
5. E
6. F
7. F#/ Gb
8. G
9. G#/ Ab
10. A
11. A#/ Bb
12. B
73 See: Joyce, Patrick Weston: Old Irish Folk Music and Songs, (London; New York: Longmans, Green,
and Co.; [etc.], 1909). This collection contains numerous examples of up to three sharps and three flats.
74 See Dervish: Decade, (Nashville: Compass Records, 2001).
198
5.4.1 The Heptatonic Modes
In the following tables (5.8 -5.13) each of the heptatonic modes, from Ionian to Aeolian
is presented across twelve home-notes. This exercise was guided by the rule that the
simplest key-signature possible is used.75 Consequently, it will be noted that in all of the
tables presented from here until Section 5.5 a mixture of sharps and flats may be found.
Table 5.8 The Ionian mode in relation to twelve home-notes.
Conceptual Field Ionian Mode
Conceptual Resolution Based on twelve home-notes
75 For instance, rather than use C-sharp Lydian in Table 5.11 below, which would have required a key-
signature of G-sharp, it was more user-friendly in this case to use D-flat. It will be noted that in cases such as the Hexatonic and Pentatonic conceptual fields where there is a mixture of modes to be found, some complex key-signatures were unavoidable.
199
Table 5.9 The Dorian mode in relation to twelve home-notes.
Conceptual Field Dorian Mode
Conceptual Resolution Based on twelve home-
notes
200
Table 5.10 The Phrygian mode in relation to twelve home-notes.
Conceptual Field Phrygian Mode
Conceptual Resolution Based on twelve home-notes
201
Table 5.11 The Lydian mode in relation to twelve home-notes.
Conceptual Field Lydian Mode
Conceptual Resolution Based on twelve home-notes
202
Table 5.12 The Mixolydian mode in relation to twelve home-notes.
Conceptual Field Mixolydian Mode
Conceptual Resolution Based on twelve home-notes
203
Table 5.13 The Aeolian mode in relation to twelve home-notes.
Conceptual Field Aeolian Mode
Conceptual Resolution Based on twelve home-notes
5.4.2 The Hexatonic Modes
A hexatonic mode consists of six notes. Using the calculations made in Table 5.2 above,
the various hexatonic scales concerning the Ionian, Dorian, Mixolydian and Aeolian
modes have been identified. In each of the examples, the home-note is given, then the
mode from which it derives in its abbreviated form, followed by the degree of the
omitted note, which is preceded by a minus sign or dash. For example, C Ion. Hex.-7
implies that the B-natural is omitted whilst D Mix. Hex.-4 implies that the G is missing.
There are twenty-one hexatonic possibilities that can be used in Irish traditional music.
Furthermore, as these twenty-one modes can occur in relation to any of the twelve
home-notes, a total of 252 hexatonic modes are presented between Tables 5.14 to 5.25
204
below.
Table 5.14 The hexatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with c’ as the home-note.
Conceptual Field Hexatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of c’
205
Table 5.15 The hexatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with c’-sharp as the home-note.
Conceptual Field Hexatonic possibilities across the Ionian, Dorian,
Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of c’-sharp
206
Table 5.16 The hexatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with d’ as the home-note.
Conceptual Field Hexatonic possibilities across the Ionian, Dorian,
Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of d’
207
Table 5.17 The hexatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with e’-flat as the home-note.
Conceptual Field Hexatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of e’-flat
208
Table 5.18 The hexatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with e’ as the home-note.
Conceptual Field Hexatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of e’
209
Table 5.19 The hexatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with f’ as the home-note.
Conceptual Field Hexatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of f’
210
Table 5.20 The hexatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with f’-sharp as the home-note.
Conceptual Field Hexatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of f’-sharp
211
Table 5.21 The hexatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with g’ as the home-note.
Conceptual Field Hexatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of g’
212
Table 5.22 The hexatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with a’-flat as the home-note.
Conceptual Field Hexatonic possibilities across the Ionian, Dorian,
Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of a’-flat.
213
Table 5.23 The hexatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with a’ as the home-note.
Conceptual Field Hexatonic possibilities across the Ionian, Dorian,
Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of a’
214
Table 5.24 The hexatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with b’-flat as the home-note.
Conceptual Field Hexatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of b’-flat
215
Table 5.25 The hexatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with b’ as the home-note.
Conceptual Field Hexatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of b’
5.4.3 The Pentatonic Modes
As is the case with the heptatonic and hexatonic examples, the possibilities presented
here relate to the four common modes: Ionian, Dorian, Mixolydian and Aeolian.
Because two notes are missing, there is an even greater number of possibilities than
with the hexatonic options and a greater number of enharmonic equivalents also exist.
As was discussed earlier, having discovered sixteen enharmonic equivalents between
the four modes, forty-four pentatonic options remain. When this figure is multiplied by
the twelve home-notes on which each can be played, 528 stylistic elements result. Each
is presented as an ascending scale from Table 5.26 to 5.37.
216
Table 5.26 The pentatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with c’ as the home-note.
Conceptual Field Hexatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of c’
217
Table 5.27 The pentatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with c’-sharp as the home-note.
Conceptual Field Pentatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of c’-sharp
218
Table 5.28 The pentatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with d’ as the home-note.
Conceptual Field Pentatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of d’
219
Table 5.29 The pentatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with e’-flat as the home-note.
Conceptual Field Pentatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of e’-flat
220
Table 5.30 The pentatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with e’ as the home-note.
Conceptual Field Pentatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of e’
221
Table 5.31 The pentatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with f’ as the home-note.
Conceptual Field Pentatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of f’
222
Table 5.32 The pentatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with f’-sharp as the home-note.
Conceptual Field Pentatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of f’-sharp
223
Table 5.33 The pentatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with g’ as the home-note.
Conceptual Field Pentatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of g’
224
Table 5.34 The pentatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with a’-flat as the home-note.
Conceptual Field Pentatonic possibilities across the Ionian, Dorian,
Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of a’-flat
225
Table 5.35 The pentatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with a’ as the home-note.
Conceptual Field Pentatonic possibilities across the Ionian, Dorian,
Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of a’
226
Table 5.36 The pentatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with b’-flat as the home-note.
Conceptual Field Pentatonic possibilities across the Ionian,
Dorian, Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of b’-flat
227
Table 5.37 The pentatonic possibilities across the Ionian, Dorian, Mixolydian and
Aeolian modes with b’ as the home-note.
Conceptual Field Pentatonic possibilities across the Ionian, Dorian,
Mixolydian and Aeolian modes
Conceptual Resolution Based on the home-note of b’
228
5.5 Inflection
Table 5.38 demonstrates the twenty-nine possible combinations regarding inflection. As
described earlier, the note to be inflected and its relationship to the home-note is
denoted by the associated number.76 To take for example the eleventh stylistic element
in the conceptual field below, the code ‘3,6’ indicates that the third and sixth degrees of
the mode of the tune in question will be inflected. Whether each of the inflected notes is
raised or lowered will depend on the modality of the particular tune.77
Table 5.38 The possibilities for inflection within sets of one to five chromatic
possibilities in a diatonic framework.
Conceptual Field Inflection using degrees of the scale
Conceptual Resolution On one to five chromatic possibilities
1. = 2
2. = 3
3. = 4
4. = 6
5. = 7
6. = 2,3
7. = 2,4
8. = 2,6
9. = 2,7
10. = 3,4
11. = 3,6
12. = 3,7
13. = 4,6
14. = 4,7
15. = 6,7
16. = 2,3,4
17. = 2,3,6
18. = 2,3,7
19. = 2,4,6
20. = 2,4,7
21. = 2,6,7
22. = 3,4,6
23. = 3,4,7
24. = 3,6,7
25. = 4,6,7
26. = 2,3,4,6
27. = 2,3,6,7
28. = 2,4,6,7
29. =2,3,4,6,7
5.6 Modulation
In Table 5.39, twenty-one options are presented where both the mode and home-note
change upon switching tune-part. For instance, stylistic element number 4 below could
be realised in a two-part tune where the A-part is in D Ionian and the B-part is in A
Mixolydian. Of course the home-note aspect is variable but as there are numerous tunes 76 See Section 5.2, 188-189. 77 Ibid.
229
that follow this particular pattern, it is a likely outcome.78
As will be discussed in Chapter Ten, the button-accordionist Peter Browne employs
chromatic modulation in a transitory sense.79 I have only observed this once in practice
prior to noting it in Peter’s playing.80 Since the options on this level are multifarious and
not widely used, it is considered as an alternative to modal modulation and is included
here as a single option in a conceptual field of its own. All three conceptual fields are
now presented.
Table 5.39 The possibilities for modal modulation where the home-note does change.
Conceptual Field Modulation
Conceptual Resolution Mode = different or same. Home-note = different
1. Ionian to Ionian or vice versa
2. Ionian to Dorian or vice versa
3. Ionian to Phrygian or vice versa
4. Ionian to Mixolydian or vice versa
5. Ionian to Lydian or vice versa
6. Ionian to Aeolian or vice versa
7. Dorian to Dorian or vice versa
8. Dorian to Phrygian or vice versa
9. Dorian to Mixolydian or vice versa
10. Dorian to Lydian or vice versa
11. Dorian to Aeolian or vice versa
12. Phrygian to Phrygian or vice versa
13. Phrygian to Lydian or vice versa
14. Phrygian to Mixolydian or vice versa
15. Phrygian to Aeolian or vice versa
16. Lydian to Lydian or vice versa
78 Two such examples include the reels ‘The Wild Irishman’ and ‘The Dublin Reel’. 79 See Chapter Ten, 542-543 for further discussion. 80 This was noticed in a session in Donegal with the fiddle-player Stephen Campbell who used it in the
first three bars of the reel ‘Lord Ramsey’s’, which is also known as ‘Big John McNeill’. To my knowledge, he has not recorded this version.
230
17. Lydian to Mixolydian or vice versa
18. Lydian to Aeolian or vice versa
19. Mixolydian to Mixolydian or vice versa
20. Mixolydian to Aeolian or vice versa
21. Aeolian to Aeolian or vice versa
Table 5.40 The possibilities for modal modulation where the home-note does not
change.
Conceptual Field Modulation
Conceptual Resolution Mode = different. home-note = same
1. Ionian to Dorian or vice versa
2. Ionian to Phrygian or vice versa
3. Ionian to Mixolydian or vice versa
4. Ionian to Lydian or vice versa
5. Ionian to Aeolian or vice versa
6. Dorian to Phrygian or vice versa
7. Dorian to Mixolydian or vice versa
8. Dorian to Lydian or vice versa
9. Dorian to Aeolian or vice versa
10. Phrygian to Lydian or vice versa
11. Phrygian to Mixolydian or vice versa
12. Phrygian to Aeolian or vice versa
13. Lydian to Mixolydian or vice versa
14. Lydian to Aeolian or vice versa
15. Mixolydian to Aeolian or vice versa
231
Table 5.41 Transitory chromatic modulation.
Conceptual Field Transitory chromatic modulation
Conceptual Resolution One basic observation
1. Transitory chromatic modulation
Notwithstanding how commonly used particular examples might be, there are twelve
home-notes available in which to play Irish traditional music. Although the Ionian,
Dorian, Mixolydian and Aeolian modes are those most in use within the tradition, the
evidence suggests that the Phrygian and Lydian modes are also employed. Across
twelve home-notes, seventy-two heptatonic modal options were found. From twenty-
one hexatonic possibilities across twelve home-notes, there is a total of 252 options.
Similarly, forty-four pentatonic options across twelve home-notes give rise to 528
possibilities. In terms of modality, this results in a total of 864 stylistic elements across
thirty-one conceptual fields.
As found in Section 5.5, there are twenty-nine different configurations for inflection.
The study on modulation gave rise to a total of thirty-six options plus one extra option
in a conceptual field of its own regarding transitory chromatic modulation. In terms of
these extra stylistic devices associated with modality, sixty-one stylistic elements were
found across four conceptual fields. In total, this chapter contains 929 stylistic elements
across thirty-five conceptual fields.
232
CHAPTER SIX
MELODIC VARIATION
The aim of this chapter is to find the possibilities for melodic variation through
manipulating a tune’s structural tones and its underlying harmonic structure
respectively. Structural tones may be understood as the notes that lie on the strong beats
of the bar while harmonic structure refers to the harmonies that could be considered to
underpin a tune’s melody.1
6.1 Historiography
Melodic variation is mentioned in the earliest descriptions of Irish music and while this
specifically refers to harpists, it is likely that it could also be applied to other
instruments that were extant.2 One such early example can be found in The Historical
Memoirs of the Irish Bards, where Walker quotes from Professor Patrick McDonald’s
1784 publication A Collection of Highland Vocal Airs. The context in which the
quotation is given seems to imply that McDonald’s description is relevant to the Irish
tradition also. It reads:
They endeavoured to outdo one another in playing the airs that were most esteemed with correctness, and with their proper expression. Such of them as were men of abilities, attempted to adorn them with graces and variations, or to produce what were called good sets [settings] of them. These were communicated to their successors, and by them transmitted with additions. By this means the pieces were preserved: and so long as they continued in the hands of native harpers, we may suppose that they were gradually improved, as whatever graces and variations they added to them, were consistent with, and tending to heighten and display the genuine spirit and expression of the music. The taste for that style of performance seems now, however, to be declining.3
1 See Chapter Five, Ex. 5.6, 194. 2 Cooper Walker, Joseph: Historical Memoirs of the Irish Bards, (Dublin: Luke White, 1786), 68-93.
Other instruments of the time include the pipes, fiddle and flute. 3 Ibid., 157.
233
Although it is likely that Edward Bunting would have been familiar with Walker’s opus,
in his 1840 publication he stated that ‘a strain of music, once impressed on the popular
ear, never varies’.4 He is also noted for his claim that the defining aspect of Irish
melody is the ‘emphatic presence’ of the submediant. Both ideas are correctly refuted
by George Petrie a decade and a half later in his Ancient Music of Ireland.5 In fact, as
noted in Chapter One, Petrie very firmly establishes that multiple variations of the same
tune can be found6 and even claimed that finding the same version of an unpublished air
twice was a rarity.7 Indeed, other collectors of the time, most notably P.W. Joyce, were
aware of the idea of variation with the latter writing about it in the context of a piece of
music in his Ancient Irish Music in 1873. He states that:
In the same manner as languages are gradually changed by those who use them, so also it is with popular music. Great numbers of our airs have various “settings” as that one is occasionally in doubt whether they come from the same original, or are different airs altogether. We may imagine that such changes were often the result of incorrect transmissions from one player or singer to another; while in other cases, they were made deliberately as improvements, by fiddlers, pipers, or singers – each change slight in itself – but without any intention of altering the whole into what might be called a different melody. And it is easy to understand what indeed has not infrequently happened, that in this manner an air might in course of time, be altered gradually and almost insensibly, note by note as it were, so as ultimately to become nearly unrecognizable.8
Later in the Preface to his Old Irish Folk Music and Songs (1909) Joyce states that:
We know that most or all Irish airs, like the popular airs of other countries, have various settings or versions. In most cases these are the result of gradual and almost unintentional alterations made by singers and players; just as the words and phrases of a living colloquial language become gradually altered. But it is highly probable – indeed, I might say it is certain that some versions were directly and deliberately made by skilled musicians, who changed the time, or rate of movement, or both, with more or less change in the individual notes, often with the result of wholly altering the character of the air. In this manner – as I believe – one of each pair of the following tunes was formed from the other: but it is not easy to determine in each case which was the original […].9
4 Bunting, Edward: The Ancient Music of Ireland, (Dublin: Hodges and Smith, 1840), 1. 5 See: Petrie, George: The Ancient Music of Ireland, Vol. 1, (Dublin: M.H. Gill, 1855), 48 for his
commentary on Bunting’s statement regarding the submediant. 6 Ibid., 20. 7 Ibid., xv. 8 Joyce, Patrick Weston: Ancient Irish Music, (Dublin: McGlashan and Gill, 1873), 22. 9 Joyce, Patrick Weston: Old Irish Folk Music and Songs, (London; New York: Longmans, Green, and
Co.; [etc.], 1909), xiii.
234
Joyce goes on to give several other examples and draws attention to a number of
variations of the same air. Despite both Petrie and Joyce’s clear acknowledgement that
many versions of the same melody exist, it appears that they may have seen it as an
inconvenience in that it made their work in establishing the original melody more
difficult.
Towards the end of the nineteenth century, Bunting’s idea that the submediant was of
particular importance was being further challenged. For instance, in 1890 Frederick St.
John Lacy queried: ‘How are we to explain away the fact of the exceptions to these
rules outnumbering the examples that can be adduced in support of them?’10 Rather,
Lacy goes on to suggest that various notes have varying weights of importance but that
it depends on the tune.
In the twentieth century, these ideas were explored in greater detail. Notably, Seán Ó
Riada’s idea of ‘regional styles’ might be seen to relate to Petrie’s observation that
tunes can be found in different versions in various parts of the country.11 Nevertheless,
while repertoire and melodic variation now play a defining role in the discussion of
regional styles, it is worth noting that Ó Riada did not specifically mention melodic
variation. His discussion of what he termed the ‘variation principle’ however did help to
give melodic variation a sense of importance.12 Although in this instance, this principle
applies to sean-nós singing, he later notes that it also pertains to instrumental music in
general. He states that:
It is not permissible for a sean-nós singer to sing any two verses of a song in the same way. There must be a variation of the actual notes in each verse, as well as a variation of rhythm. What makes one sean-nós singer better than another, more than anything else, is his ability to do this better. The variations must not interfere with the basic structure of the song. They must occur where they would give most point and effect.13
10 Lacy, F. St. John: ‘Notes on Irish Music’, Proceedings of the Musical Association, 16th Session,
(1889–1890), (Dublin: Taylor & Francis, and the Royal Musical Association), 184. Although this discussion can perhaps be seen to have inspired or informed Tomás Ó Canainn’s ‘Note Frequency’ and Mícheál Ó Súilleabháin’s ‘Set Tones’. Both of which are explored later in this chapter.
11 Although it is important to note that Ó Riada was specifically referring to the fiddle, flute and sean-nós traditions. Ó Riada, Seán: Our Musical Heritage, eds. Tomás Ó Canainn; Thomas Kinsella, (Mountrath: Dolmen Press, 1982), 51-60.
12 Ibid., 24. 13 Ibid.
235
Again in relation to sean-nós singers, he discusses the idea of motivic variation in
relation to what he terms the ‘internal logic’ of Munster songs.14 In speaking of this, he
is referring to the fact that particular intervals – such as the fifth or fourth – tend to
appear in numerous guises within a tune. He also discusses motivic variation in the tune
‘An Raibh tú ag an gCarraig’ where he notes that ‘it begins with three notes in a certain
relationship, and this relationship is the hub of the whole song, the three notes being
inverted, permuted and combined right through’.15
In 1971, Breandán Breathnach gave a more concise and nuanced explanation stating
that melodic variation constitutes:
[…] a degree of instant composition. Here the group or bar is varied, perhaps only the skeleton of the phrase being retained. Each time the part is played some grouping is varied, no performance ever being the same.16
The ‘skeleton of the phrase’ is a reference to the melody in its most basic sense and
although it is not directly stated, this usually implies a greater fidelity to the melody’s
structural tones over its passing tones.17 It is known that Breathnach was at least
implicitly aware of this in that another one of his innovations was the creation of an
indexing system to aid the navigation of his collection of 5,000 tunes.18 He describes
this in his article from 1982 ‘Between the Jigs and Reels’ published in Ceol.19 He
found that these tunes could be given a numerical code generated from the intervals
created between the tune’s final note and the structural tones from its first two bars or
four bars in 3/4.20 This results in an eight-digit code comprised of two groups of four
for tunes in 4/4, a four-digit code for tunes in 6/8 and a six-digit code comprised of two
groups of three for tunes in 9/8, and a four-digit code for 3/4. 14 Ibid., 34-37. 15 Ibid., 35. 16 Breathnach, Breandán: Folk Music and Dances of Ireland, Revised Ed. 1977, (Dublin; Cork: Mercier
Press, 1993), 98. 17 It is difficult to know if this is what Petrie meant when he referred to a tune as ‘correct’. See Flynn for
an explanation of skeletal notation. Flynn, David: Traditional Irish Music: a path to new music, (PhD Diss., Dublin Institute of Technology, 2011), 48-51.
18 See: Breathnach, Breandán: ‘Between the Jigs and the Reels’, Ceol, ed., Breandán Breathnach, Vol. V, 2, (Dublin: Breandán Breathnach, March 1982), 48.
19 Ibid., 43-48. 20 In Breathnach’s writing, the final note is not necessarily the home-note of the key. Moreover, it
should be noted that Breathnach did not use the term ‘structural tones’.
236
In all circular tunes, a final note must be postulated despite the fact that this is both
subjective and sometimes at odds with the identification of the tune’s home-note.21
While this was envisaged as a method for finding tunes that are contained in his index,
it also makes it possible to find the tune’s nearest version by looking at close variants
of its code.22
In 1972, Tomás Ó Canainn follows suit by again formalising pre-existing ideas. Such is
the case with what he terms ‘note frequency’ which can be understood as an attempt to
account for the perceived importance or concentration of particular notes within a
tune.23 His analytical method for understanding this much-discussed phenomenon is
summarised in the following statement:
All this leads to a method for assessing the relative importance of notes in a tune, based on the following criteria: (1) a note frequency count giving a point for each appearance of the note (2) the addition of a further point (a) to a note which occurs on the strong beat. (b) to the highest note on its first appearance. (c) to the lowest note on its first appearance. (d) to a note proceeded by a leap greater than a fifth. (e) to the first stressed note. (f) to a long note (e.g. a dotted crotchet in a jig).24
While this underpins the significance of particular intervals in a more nuanced way than
had previously been attempted, it is more of an analytical tool than something that can
be used as a catalyst for improvised melodic variation. On a more practical level, he
discusses ‘motivic aspects of Irish music’ in which he demonstrates how a three-note
motif is developed through rhythmic variation, transposition and inversion in the slow
air ‘An Raibh tú ar an gCarraig’.25 In speaking of this form of motivic development, Ó
Canainn states that ‘such development results in a type of linear music which is
essentially distinct from the more diverse and freer forms which make up the vast
majority of Irish tunes’.26
21 See Chapter Five, 186. 22 Other information such as the tune’s source and any alternative titles is also noted on the cards. 23 Ó Canainn, Tomás: Traditional Music in Ireland, 2nd ed., (Cork: Ossian, 1993), 27-30. 24 Ibid., 28. 25 Ibid., 34-35. Incidentally, this is also the example that Ó Riada used to demonstrate his ‘internal logic’
of the Munster songs. See: Ó Riada: Our Musical Heritage, 35. 26 See: Ibid., 36. His final example ‘De Bharr na gCnoc’, demonstrates the motivic build up within the
larger structures as had been demonstrated by Travis.
237
Influenced by Ó Canainn, the new importance given to melodic variation is set in
context six years later in Lawrence E. McCullough’s ‘Style in Traditional Irish Music’
(1977). Here, the author classes melodic (and rhythmic) variation as one of the four
main variables of which their ‘occurrence or non-occurrence characterizes every
performance and serves as the basic evaluative standards by which an individual’s
performance is judged by other musicians’.27
A decade later, Mícheál Ó Súilleabháin presents the idea of ‘set accented tones’ in an
attempt to understand melodic variation in the music of his subject, the fiddler Tommie
Potts.28 This idea can be seen to have parallels with aspects of Ó Canainn’s ‘note
frequency’, Breathnach’s indexing system and the twentieth-century practice of
structural tone analysis.29 Ó Súilleabháin’s thesis is that:
Within a performance, the musician would appear to be holding on to certain individual tones which occur at important accentuated points. It is the occurrence, or deliberate non-occurrence, of these tones which appears to provide the necessary point of reference for the performer.30
While this is most likely an implicit process on the part of the performer, it is probably
the most refined way of conceptualising a system that could potentially be used in
practice. Another aspect of melodic variation, which is described in Ó Súilleabháin’s
work, is the use of what might be termed stock variations. 31 These are quite commonly
used and imply that a musician has a repertoire of motifs that can be either specific to a
27 McCullough, Lawrence E.: ‘Style in Traditional Irish Music’, Ethnomusicology, Vol. 21, No.1,
(University of Illinois Press, 1977), 85. 28 Ó Súilleabháin, Mícheál: Innovation and Tradition in the Music of Tommie Potts, (PhD Diss.,
Queen’s University Belfast, 1987), 42. 29 Ó Canainn: Traditional Music in Ireland, 28. Breathnach: ‘Between the Jigs and the Reels’, 43-48. An
overview on the use of structural tones in twentieth-century styles of analysis may be found at: Bent, Ian D.; Pople, Anthony: ‘Analysis’, Grove Music Online, Oxford University Press. http://0-www.oxfordmusiconline.com.ditlib.dit.ie/subscriber/article/grove/music/41862pg2 (Accessed 1 Sept 2013).
30 Ó Súilleabháin: Innovation and Tradition in the Music of Tommie Potts, (PhD Diss., Queen’s University Belfast, 1987), 42.
31 While this is described in Ó Súilleabháin’s doctoral thesis, he gives it particular focus in: Ó Súilleabháin, Mícheál: ‘The Litany of the Saints: musical quotations and influences in the music of Tommie Potts’, Inbhear, Volume 1, Issue 1, (2010), 1-46 www.inbhear.ie (Accessed 21 March 2012). Also see: Ó Súilleabháin, Mícheál: “Traditional Ears’: Perception and Analysis in Irish Traditional Music’, Dear Far-Voiced Veteran: Essays in Honour of Tom Munnelly, ed. Anne Clune, (Co Clare: The Old Kilfarboy Society, 2007), 249-276.
238
particular tune or which can be used in a series of tunes, almost possessing a
metaphorical life of their own. Outside of Ó Súilleabháin’s work, it is rare to find
descriptions of this type of stylistic practice, perhaps since musicians’ stock variations
are often so personalised as to make them difficult to detect and catalogue without
dedicated study.32
The Melodic Tradition of Ireland appeared in 1990 and is the first book to focus solely
on melody in Irish traditional music.33 Written by James R. Cowdery, this publication is
an attempt to address melodic variation through understanding melodic contour. While
it is interesting from an academic point of view, the graphs used to demonstrate melodic
difference lack defined points of reference such as exact pitches or intervals. In the
context of this study, its content is therefore unsuitable to be used as a catalyst.
In much the same vein as Ó Canainn’s discussion of the motivic aspects of Irish
traditional music, Robert Harvey’s dissertation on The Music of John Brady and its
Integration and Influence on the Irish Traditional Repertoire (2010) contains an
analysis of motivic development in the compositions of his subject. Like Ó Canainn,
Harvey discusses inversion and the retrograde development of motifs but unlike Ó
Canainn, he also discusses ‘fragmentation’ where a part of the original motif is
developed through inversion and retrograde treatment.34 He also discusses both
arpeggiated and scalic motifs and introduces the idea of a ‘signature motif’ which, in
John Brady’s case, is defined as ‘a two-note idea which rises by step and is immediately
followed in sequence a pitch lower’.35 Indeed, it is probable that there are more
signature motifs than those employed by John Brady but further study would be needed
to uncover to what extent this might be true.
32 However, one such dedicated study, Robert Harvey’s analysis of the compositions of John Brady, will
be discussed below. 33 See: Cowdery, James R.: The Melodic Tradition of Ireland, (Kent, Ohio: The Kent State University
Press, 1990). 34 Harvey, Robert: The Music of John Brady and its Integration and Influences on the Irish Traditional
Repertoire, (MMus. Diss., Dublin Institute of Technology), 33. 35 Ibid., 36. This could also be thought of as a descending scale in the structural tones of a piece. It might
also be more simply referred to as ‘interchangeable segments’ which is described in Ó Súilleabháin: Innovation and Tradition in the Music of Tommie Potts, 49.
239
In addition to the conceptualisation of melody through stock variation and structural
tones, it can also be understood through the underlying harmonic structure that is
implied by the melody. While various styles of harmony have been documented from
the earliest sources, it seems that the role of harmonic structure in both the construction
and variation of a tune’s melody has not yet been explored.36
On the other hand, the earliest references to accompaniment relate to the harp music and
can be found as far back as Cambrensis’s account where he mentions the use of
‘intricate polyphony’.37 This has been substantiated by scholars such as Joan Rimmer
who notes that the Latin word for polyphony ‘organum’ denotes a ‘two-part music with
a complex and brilliant upper part’ above a slower moving lower part.38 She suggests
that ‘it was precisely these qualities that Edward Bunting praised six hundred years later
in Denis Hempson […]’.39 In as much as this earliest source of information on harp
accompaniment is interesting, Colette Moloney notes that ‘there are only ten tunes in
the manuscripts or printed volumes for which Bunting provides even a fragmented harp
bass’.40 The main style it would seem is a ‘tonic-drone effect [that] may have
similarities in the drone accompaniment [of] uilleann piping or warpiping’.41 In his
1938 paper, ‘Irish National Music’, James Travis offers a clearer perspective on the
bardic style of harmony and adds a number of other possibilities to the discussion.
No more than echoes persist of the harmony of antique Celtic harp music. The mentality which supported its dissonances and its chords of the sixth has regressed if not vanished, and in its place has risen another, upon the origins of which it had perhaps long ago looked with scorn as rustic or popular. It is true that the melodic formations of many tunes – for example, “Wink and She’ll Follow You” (p.461) – are reminiscent of the dissonant chords of ancient harpers; but these progressions reflect also a mentality capable of mingling such dissonances, in a consistent style, possibly never actualized as a theoretical system with harmony quartal and quintal as well as tertian, formations pentatonic as well as diatonic and hexatonic.42
36 That is despite this being a well-known approach to composition and improvisation in Jazz music. 37 See: Rimmer, Joan: The Irish Harp, (Cork: The Mercier Press for the Cultural Relations Committee of
Ireland, 1969), 30. 38 Ibid. 39 Ibid. 40 Moloney, Colette: The Irish Music Manuscripts of Edward Bunting (1773–1843): An Introduction
and Catalogue, (Dublin: Irish Traditional Music Archive, 2000), 75. 41 Ibid. 42 Travis, James: ‘Irish National Music’, The Musical Quarterly, Vol. 24, (Oxford: The Oxford
University Press, 1938), 479.
240
In mentioning triadic and dyadic harmony, which comprises tertian, quartal and quintal
styles, Travis’s work is possibly the first to describe different types of harmony. In
recent times, extended harmony has been applied to traditional music with bands such
as Flook aiming to bring a more jazz-inspired feel to the music.43 This type of harmony
can also be heard to influence the compositions of present day composers such as Dave
Flynn whose melodies frequently outline major seven chords.44 The question then is to
establish how ideas as outlined by scholars can be used to inform musical practice by
helping to determine the stylistic choices that are available, and to develop a language
that can be used to easily and explicitly employ this knowledge.
From this overview, three points for conceptualising melody in Irish traditional music
have been found. These are: 1. The structural tones of a tune, 2. The tune’s implied
harmonic structure and 3. Stock variation. While stock variation is a very common
approach to improvisation, its highly personalised and nuanced nature would require a
specific study for it to be properly explored, notwithstanding the fact that its scope is
infinite. Therefore, this study will focus on structural tones and melodic construction
that results from implied harmonic structures.
6.2 Methodology
As previously stated, structural tones can be found on the strong beats of the bar.45
Following Breathnach’s approach, and as explained above, this implies eight tones in
two bars in 4/4, four tones in two bars of jigs in 6/8 and polkas in 2/4. While Breathnach
used six tones in two bars in 9/8, he only used the first beat of the first four bars of tunes
in 3/4. Since Breathnach’s objectives obviously differ from the purposes of this chapter,
in this study, the three structural tones that are found in one bar of 3/4 are instead used.
The rationale behind this is that three structural tones in one bar evidently gives more
options for melodic variation than would one structural tone per bar. Moreover, in every
other metre, Breathnach’s structural tones occur on each crotchet in simple metres or on
each dotted crotchet in compound metres. Using three structural tones for a bar of 3/4 is
43 Flook: Flatfish, (England: Flatfish Records, 1999). 44 See: Flynn, David: Draíocht, (Frisbee Records, 2006), track 6. 45 See Chapter Five, Ex. 5.6, 191.
241
therefore also more consistent. Finally, it should be noted that since three structural
tones are used in one bar of 9/8, these codes are interchangeable with those of 3/4 and
only need to be printed once.
In conformation to the degrees of the diatonic scale, only numbers between one and
seven are used in this coding system. In a departure from Breathnach’s approach46 and
as explained in the previous chapter, the home-note is determined by calculating the
tune’s mode through its organisation of tones and semitones.47 Similarly to Breathnach
however, the lowered or raised nature of the degree of the scale that is referenced will
depend on the modality of the tune in question.48
It should also be noted that Breathnach uses a small line above or below a number to
indicate when a pitch exceeds or falls below the middle range of a mode, respectively.
This is demonstrated in Fig. 6.1 below:49
Fig. 6.1 Breathnach’s demonstration of how various pitches are written. Example taken
from ‘Between the Jigs and Reels’.
This approach is not adopted here because as opposed to the seven degrees of the
diatonic scale, the number of permutations generated by the sixteen notes in
Breathnach’s example gives rise to a list of permutations that is much beyond the remit
of this study. Moreover, the use of permutations drawing from a pool of sixteen options
would create melodic contours that are not idiomatic of the genre.50 Rather, in this
46 See Chapter Five, 178-179 for a discussion as to why Breathnach’s approach is problematic in this
context. Breathnach identified the home-note of a tune based on its final note. 47 See Chapter Five, 183-184. Therefore, the first degree of the mode will naturally be the home-note of
the tune. 48 See Chapter Five, 188-189 where this was discussed and the precise nature of the intervals relative to
the Ionian, Dorian, Mixolydian and Aeolian mode were given. 49 See: Breathnach: ‘Between the Jigs and the Reels’, 44. 50 For instance, it would create options where structural tones could be separated by an interval of as
much as a major sixteenth and follow with leaps of a similar range.
242
context it is more fruitful to use a maximum of seven pitches because it allows the full
number of options to be determined, and in practice, it is concise enough to allow for a
musical and authentic-sounding realisation of the ensuing melodic contour.
To illustrate how the code relates to a particular musical example, the first two bars of
the well-known reel ‘The Sally Gardens’ is selected and presented in Ex. 6.1 below. For
notes that are beyond the range of one octave, for instance the d’ on the second beat of
bar one, the number five is employed irrespective of its placement relative to the middle
or main octave (g’-g’’).51 Hence the code for the two bars below is 1.5.3.1 | 5.6.5.2,
with full stops used to separate the structural tones and a vertical line used to indicate
the bar line.
Ex. 6.1 An illustration of where the structural tones fall using the first two bars of the
reel ‘The Sally Gardens’.
It follows that every possible combination of the numbers one to seven must be worked
out for sets of four figures and also for sets of three figures. In order to do this, the
permutations formula nr is used where n signifies the number of digits to choose from
(7) and the superscript r signifies the particular choice of them (3 or 4). Since the
possible combinations are many, the most precise way to find the answers is to use an
online permutation calculator.52 The screenshot at Fig. 6.2 below shows the calculator
page where the figures are inputted and the results page can be seen at Fig. 6.3.
51 However, the range of the pitches will be indicated in Chapter Ten, Section 10.4.2, 505-532 where
they are used for the purposes of analysis rather than catalysts. 52 See: http://www.mathsisfun.com/combinatorics/combinations-permutations-calculator.html
(Accessed 12 March 2013).
243
Fig. 6.2 Screenshot from the Combinations and Permutations Calculator used in
generating the data for sets of three.
244
Fig. 6.3 How the results are presented using this programme.
As can be seen above, as there are seven degrees of the scale from which to choose the
number seven was inputted as n, then the number four was entered for r, signifying the
total number of structural tones that can be in a set relevant to 4/4. When these were
calculated, 2,401 possibilities were found. To find sets of three structural tones, the
formula n=7 and r=3 was used to find 343 possibilities. The results were then copied
and pasted to a word document where the brackets were removed and the commas
replaced with full stops. From this, they were ordered into the tables that can be found
in Section 6.3 below.
245
While this is mainly envisaged with regard to structural tones, and hence a crotchet or
dotted crotchet movement, the focus could also be shifted to sets of three and four
quavers, which may be used to determine the smaller building blocks of melody.53
Thus, the codes listed in Section 6.3 can be considered a hybrid catalyst in that they can
be used in respect of both structural tones and also, what could be termed ‘motoric
tones’ or the groups of three or four quaver patterns. As is the nature of the musical
catalyst process, it is through being able to identify what stylistic elements are in use in
any one example that those that that are not present can be considered as options.
The two examples below demonstrate how the codes might be used in practice where
the melody of the first two bars of ‘The Maid Behind the Bar’ is varied through
conceptualising its structural tones (Ex. 6.2) and its motoric tones (Ex. 6.3). In Ex. 6.2,
its original code: 3.5.5.2 / 3.5.5.8 is changed to 3.5.4.2 / 4.5.1.7. In Ex 6.3 the same
process is undertaken in respect of the motoric tones where one note is changed in the
first bar and six notes are varied in the second bar.
Ex. 6.2 Demonstration of melodic variation using codes to modify structural tones.
Ex. 6.3 Demonstration of melodic variation using codes to modify motoric tones.
53 This is not unlike what is referred to by Robert Harvey in his thesis as a ‘signature motif’. Effectively,
if the same three or four-digit number were to turn up a number of times, it could be considered to be a ‘signature’ motif. Also see: Flynn: Traditional Irish Music: a path to new music, 275. Flynn has suggested that there are a number of ‘common motifs found in Irish tunes. It could be argued that almost every traditional Irish tune is based on a combination of some of these common motifs. Knowledge of these is essential in order to compose material that bears any resemblance to the melodic character of traditional Irish music’.
246
In addition to structural tones, variation can also be understood in terms of the implied
harmonic structure of tunes, which is itself highly stylised. Unlike the study of
structural tones, here there are two aspects to consider, first, the implied harmonies of a
melody and secondly, where the changes of harmony occur within a one-bar, two-bar,
or four-bar segment.
Harmonically then, since the music is modal and with pentatonic and hexatonic
modalities simply requiring the omission of notes, in order to work out the harmonic
possibilities, the chords I, ii, iii, IV, V, vi are used. It should be noted that augmented,
diminished (and hence chord vii) and other chromatic harmonies are so rarely outlined
in tunes that their inclusion here is not explored. While in the context of this study
Roman Numerals are the most effective way of indicating the possible harmonic
combinations, they are not widely used by traditional musicians. By way of an
explanation, the example below indicates the particular harmony associated with each
numeral.54
Ex. 6.4 Illustration of the harmony denoted by the Roman numerals I – vi.
In contrast to the study on structural tones, here, chord I follows the key-signature
as opposed to the home-note. Hence, a key-signature of two sharps will mean that
chord I is D major and a key-signature of four flats will signify that chord I is A-
flat major etc. If the key-signature is D major and the mode being used in E
Dorian, its most-used chord is likely to be ii. Similarly, in the same key-signature,
54 It should also be noted that it is conventional that major chords are denoted by upper-case script and
minor chords are written in lower case.
247
if the mode that is used is A Mixolydian, then the most used chord is V (also see
Ex. 6.6).55
The reason for this approach is that were chord one corresponding to the home-
note in the case of the Dorian mode for instance, many more variables, such as i,
ii, III, vi°, VIII would have to be considered with regard to permutations. Were
this to happen, it would create a list of options that would be both unwieldy and
prone to unidiomatic content. For instance, a progression such as i, I, III, iii would
occur, which does not fit within any mode and hence is not associable with the
style of the genre.
To employ this ‘language’ in the diatonic sense in which it is used here, it is possible to
understand the melodic construction of any traditional tune through the harmony that is
implied by its melody. The example below demonstrates how the first two bars of two
traditional tunes may be conceptualised in terms of their harmonic structure. There is
always a degree of subjectivity concerning what might be regarded as the correct
harmonic structure. As demonstrated in Ex. 6.5, the fourth chord of the reel ‘The
Moving Cloud’, here assigned as chord ii, could also be considered to be chord vi if the
notes g’e’g’ are thought to be more persuasive than the a’ and e’ on the third and fourth
beats respectively. A similar type of subjectivity could be considered to apply to the
second bar of the reel ‘The Sally Gardens’, which could be conceptualised as chord iii
rather than chord I depending on how important the note e’’ is considered to be.
Therefore, as will be noted, a degree of interpretation is a characteristic of this
approach.
55 This is actually in line with how the modes are understood using tonic sol-fa where the Ionian mode is
conceptualised as do-do’, the Dorian mode as re-re’ and so on.
248
Ex. 6.5 An interpretation of the harmonic structure of (a) ‘The Moving Cloud’ and (b)
‘The Sally Gardens’.
One of the more striking features of the implied harmonic structure of the melodies, and
which is evident in ‘The Sally Gardens’ above, is that they seem to be characterised by
their lack of deviation from the tonic harmony, except at cadence points. This itself may
help to explain why drone-accompaniment has long been used and works quite well.
Indeed, it is particularly at cadence points that the more complex harmonic changes
occur. In these cases, it is not unusual for the harmony to change at the pace of a
crotchet or dotted crotchet.
Codes are needed to reflect this information and consequently, the three and four-digit
codes for harmonic structure could be applied at:
1. a one-bar conceptual resolution, allowing for a maximum of two or four harmonic
changes respectively depending on whether the beats move in dotted crotchets or
crotchets
2. a two-bar conceptual resolution which would imply a maximum of four possible
harmonic changes at the rate of a minim or dotted crotchet, and finally,
3. a four-bar conceptual resolution which would imply a maximum harmonic movement
at a bar-per-bar rate.
Since the examples given in Ex. 6.5 demonstrate harmonic change at a conceptual
resolution of two-bars, the following transcription at Ex. 6.6 illustrates how a four-digit
249
code (V, V, V, IV) could be used at a conceptual resolution of four bars respectively. In
Ex. 6.7 below, the four-digit code (I, V, vi, vi) is demonstrated at a one-bar conceptual
resolution and hence, it moves in crotchets.
Ex. 6.6 An illustration of implied harmonic patterns (sets of four) at a four-bar
conceptual resolution.
Ex. 6.7 An illustration of implied harmonic patterns (sets of four) at a one-bar
conceptual resolution.
The same formula (nr) as was used to find the structural tone options is again used to
find the various harmonic structures that are possible. As before, repetitions are allowed
within the sets of three and four chords/harmonies and in doing so, it is possible to find
every option. This includes examples where the harmony either does not change at all,
such as I.I.I.I, changes to varying degrees, or changes a maximum number of times such
as I.IV.V.I
In order to demonstrate how this information can be realised creatively in practice, the
following variations at Ex. 6.8 show how the harmonic structure underpinning the first
two bars of the well-known reel ‘Rolling in the Rye Grass’ can be altered to influence
the construction of its melody. These are all explored at a two-bar conceptual resolution,
meaning that the melodic realisation of the implied harmony is calculated at a minim
per minim rate.
250
Ex. 6.8 Melodic variations derived from alterations in the harmonic structure of the first
two bars of the reel ‘Rolling in the Rye Grass’, (D Ionian).
6.3 Structural Tones
In this section, the possibilities are presented in both three and four-digit sets. As stated,
this stylistic data can be used to conceptualise melodic variation at a number of
conceptual resolutions. Sets of four serve the vast majority of tune-types e.g. those in
2/2, 4/4, 2/4 and 6/8 while sets of three serve the less popular slip jig, mazurka and
waltz tune-types.
251
Table 6.1 Every structural tone combination within a three-note set, relevant to one bar
of diatonic tunes in both 3/4 and 9/8.
Conceptual Field Structural Tones
Conceptual Resolution Three note possibilities
1. 1.1.1
2. 1.1.2
3. 1.1.3
4. 1.1.4
5. 1.1.5
6. 1.1.6
7. 1.1.7
8. 1.2.1
9. 1.2.2
10. 1.2.3
11. 1.2.4
12. 1.2.5
13. 1.2.6
14. 1.2.7
15. 1.3.1
16. 1.3.2
17. 1.3.3
18. 1.3.4
19. 1.3.5
20. 1.3.6
21. 1.3.7
22. 1.4.1
23. 1.4.2
24. 1.4.3
25. 1.4.4
26. 1.4.5
27. 1.4.6
70. 2.3.7
71. 2.4.1
72. 2.4.2
73. 2.4.3
74. 2.4.4
75. 2.4.5
76. 2.4.6
77. 2.4.7
78. 2.5.1
79. 2.5.2
80. 2.5.3
81. 2.5.4
82. 2.5.5
83. 2.5.6
84. 2.5.7
85. 2.6.1
86. 2.6.2
87. 2.6.3
88. 2.6.4
89. 2.6.5
90. 2.6.6
91. 2.6.7
92. 2.7.1
93. 2.7.2
94. 2.7.3
95. 2.7.4
96. 2.7.5
139. 3.6.6
140. 3.6.7
141. 3.7.1
142. 3.7.2
143. 3.7.3
144. 3.7.4
145. 3.7.5
146. 3.7.6
147. 3.7.7
148. 4.1.1
149. 4.1.2
150. 4.1.3
151. 4.1.4
152. 4.1.5
153. 4.1.6
154. 4.1.7
155. 4.2.1
156. 4.2.2
157. 4.2.3
158. 4.2.4
159. 4.2.5
160. 4.2.6
161. 4.2.7
162. 4.3.1
163. 4.3.2
164. 4.3.3
165. 4.3.4
208. 5.2.5
209. 5.2.6
210. 5.2.7
211. 5.3.1
212. 5.3.2
213. 5.3.3
214. 5.3.4
215. 5.3.5
216. 5.3.6
217. 5.3.7
218. 5.4.1
219. 5.4.2
220. 5.4.3
221. 5.4.4
222. 5.4.5
223. 5.4.6
224. 5.4.7
225. 5.5.1
226. 5.5.2
227. 5.5.3
228. 5.5.4
229. 5.5.5
230. 5.5.6
231. 5.5.7
232. 5.6.1
233. 5.6.2
234. 5.6.3
277. 6.5.4
278. 6.5.5
279. 6.5.6
280. 6.5.7
281. 6.6.1
282. 6.6.2
283. 6.6.3
284. 6.6.4
285. 6.6.5
286. 6.6.6
287. 6.6.7
288. 6.7.1
289. 6.7.2
290. 6.7.3
291. 6.7.4
292. 6.7.5
293. 6.7.6
294. 6.7.7
295. 7.1.1
296. 7.1.2
297. 7.1.3
298. 7.1.4
299. 7.1.5
300. 7.1.6
301. 7.1.7
302. 7.2.1
303. 7.2.2
252
28. 1.4.7
29. 1.5.1
30. 1.5.2
31. 1.5.3
32. 1.5.4
33. 1.5.5
34. 1.5.6
35. 1.5.7
36. 1.6.1
37. 1.6.2
38. 1.6.3
39. 1.6.4
40. 1.6.5
41. 1.6.6
42. 1.6.7
43. 1.7.1
44. 1.7.2
45. 1.7.3
46. 1.7.4
47. 1.7.5
48. 1.7.6
49. 1.7.7
50. 2.1.1
51. 2.1.2
52. 2.1.3
53. 2.1.4
54. 2.1.5
55. 2.1.6
56. 2.1.7
57. 2.2.1
58. 2.2.2
59. 2.2.3
97. 2.7.6
98. 2.7.7
99. 3.1.1
100. 3.1.2
101. 3.1.3
102. 3.1.4
103. 3.1.5
104. 3.1.6
105. 3.1.7
106. 3.2.1
107. 3.2.2
108. 3.2.3
109. 3.2.4
110. 3.2.5
111. 3.2.6
112. 3.2.7
113. 3.3.1
114. 3.3.2
115. 3.3.3
116. 3.3.4
117. 3.3.5
118. 3.3.6
119. 3.3.7
120. 3.4.1
121. 3.4.2
122. 3.4.3
123. 3.4.4
124. 3.4.5
125. 3.4.6
126. 3.4.7
127. 3.5.1
128. 3.5.2
166. 4.3.5
167. 4.3.6
168. 4.3.7
169. 4.4.1
170. 4.4.2
171. 4.4.3
172. 4.4.4
173. 4.4.5
174. 4.4.6
175. 4.4.7
176. 4.5.1
177. 4.5.2
178. 4.5.3
179. 4.5.4
180. 4.5.5
181. 4.5.6
182. 4.5.7
183. 4.6.1
184. 4.6.2
185. 4.6.3
186. 4.6.4
187. 4.6.5
188. 4.6.6
189. 4.6.7
190. 4.7.1
191. 4.7.2
192. 4.7.3
193. 4.7.4
194. 4.7.5
195. 4.7.6
196. 4.7.7
197. 5.1.1
235. 5.6.4
236. 5.6.5
237. 5.6.6
238. 5.6.7
239. 5.7.1
240. 5.7.2
241. 5.7.3
242. 5.7.4
243. 5.7.5
244. 5.7.6
245. 5.7.7
246. 6.1.1
247. 6.1.2
248. 6.1.3
249. 6.1.4
250. 6.1.5
251. 6.1.6
252. 6.1.7
253. 6.2.1
254. 6.2.2
255. 6.2.3
256. 6.2.4
257. 6.2.5
258. 6.2.6
259. 6.2.7
260. 6.3.1
261. 6.3.2
262. 6.3.3
263. 6.3.4
264. 6.3.5
265. 6.3.6
266. 6.3.7
304. 7.2.3
305. 7.2.4
306. 7.2.5
307. 7.2.6
308. 7.2.7
309. 7.3.1
310. 7.3.2
311. 7.3.3
312. 7.3.4
313. 7.3.5
314. 7.3.6
315. 7.3.7
316. 7.4.1
317. 7.4.2
318. 7.4.3
319. 7.4.4
320. 7.4.5
321. 7.4.6
322. 7.4.7
323. 7.5.1
324. 7.5.2
325. 7.5.3
326. 7.5.4
327. 7.5.5
328. 7.5.6
329. 7.5.7
330. 7.6.1
331. 7.6.2
332. 7.6.3
333. 7.6.4
334. 7.6.5
335. 7.6.6
253
60. 2.2.4
61. 2.2.5
62. 2.2.6
63. 2.2.7
64. 2.3.1
65. 2.3.2
66. 2.3.3
67. 2.3.4
68. 2.3.5
69. 2.3.6
129. 3.5.3
130. 3.5.4
131. 3.5.5
132. 3.5.6
133. 3.5.7
134. 3.6.1
135. 3.6.2
136. 3.6.3
137. 3.6.4
138. 3.6.5
198. 5.1.2
199. 5.1.3
200. 5.1.4
201. 5.1.5
202. 5.1.6
203. 5.1.7
204. 5.2.1
205. 5.2.2
206. 5.2.3
207. 5.2.4
267. 6.4.1
268. 6.4.2
269. 6.4.3
270. 6.4.4
271. 6.4.5
272. 6.4.6
273. 6.4.7
274. 6.5.1
275. 6.5.2
276. 6.5.3
336. 7.6.7
337. 7.7.1
338. 7.7.2
339. 7.7.3
340. 7.7.4
341. 7.7.5
342. 7.7.6
343. 7.7.7
Table 6.2 Structural tone combinations within a four-note set beginning with 1,
relevant to one bar of diatonic tunes in 4/4 and two bars of such in 2/4 or 6/8.
Conceptual Field Structural Tones
Conceptual Resolution Four note possibilities beginning with 1
1. 1.1.1.1
2. 1.1.1.2
3. 1.1.1.3
4. 1.1.1.4
5. 1.1.1.5
6. 1.1.1.6
7. 1.1.1.7
8. 1.1.2.1
9. 1.1.2.2
10. 1.1.2.3
11. 1.1.2.4
12. 1.1.2.5
13. 1.1.2.6
14. 1.1.2.7
15. 1.1.3.1
70. 1.2.3.7
71. 1.2.4.1
72. 1.2.4.2
73. 1.2.4.3
74. 1.2.4.4
75. 1.2.4.5
76. 1.2.4.6
77. 1.2.4.7
78. 1.2.5.1
79. 1.2.5.2
80. 1.2.5.3
81. 1.2.5.4
82. 1.2.5.5
83. 1.2.5.6
84. 1.2.5.7
139. 1.3.6.6
140. 1.3.6.7
141. 1.3.7.1
142. 1.3.7.2
143. 1.3.7.3
144. 1.3.7.4
145. 1.3.7.5
146. 1.3.7.6
147. 1.3.7.7
148. 1.4.1.1
149. 1.4.1.2
150. 1.4.1.3
151. 1.4.1.4
152. 1.4.1.5
153. 1.4.1.6
208. 1.5.2.5
209. 1.5.2.6
210. 1.5.2.7
211. 1.5.3.1
212. 1.5.3.2
213. 1.5.3.3
214. 1.5.3.4
215. 1.5.3.5
216. 1.5.3.6
217. 1.5.3.7
218. 1.5.4.1
219. 1.5.4.2
220. 1.5.4.3
221. 1.5.4.4
222. 1.5.4.5
277. 1.6.5.4
278. 1.6.5.5
279. 1.6.5.6
280. 1.6.5.7
281. 1.6.6.1
282. 1.6.6.2
283. 1.6.6.3
284. 1.6.6.4
285. 1.6.6.5
286. 1.6.6.6
287. 1.6.6.7
288. 1.6.7.1
289. 1.6.7.2
290. 1.6.7.3
291. 1.6.7.4
254
16. 1.1.3.2
17. 1.1.3.3
18. 1.1.3.4
19. 1.1.3.5
20. 1.1.3.6
21. 1.1.3.7
22. 1.1.4.1
23. 1.1.4.2
24. 1.1.4.3
25. 1.1.4.4
26. 1.1.4.5
27. 1.1.4.6
28. 1.1.4.7
29. 1.1.5.1
30. 1.1.5.2
31. 1.1.5.3
32. 1.1.5.4
33. 1.1.5.5
34. 1.1.5.6
35. 1.1.5.7
36. 1.1.6.1
37. 1.1.6.2
38. 1.1.6.3
39. 1.1.6.4
40. 1.1.6.5
41. 1.1.6.6
42. 1.1.6.7
43. 1.1.7.1
44. 1.1.7.2
45. 1.1.7.3
46. 1.1.7.4
47. 1.1.7.5
85. 1.2.6.1
86. 1.2.6.2
87. 1.2.6.3
88. 1.2.6.4
89. 1.2.6.5
90. 1.2.6.6
91. 1.2.6.7
92. 1.2.7.1
93. 1.2.7.2
94. 1.2.7.3
95. 1.2.7.4
96. 1.2.7.5
97. 1.2.7.6
98. 1.2.7.7
99. 1.3.1.1
100. 1.3.1.2
101. 1.3.1.3
102. 1.3.1.4
103. 1.3.1.5
104. 1.3.1.6
105. 1.3.1.7
106. 1.3.2.1
107. 1.3.2.2
108. 1.3.2.3
109. 1.3.2.4
110. 1.3.2.5
111. 1.3.2.6
112. 1.3.2.7
113. 1.3.3.1
114. 1.3.3.2
115. 1.3.3.3
116. 1.3.3.4
154. 1.4.1.7
155. 1.4.2.1
156. 1.4.2.2
157. 1.4.2.3
158. 1.4.2.4
159. 1.4.2.5
160. 1.4.2.6
161. 1.4.2.7
162. 1.4.3.1
163. 1.4.3.2
164. 1.4.3.3
165. 1.4.3.4
166. 1.4.3.5
167. 1.4.3.6
168. 1.4.3.7
169. 1.4.4.1
170. 1.4.4.2
171. 1.4.4.3
172. 1.4.4.4
173. 1.4.4.5
174. 1.4.4.6
175. 1.4.4.7
176. 1.4.5.1
177. 1.4.5.2
178. 1.4.5.3
179. 1.4.5.4
180. 1.4.5.5
181. 1.4.5.6
182. 1.4.5.7
183. 1.4.6.1
184. 1.4.6.2
185. 1.4.6.3
223. 1.5.4.6
224. 1.5.4.7
225. 1.5.5.1
226. 1.5.5.2
227. 1.5.5.3
228. 1.5.5.4
229. 1.5.5.5
230. 1.5.5.6
231. 1.5.5.7
232. 1.5.6.1
233. 1.5.6.2
234. 1.5.6.3
235. 1.5.6.4
236. 1.5.6.5
237. 1.5.6.6
238. 1.5.6.7
239. 1.5.7.1
240. 1.5.7.2
241. 1.5.7.3
242. 1.5.7.4
243. 1.5.7.5
244. 1.5.7.6
245. 1.5.7.7
246. 1.6.1.1
247. 1.6.1.2
248. 1.6.1.3
249. 1.6.1.4
250. 1.6.1.5
251. 1.6.1.6
252. 1.6.1.7
253. 1.6.2.1
254. 1.6.2.2
292. 1.6.7.5
293. 1.6.7.6
294. 1.6.7.7
295. 1.7.1.1
296. 1.7.1.2
297. 1.7.1.3
298. 1.7.1.4
299. 1.7.1.5
300. 1.7.1.6
301. 1.7.1.7
302. 1.7.2.1
303. 1.7.2.2
304. 1.7.2.3
305. 1.7.2.4
306. 1.7.2.5
307. 1.7.2.6
308. 1.7.2.7
309. 1.7.3.1
310. 1.7.3.2
311. 1.7.3.3
312. 1.7.3.4
313. 1.7.3.5
314. 1.7.3.6
315. 1.7.3.7
316. 1.7.4.1
317. 1.7.4.2
318. 1.7.4.3
319. 1.7.4.4
320. 1.7.4.5
321. 1.7.4.6
322. 1.7.4.7
323. 1.7.5.1
255
48. 1.1.7.6
49. 1.1.7.7
50. 1.2.1.1
51. 1.2.1.2
52. 1.2.1.3
53. 1.2.1.4
54. 1.2.1.5
55. 1.2.1.6
56. 1.2.1.7
57. 1.2.2.1
58. 1.2.2.2
59. 1.2.2.3
60. 1.2.2.4
61. 1.2.2.5
62. 1.2.2.6
63. 1.2.2.7
64. 1.2.3.1
65. 1.2.3.2
66. 1.2.3.3
67. 1.2.3.4
68. 1.2.3.5
69. 1.2.3.6
117. 1.3.3.5
118. 1.3.3.6
119. 1.3.3.7
120. 1.3.4.1
121. 1.3.4.2
122. 1.3.4.3
123. 1.3.4.4
124. 1.3.4.5
125. 1.3.4.6
126. 1.3.4.7
127. 1.3.5.1
128. 1.3.5.2
129. 1.3.5.3
130. 1.3.5.4
131. 1.3.5.5
132. 1.3.5.6
133. 1.3.5.7
134. 1.3.6.1
135. 1.3.6.2
136. 1.3.6.3
137. 1.3.6.4
138. 1.3.6.5
186. 1.4.6.4
187. 1.4.6.5
188. 1.4.6.6
189. 1.4.6.7
190. 1.4.7.1
191. 1.4.7.2
192. 1.4.7.3
193. 1.4.7.4
194. 1.4.7.5
195. 1.4.7.6
196. 1.4.7.7
197. 1.5.1.1
198. 1.5.1.2
199. 1.5.1.3
200. 1.5.1.4
201. 1.5.1.5
202. 1.5.1.6
203. 1.5.1.7
204. 1.5.2.1
205. 1.5.2.2
206. 1.5.2.3
207. 1.5.2.4
255. 1.6.2.3
256. 1.6.2.4
257. 1.6.2.5
258. 1.6.2.6
259. 1.6.2.7
260. 1.6.3.1
261. 1.6.3.2
262. 1.6.3.3
263. 1.6.3.4
264. 1.6.3.5
265. 1.6.3.6
266. 1.6.3.7
267. 1.6.4.1
268. 1.6.4.2
269. 1.6.4.3
270. 1.6.4.4
271. 1.6.4.5
272. 1.6.4.6
273. 1.6.4.7
274. 1.6.5.1
275. 1.6.5.2
276. 1.6.5.3
324. 1.7.5.2
325. 1.7.5.3
326. 1.7.5.4
327. 1.7.5.5
328. 1.7.5.6
329. 1.7.5.7
330. 1.7.6.1
331. 1.7.6.2
332. 1.7.6.3
333. 1.7.6.4
334. 1.7.6.5
335. 1.7.6.6
336. 1.7.6.7
337. 1.7.7.1
338. 1.7.7.2
339. 1.7.7.3
340. 1.7.7.4
341. 1.7.7.5
342. 1.7.7.6
343. 1.7.7.7
256
Table 6.3 Structural tone combinations within a four-note set beginning with 2,
relevant to one bar of diatonic tunes in 4/4 and two bars of such in 2/4 or 6/8.
Conceptual Field Structural Tones
Conceptual Resolution Four note possibilities beginning with 2
1. 2.1.1.1
2. 2.1.1.2
3. 2.1.1.3
4. 2.1.1.4
5. 2.1.1.5
6. 2.1.1.6
7. 2.1.1.7
8. 2.1.2.1
9. 2.1.2.2
10. 2.1.2.3
11. 2.1.2.4
12. 2.1.2.5
13. 2.1.2.6
14. 2.1.2.7
15. 2.1.3.1
16. 2.1.3.2
17. 2.1.3.3
18. 2.1.3.4
19. 2.1.3.5
20. 2.1.3.6
21. 2.1.3.7
22. 2.1.4.1
23. 2.1.4.2
24. 2.1.4.3
25. 2.1.4.4
26. 2.1.4.5
27. 2.1.4.6
70. 2.2.3.7
71. 2.2.4.1
72. 2.2.4.2
73. 2.2.4.3
74. 2.2.4.4
75. 2.2.4.5
76. 2.2.4.6
77. 2.2.4.7
78. 2.2.5.1
79. 2.2.5.2
80. 2.2.5.3
81. 2.2.5.4
82. 2.2.5.5
83. 2.2.5.6
84. 2.2.5.7
85. 2.2.6.1
86. 2.2.6.2
87. 2.2.6.3
88. 2.2.6.4
89. 2.2.6.5
90. 2.2.6.6
91. 2.2.6.7
92. 2.2.7.1
93. 2.2.7.2
94. 2.2.7.3
95. 2.2.7.4
96. 2.2.7.5
139. 2.3.6.6
140. 2.3.6.7
141. 2.3.7.1
142. 2.3.7.2
143. 2.3.7.3
144. 2.3.7.4
145. 2.3.7.5
146. 2.3.7.6
147. 2.3.7.7
148. 2.4.1.1
149. 2.4.1.2
150. 2.4.1.3
151. 2.4.1.4
152. 2.4.1.5
153. 2.4.1.6
154. 2.4.1.7
155. 2.4.2.1
156. 2.4.2.2
157. 2.4.2.3
158. 2.4.2.4
159. 2.4.2.5
160. 2.4.2.6
161. 2.4.2.7
162. 2.4.3.1
163. 2.4.3.2
164. 2.4.3.3
165. 2.4.3.4
208. 2.5.2.5
209. 2.5.2.6
210. 2.5.2.7
211. 2.5.3.1
212. 2.5.3.2
213. 2.5.3.3
214. 2.5.3.4
215. 2.5.3.5
216. 2.5.3.6
217. 2.5.3.7
218. 2.5.4.1
219. 2.5.4.2
220. 2.5.4.3
221. 2.5.4.4
222. 2.5.4.5
223. 2.5.4.6
224. 2.5.4.7
225. 2.5.5.1
226. 2.5.5.2
227. 2.5.5.3
228. 2.5.5.4
229. 2.5.5.5
230. 2.5.5.6
231. 2.5.5.7
232. 2.5.6.1
233. 2.5.6.2
234. 2.5.6.3
277. 2.6.5.4
278. 2.6.5.5
279. 2.6.5.6
280. 2.6.5.7
281. 2.6.6.1
282. 2.6.6.2
283. 2.6.6.3
284. 2.6.6.4
285. 2.6.6.5
286. 2.6.6.6
287. 2.6.6.7
288. 2.6.7.1
289. 2.6.7.2
290. 2.6.7.3
291. 2.6.7.4
292. 2.6.7.5
293. 2.6.7.6
294. 2.6.7.7
295. 2.7.1.1
296. 2.7.1.2
297. 2.7.1.3
298. 2.7.1.4
299. 2.7.1.5
300. 2.7.1.6
301. 2.7.1.7
302. 2.7.2.1
303. 2.7.2.2
257
28. 2.1.4.7
29. 2.1.5.1
30. 2.1.5.2
31. 2.1.5.3
32. 2.1.5.4
33. 2.1.5.5
34. 2.1.5.6
35. 2.1.5.7
36. 2.1.6.1
37. 2.1.6.2
38. 2.1.6.3
39. 2.1.6.4
40. 2.1.6.5
41. 2.1.6.6
42. 2.1.6.7
43. 2.1.7.1
44. 2.1.7.2
45. 2.1.7.3
46. 2.1.7.4
47. 2.1.7.5
48. 2.1.7.6
49. 2.1.7.7
50. 2.2.1.1
51. 2.2.1.2
52. 2.2.1.3
53. 2.2.1.4
54. 2.2.1.5
55. 2.2.1.6
56. 2.2.1.7
57. 2.2.2.1
58. 2.2.2.2
59. 2.2.2.3
97. 2.2.7.6
98. 2.2.7.7
99. 2.3.1.1
100. 2.3.1.2
101. 2.3.1.3
102. 2.3.1.4
103. 2.3.1.5
104. 2.3.1.6
105. 2.3.1.7
106. 2.3.2.1
107. 2.3.2.2
108. 2.3.2.3
109. 2.3.2.4
110. 2.3.2.5
111. 2.3.2.6
112. 2.3.2.7
113. 2.3.3.1
114. 2.3.3.2
115. 2.3.3.3
116. 2.3.3.4
117. 2.3.3.5
118. 2.3.3.6
119. 2.3.3.7
120. 2.3.4.1
121. 2.3.4.2
122. 2.3.4.3
123. 2.3.4.4
124. 2.3.4.5
125. 2.3.4.6
126. 2.3.4.7
127. 2.3.5.1
128. 2.3.5.2
166. 2.4.3.5
167. 2.4.3.6
168. 2.4.3.7
169. 2.4.4.1
170. 2.4.4.2
171. 2.4.4.3
172. 2.4.4.4
173. 2.4.4.5
174. 2.4.4.6
175. 2.4.4.7
176. 2.4.5.1
177. 2.4.5.2
178. 2.4.5.3
179. 2.4.5.4
180. 2.4.5.5
181. 2.4.5.6
182. 2.4.5.7
183. 2.4.6.1
184. 2.4.6.2
185. 2.4.6.3
186. 2.4.6.4
187. 2.4.6.5
188. 2.4.6.6
189. 2.4.6.7
190. 2.4.7.1
191. 2.4.7.2
192. 2.4.7.3
193. 2.4.7.4
194. 2.4.7.5
195. 2.4.7.6
196. 2.4.7.7
197. 2.5.1.1
235. 2.5.6.4
236. 2.5.6.5
237. 2.5.6.6
238. 2.5.6.7
239. 2.5.7.1
240. 2.5.7.2
241. 2.5.7.3
242. 2.5.7.4
243. 2.5.7.5
244. 2.5.7.6
245. 2.5.7.7
246. 2.6.1.1
247. 2.6.1.2
248. 2.6.1.3
249. 2.6.1.4
250. 2.6.1.5
251. 2.6.1.6
252. 2.6.1.7
253. 2.6.2.1
254. 2.6.2.2
255. 2.6.2.3
256. 2.6.2.4
257. 2.6.2.5
258. 2.6.2.6
259. 2.6.2.7
260. 2.6.3.1
261. 2.6.3.2
262. 2.6.3.3
263. 2.6.3.4
264. 2.6.3.5
265. 2.6.3.6
266. 2.6.3.7
304. 2.7.2.3
305. 2.7.2.4
306. 2.7.2.5
307. 2.7.2.6
308. 2.7.2.7
309. 2.7.3.1
310. 2.7.3.2
311. 2.7.3.3
312. 2.7.3.4
313. 2.7.3.5
314. 2.7.3.6
315. 2.7.3.7
316. 2.7.4.1
317. 2.7.4.2
318. 2.7.4.3
319. 2.7.4.4
320. 2.7.4.5
321. 2.7.4.6
322. 2.7.4.7
323. 2.7.5.1
324. 2.7.5.2
325. 2.7.5.3
326. 2.7.5.4
327. 2.7.5.5
328. 2.7.5.6
329. 2.7.5.7
330. 2.7.6.1
331. 2.7.6.2
332. 2.7.6.3
333. 2.7.6.4
334. 2.7.6.5
335. 2.7.6.6
258
60. 2.2.2.4
61. 2.2.2.5
62. 2.2.2.6
63. 2.2.2.7
64. 2.2.3.1
65. 2.2.3.2
66. 2.2.3.3
67. 2.2.3.4
68. 2.2.3.5
69. 2.2.3.6
129. 2.3.5.3
130. 2.3.5.4
131. 2.3.5.5
132. 2.3.5.6
133. 2.3.5.7
134. 2.3.6.1
135. 2.3.6.2
136. 2.3.6.3
137. 2.3.6.4
138. 2.3.6.5
198. 2.5.1.2
199. 2.5.1.3
200. 2.5.1.4
201. 2.5.1.5
202. 2.5.1.6
203. 2.5.1.7
204. 2.5.2.1
205. 2.5.2.2
206. 2.5.2.3
207. 2.5.2.4
267. 2.6.4.1
268. 2.6.4.2
269. 2.6.4.3
270. 2.6.4.4
271. 2.6.4.5
272. 2.6.4.6
273. 2.6.4.7
274. 2.6.5.1
275. 2.6.5.2
276. 2.6.5.3
336. 2.7.6.7
337. 2.7.7.1
338. 2.7.7.2
339. 2.7.7.3
340. 2.7.7.4
341. 2.7.7.5
342. 2.7.7.6
343. 2.7.7.7
Table 6.4 Structural tone combinations within a four-note set beginning with 3,
relevant to one bar of diatonic tunes in 4/4 and two bars of such in 2/4 or 6/8.
Conceptual Field Structural Tones
Conceptual Resolution Four note possibilities beginning with 3
1. 3.1.1.1
2. 3.1.1.2
3. 3.1.1.3
4. 3.1.1.4
5. 3.1.1.5
6. 3.1.1.6
7. 3.1.1.7
8. 3.1.2.1
9. 3.1.2.2
10. 3.1.2.3
11. 3.1.2.4
12. 3.1.2.5
13. 3.1.2.6
14. 3.1.2.7
15. 3.1.3.1
70. 3.2.3.7
71. 3.2.4.1
72. 3.2.4.2
73. 3.2.4.3
74. 3.2.4.4
75. 3.2.4.5
76. 3.2.4.6
77. 3.2.4.7
78. 3.2.5.1
79. 3.2.5.2
80. 3.2.5.3
81. 3.2.5.4
82. 3.2.5.5
83. 3.2.5.6
84. 3.2.5.7
139. 3.3.6.6
140. 3.3.6.7
141. 3.3.7.1
142. 3.3.7.2
143. 3.3.7.3
144. 3.3.7.4
145. 3.3.7.5
146. 3.3.7.6
147. 3.3.7.7
148. 3.4.1.1
149. 3.4.1.2
150. 3.4.1.3
151. 3.4.1.4
152. 3.4.1.5
153. 3.4.1.6
208. 3.5.2.5
209. 3.5.2.6
210. 3.5.2.7
211. 3.5.3.1
212. 3.5.3.2
213. 3.5.3.3
214. 3.5.3.4
215. 3.5.3.5
216. 3.5.3.6
217. 3.5.3.7
218. 3.5.4.1
219. 3.5.4.2
220. 3.5.4.3
221. 3.5.4.4
222. 3.5.4.5
277. 3.6.5.4
278. 3.6.5.5
279. 3.6.5.6
280. 3.6.5.7
281. 3.6.6.1
282. 3.6.6.2
283. 3.6.6.3
284. 3.6.6.4
285. 3.6.6.5
286. 3.6.6.6
287. 3.6.6.7
288. 3.6.7.1
289. 3.6.7.2
290. 3.6.7.3
291. 3.6.7.4
259
16. 3.1.3.2
17. 3.1.3.3
18. 3.1.3.4
19. 3.1.3.5
20. 3.1.3.6
21. 3.1.3.7
22. 3.1.4.1
23. 3.1.4.2
24. 3.1.4.3
25. 3.1.4.4
26. 3.1.4.5
27. 3.1.4.6
28. 3.1.4.7
29. 3.1.5.1
30. 3.1.5.2
31. 3.1.5.3
32. 3.1.5.4
33. 3.1.5.5
34. 3.1.5.6
35. 3.1.5.7
36. 3.1.6.1
37. 3.1.6.2
38. 3.1.6.3
39. 3.1.6.4
40. 3.1.6.5
41. 3.1.6.6
42. 3.1.6.7
43. 3.1.7.1
44. 3.1.7.2
45. 3.1.7.3
46. 3.1.7.4
47. 3.1.7.5
85. 3.2.6.1
86. 3.2.6.2
87. 3.2.6.3
88. 3.2.6.4
89. 3.2.6.5
90. 3.2.6.6
91. 3.2.6.7
92. 3.2.7.1
93. 3.2.7.2
94. 3.2.7.3
95. 3.2.7.4
96. 3.2.7.5
97. 3.2.7.6
98. 3.2.7.7
99. 3.3.1.1
100. 3.3.1.2
101. 3.3.1.3
102. 3.3.1.4
103. 3.3.1.5
104. 3.3.1.6
105. 3.3.1.7
106. 3.3.2.1
107. 3.3.2.2
108. 3.3.2.3
109. 3.3.2.4
110. 3.3.2.5
111. 3.3.2.6
112. 3.3.2.7
113. 3.3.3.1
114. 3.3.3.2
115. 3.3.3.3
116. 3.3.3.4
154. 3.4.1.7
155. 3.4.2.1
156. 3.4.2.2
157. 3.4.2.3
158. 3.4.2.4
159. 3.4.2.5
160. 3.4.2.6
161. 3.4.2.7
162. 3.4.3.1
163. 3.4.3.2
164. 3.4.3.3
165. 3.4.3.4
166. 3.4.3.5
167. 3.4.3.6
168. 3.4.3.7
169. 3.4.4.1
170. 3.4.4.2
171. 3.4.4.3
172. 3.4.4.4
173. 3.4.4.5
174. 3.4.4.6
175. 3.4.4.7
176. 3.4.5.1
177. 3.4.5.2
178. 3.4.5.3
179. 3.4.5.4
180. 3.4.5.5
181. 3.4.5.6
182. 3.4.5.7
183. 3.4.6.1
184. 3.4.6.2
185. 3.4.6.3
223. 3.5.4.6
224. 3.5.4.7
225. 3.5.5.1
226. 3.5.5.2
227. 3.5.5.3
228. 3.5.5.4
229. 3.5.5.5
230. 3.5.5.6
231. 3.5.5.7
232. 3.5.6.1
233. 3.5.6.2
234. 3.5.6.3
235. 3.5.6.4
236. 3.5.6.5
237. 3.5.6.6
238. 3.5.6.7
239. 3.5.7.1
240. 3.5.7.2
241. 3.5.7.3
242. 3.5.7.4
243. 3.5.7.5
244. 3.5.7.6
245. 3.5.7.7
246. 3.6.1.1
247. 3.6.1.2
248. 3.6.1.3
249. 3.6.1.4
250. 3.6.1.5
251. 3.6.1.6
252. 3.6.1.7
253. 3.6.2.1
254. 3.6.2.2
292. 3.6.7.5
293. 3.6.7.6
294. 3.6.7.7
295. 3.7.1.1
296. 3.7.1.2
297. 3.7.1.3
298. 3.7.1.4
299. 3.7.1.5
300. 3.7.1.6
301. 3.7.1.7
302. 3.7.2.1
303. 3.7.2.2
304. 3.7.2.3
305. 3.7.2.4
306. 3.7.2.5
307. 3.7.2.6
308. 3.7.2.7
309. 3.7.3.1
310. 3.7.3.2
311. 3.7.3.3
312. 3.7.3.4
313. 3.7.3.5
314. 3.7.3.6
315. 3.7.3.7
316. 3.7.4.1
317. 3.7.4.2
318. 3.7.4.3
319. 3.7.4.4
320. 3.7.4.5
321. 3.7.4.6
322. 3.7.4.7
323. 3.7.5.1
260
48. 3.1.7.6
49. 3.1.7.7
50. 3.2.1.1
51. 3.2.1.2
52. 3.2.1.3
53. 3.2.1.4
54. 3.2.1.5
55. 3.2.1.6
56. 3.2.1.7
57. 3.2.2.1
58. 3.2.2.2
59. 3.2.2.3
60. 3.2.2.4
61. 3.2.2.5
62. 3.2.2.6
63. 3.2.2.7
64. 3.2.3.1
65. 3.2.3.2
66. 3.2.3.3
67. 3.2.3.4
68. 3.2.3.5
69. 3.2.3.6
117. 3.3.3.5
118. 3.3.3.6
119. 3.3.3.7
120. 3.3.4.1
121. 3.3.4.2
122. 3.3.4.3
123. 3.3.4.4
124. 3.3.4.5
125. 3.3.4.6
126. 3.3.4.7
127. 3.3.5.1
128. 3.3.5.2
129. 3.3.5.3
130. 3.3.5.4
131. 3.3.5.5
132. 3.3.5.6
133. 3.3.5.7
134. 3.3.6.1
135. 3.3.6.2
136. 3.3.6.3
137. 3.3.6.4
138. 3.3.6.5
186. 3.4.6.4
187. 3.4.6.5
188. 3.4.6.6
189. 3.4.6.7
190. 3.4.7.1
191. 3.4.7.2
192. 3.4.7.3
193. 3.4.7.4
194. 3.4.7.5
195. 3.4.7.6
196. 3.4.7.7
197. 3.5.1.1
198. 3.5.1.2
199. 3.5.1.3
200. 3.5.1.4
201. 3.5.1.5
202. 3.5.1.6
203. 3.5.1.7
204. 3.5.2.1
205. 3.5.2.2
206. 3.5.2.3
207. 3.5.2.4
255. 3.6.2.3
256. 3.6.2.4
257. 3.6.2.5
258. 3.6.2.6
259. 3.6.2.7
260. 3.6.3.1
261. 3.6.3.2
262. 3.6.3.3
263. 3.6.3.4
264. 3.6.3.5
265. 3.6.3.6
266. 3.6.3.7
267. 3.6.4.1
268. 3.6.4.2
269. 3.6.4.3
270. 3.6.4.4
271. 3.6.4.5
272. 3.6.4.6
273. 3.6.4.7
274. 3.6.5.1
275. 3.6.5.2
276. 3.6.5.3
324. 3.7.5.2
325. 3.7.5.3
326. 3.7.5.4
327. 3.7.5.5
328. 3.7.5.6
329. 3.7.5.7
330. 3.7.6.1
331. 3.7.6.2
332. 3.7.6.3
333. 3.7.6.4
334. 3.7.6.5
335. 3.7.6.6
336. 3.7.6.7
337. 3.7.7.1
338. 3.7.7.2
339. 3.7.7.3
340. 3.7.7.4
341. 3.7.7.5
342. 3.7.7.6
343. 3.7.7.7
Table 6.5 Structural tone combinations within a four-note set beginning with 4,
relevant to one bar of diatonic tunes in 4/4 and two bars of such in 2/4 or 6/8.
Conceptual Field Structural Tones
Conceptual Resolution Four note possibilities beginning with 4
1. 4.1.1.1
2. 4.1.1.2
3. 4.1.1.3
70. 4.2.3.7
71. 4.2.4.1
72. 4.2.4.2
139. 4.3.6.6
140. 4.3.6.7
141. 4.3.7.1
208. 4.5.2.5
209. 4.5.2.6
210. 4.5.2.7
277. 4.6.5.4
278. 4.6.5.5
279. 4.6.5.6
261
4. 4.1.1.4
5. 4.1.1.5
6. 4.1.1.6
7. 4.1.1.7
8. 4.1.2.1
9. 4.1.2.2
10. 4.1.2.3
11. 4.1.2.4
12. 4.1.2.5
13. 4.1.2.6
14. 4.1.2.7
15. 4.1.3.1
16. 4.1.3.2
17. 4.1.3.3
18. 4.1.3.4
19. 4.1.3.5
20. 4.1.3.6
21. 4.1.3.7
22. 4.1.4.1
23. 4.1.4.2
24. 4.1.4.3
25. 4.1.4.4
26. 4.1.4.5
27. 4.1.4.6
28. 4.1.4.7
29. 4.1.5.1
30. 4.1.5.2
31. 4.1.5.3
32. 4.1.5.4
33. 4.1.5.5
34. 4.1.5.6
35. 4.1.5.7
73. 4.2.4.3
74. 4.2.4.4
75. 4.2.4.5
76. 4.2.4.6
77. 4.2.4.7
78. 4.2.5.1
79. 4.2.5.2
80. 4.2.5.3
81. 4.2.5.4
82. 4.2.5.5
83. 4.2.5.6
84. 4.2.5.7
85. 4.2.6.1
86. 4.2.6.2
87. 4.2.6.3
88. 4.2.6.4
89. 4.2.6.5
90. 4.2.6.6
91. 4.2.6.7
92. 4.2.7.1
93. 4.2.7.2
94. 4.2.7.3
95. 4.2.7.4
96. 4.2.7.5
97. 4.2.7.6
98. 4.2.7.7
99. 4.3.1.1
100. 4.3.1.2
101. 4.3.1.3
102. 4.3.1.4
103. 4.3.1.5
104. 4.3.1.6
142. 4.3.7.2
143. 4.3.7.3
144. 4.3.7.4
145. 4.3.7.5
146. 4.3.7.6
147. 4.3.7.7
148. 4.4.1.1
149. 4.4.1.2
150. 4.4.1.3
151. 4.4.1.4
152. 4.4.1.5
153. 4.4.1.6
154. 4.4.1.7
155. 4.4.2.1
156. 4.4.2.2
157. 4.4.2.3
158. 4.4.2.4
159. 4.4.2.5
160. 4.4.2.6
161. 4.4.2.7
162. 4.4.3.1
163. 4.4.3.2
164. 4.4.3.3
165. 4.4.3.4
166. 4.4.3.5
167. 4.4.3.6
168. 4.4.3.7
169. 4.4.4.1
170. 4.4.4.2
171. 4.4.4.3
172. 4.4.4.4
173. 4.4.4.5
211. 4.5.3.1
212. 4.5.3.2
213. 4.5.3.3
214. 4.5.3.4
215. 4.5.3.5
216. 4.5.3.6
217. 4.5.3.7
218. 4.5.4.1
219. 4.5.4.2
220. 4.5.4.3
221. 4.5.4.4
222. 4.5.4.5
223. 4.5.4.6
224. 4.5.4.7
225. 4.5.5.1
226. 4.5.5.2
227. 4.5.5.3
228. 4.5.5.4
229. 4.5.5.5
230. 4.5.5.6
231. 4.5.5.7
232. 4.5.6.1
233. 4.5.6.2
234. 4.5.6.3
235. 4.5.6.4
236. 4.5.6.5
237. 4.5.6.6
238. 4.5.6.7
239. 4.5.7.1
240. 4.5.7.2
241. 4.5.7.3
242. 4.5.7.4
280. 4.6.5.7
281. 4.6.6.1
282. 4.6.6.2
283. 4.6.6.3
284. 4.6.6.4
285. 4.6.6.5
286. 4.6.6.6
287. 4.6.6.7
288. 4.6.7.1
289. 4.6.7.2
290. 4.6.7.3
291. 4.6.7.4
292. 4.6.7.5
293. 4.6.7.6
294. 4.6.7.7
295. 4.7.1.1
296. 4.7.1.2
297. 4.7.1.3
298. 4.7.1.4
299. 4.7.1.5
300. 4.7.1.6
301. 4.7.1.7
302. 4.7.2.1
303. 4.7.2.2
304. 4.7.2.3
305. 4.7.2.4
306. 4.7.2.5
307. 4.7.2.6
308. 4.7.2.7
309. 4.7.3.1
310. 4.7.3.2
311. 4.7.3.3
262
36. 4.1.6.1
37. 4.1.6.2
38. 4.1.6.3
39. 4.1.6.4
40. 4.1.6.5
41. 4.1.6.6
42. 4.1.6.7
43. 4.1.7.1
44. 4.1.7.2
45. 4.1.7.3
46. 4.1.7.4
47. 4.1.7.5
48. 4.1.7.6
49. 4.1.7.7
50. 4.2.1.1
51. 4.2.1.2
52. 4.2.1.3
53. 4.2.1.4
54. 4.2.1.5
55. 4.2.1.6
56. 4.2.1.7
57. 4.2.2.1
58. 4.2.2.2
59. 4.2.2.3
60. 4.2.2.4
61. 4.2.2.5
62. 4.2.2.6
63. 4.2.2.7
64. 4.2.3.1
65. 4.2.3.2
66. 4.2.3.3
67. 4.2.3.4
105. 4.3.1.7
106. 4.3.2.1
107. 4.3.2.2
108. 4.3.2.3
109. 4.3.2.4
110. 4.3.2.5
111. 4.3.2.6
112. 4.3.2.7
113. 4.3.3.1
114. 4.3.3.2
115. 4.3.3.3
116. 4.3.3.4
117. 4.3.3.5
118. 4.3.3.6
119. 4.3.3.7
120. 4.3.4.1
121. 4.3.4.2
122. 4.3.4.3
123. 4.3.4.4
124. 4.3.4.5
125. 4.3.4.6
126. 4.3.4.7
127. 4.3.5.1
128. 4.3.5.2
129. 4.3.5.3
130. 4.3.5.4
131. 4.3.5.5
132. 4.3.5.6
133. 4.3.5.7
134. 4.3.6.1
135. 4.3.6.2
136. 4.3.6.3
174. 4.4.4.6
175. 4.4.4.7
176. 4.4.5.1
177. 4.4.5.2
178. 4.4.5.3
179. 4.4.5.4
180. 4.4.5.5
181. 4.4.5.6
182. 4.4.5.7
183. 4.4.6.1
184. 4.4.6.2
185. 4.4.6.3
186. 4.4.6.4
187. 4.4.6.5
188. 4.4.6.6
189. 4.4.6.7
190. 4.4.7.1
191. 4.4.7.2
192. 4.4.7.3
193. 4.4.7.4
194. 4.4.7.5
195. 4.4.7.6
196. 4.4.7.7
197. 4.5.1.1
198. 4.5.1.2
199. 4.5.1.3
200. 4.5.1.4
201. 4.5.1.5
202. 4.5.1.6
203. 4.5.1.7
204. 4.5.2.1
205. 4.5.2.2
243. 4.5.7.5
244. 4.5.7.6
245. 4.5.7.7
246. 4.6.1.1
247. 4.6.1.2
248. 4.6.1.3
249. 4.6.1.4
250. 4.6.1.5
251. 4.6.1.6
252. 4.6.1.7
253. 4.6.2.1
254. 4.6.2.2
255. 4.6.2.3
256. 4.6.2.4
257. 4.6.2.5
258. 4.6.2.6
259. 4.6.2.7
260. 4.6.3.1
261. 4.6.3.2
262. 4.6.3.3
263. 4.6.3.4
264. 4.6.3.5
265. 4.6.3.6
266. 4.6.3.7
267. 4.6.4.1
268. 4.6.4.2
269. 4.6.4.3
270. 4.6.4.4
271. 4.6.4.5
272. 4.6.4.6
273. 4.6.4.7
274. 4.6.5.1
312. 4.7.3.4
313. 4.7.3.5
314. 4.7.3.6
315. 4.7.3.7
316. 4.7.4.1
317. 4.7.4.2
318. 4.7.4.3
319. 4.7.4.4
320. 4.7.4.5
321. 4.7.4.6
322. 4.7.4.7
323. 4.7.5.1
324. 4.7.5.2
325. 4.7.5.3
326. 4.7.5.4
327. 4.7.5.5
328. 4.7.5.6
329. 4.7.5.7
330. 4.7.6.1
331. 4.7.6.2
332. 4.7.6.3
333. 4.7.6.4
334. 4.7.6.5
335. 4.7.6.6
336. 4.7.6.7
337. 4.7.7.1
338. 4.7.7.2
339. 4.7.7.3
340. 4.7.7.4
341. 4.7.7.5
342. 4.7.7.6
343. 4.7.7.7
263
68. 4.2.3.5
69. 4.2.3.6
137. 4.3.6.4
138. 4.3.6.5
206. 4.5.2.3
207. 4.5.2.4
275. 4.6.5.2
276. 4.6.5.3
Table 6.6 Structural tone combinations within a four-note set beginning with 5,
relevant to one bar of diatonic tunes in 4/4 and two bars of such in 2/4 or 6/8.
Conceptual Field Structural Tones
Conceptual Resolution Four note possibilities beginning with 5
1. 5.1.1.1
2. 5.1.1.2
3. 5.1.1.3
4. 5.1.1.4
5. 5.1.1.5
6. 5.1.1.6
7. 5.1.1.7
8. 5.1.2.1
9. 5.1.2.2
10. 5.1.2.3
11. 5.1.2.4
12. 5.1.2.5
13. 5.1.2.6
14. 5.1.2.7
15. 5.1.3.1
16. 5.1.3.2
17. 5.1.3.3
18. 5.1.3.4
19. 5.1.3.5
20. 5.1.3.6
21. 5.1.3.7
22. 5.1.4.1
23. 5.1.4.2
70. 5.2.3.7
71. 5.2.4.1
72. 5.2.4.2
73. 5.2.4.3
74. 5.2.4.4
75. 5.2.4.5
76. 5.2.4.6
77. 5.2.4.7
78. 5.2.5.1
79. 5.2.5.2
80. 5.2.5.3
81. 5.2.5.4
82. 5.2.5.5
83. 5.2.5.6
84. 5.2.5.7
85. 5.2.6.1
86. 5.2.6.2
87. 5.2.6.3
88. 5.2.6.4
89. 5.2.6.5
90. 5.2.6.6
91. 5.2.6.7
92. 5.2.7.1
139. 5.3.6.6
140. 5.3.6.7
141. 5.3.7.1
142. 5.3.7.2
143. 5.3.7.3
144. 5.3.7.4
145. 5.3.7.5
146. 5.3.7.6
147. 5.3.7.7
148. 5.4.1.1
149. 5.4.1.2
150. 5.4.1.3
151. 5.4.1.4
152. 5.4.1.5
153. 5.4.1.6
154. 5.4.1.7
155. 5.4.2.1
156. 5.4.2.2
157. 5.4.2.3
158. 5.4.2.4
159. 5.4.2.5
160. 5.4.2.6
161. 5.4.2.7
208. 5.5.2.5
209. 5.5.2.6
210. 5.5.2.7
211. 5.5.3.1
212. 5.5.3.2
213. 5.5.3.3
214. 5.5.3.4
215. 5.5.3.5
216. 5.5.3.6
217. 5.5.3.7
218. 5.5.4.1
219. 5.5.4.2
220. 5.5.4.3
221. 5.5.4.4
222. 5.5.4.5
223. 5.5.4.6
224. 5.5.4.7
225. 5.5.5.1
226. 5.5.5.2
227. 5.5.5.3
228. 5.5.5.4
229. 5.5.5.5
230. 5.5.5.6
277. 5.6.5.4
278. 5.6.5.5
279. 5.6.5.6
280. 5.6.5.7
281. 5.6.6.1
282. 5.6.6.2
283. 5.6.6.3
284. 5.6.6.4
285. 5.6.6.5
286. 5.6.6.6
287. 5.6.6.7
288. 5.6.7.1
289. 5.6.7.2
290. 5.6.7.3
291. 5.6.7.4
292. 5.6.7.5
293. 5.6.7.6
294. 5.6.7.7
295. 5.7.1.1
296. 5.7.1.2
297. 5.7.1.3
298. 5.7.1.4
299. 5.7.1.5
264
24. 5.1.4.3
25. 5.1.4.4
26. 5.1.4.5
27. 5.1.4.6
28. 5.1.4.7
29. 5.1.5.1
30. 5.1.5.2
31. 5.1.5.3
32. 5.1.5.4
33. 5.1.5.5
34. 5.1.5.6
35. 5.1.5.7
36. 5.1.6.1
37. 5.1.6.2
38. 5.1.6.3
39. 5.1.6.4
40. 5.1.6.5
41. 5.1.6.6
42. 5.1.6.7
43. 5.1.7.1
44. 5.1.7.2
45. 5.1.7.3
46. 5.1.7.4
47. 5.1.7.5
48. 5.1.7.6
49. 5.1.7.7
50. 5.2.1.1
51. 5.2.1.2
52. 5.2.1.3
53. 5.2.1.4
54. 5.2.1.5
55. 5.2.1.6
93. 5.2.7.2
94. 5.2.7.3
95. 5.2.7.4
96. 5.2.7.5
97. 5.2.7.6
98. 5.2.7.7
99. 5.3.1.1
100. 5.3.1.2
101. 5.3.1.3
102. 5.3.1.4
103. 5.3.1.5
104. 5.3.1.6
105. 5.3.1.7
106. 5.3.2.1
107. 5.3.2.2
108. 5.3.2.3
109. 5.3.2.4
110. 5.3.2.5
111. 5.3.2.6
112. 5.3.2.7
113. 5.3.3.1
114. 5.3.3.2
115. 5.3.3.3
116. 5.3.3.4
117. 5.3.3.5
118. 5.3.3.6
119. 5.3.3.7
120. 5.3.4.1
121. 5.3.4.2
122. 5.3.4.3
123. 5.3.4.4
124. 5.3.4.5
162. 5.4.3.1
163. 5.4.3.2
164. 5.4.3.3
165. 5.4.3.4
166. 5.4.3.5
167. 5.4.3.6
168. 5.4.3.7
169. 5.4.4.1
170. 5.4.4.2
171. 5.4.4.3
172. 5.4.4.4
173. 5.4.4.5
174. 5.4.4.6
175. 5.4.4.7
176. 5.4.5.1
177. 5.4.5.2
178. 5.4.5.3
179. 5.4.5.4
180. 5.4.5.5
181. 5.4.5.6
182. 5.4.5.7
183. 5.4.6.1
184. 5.4.6.2
185. 5.4.6.3
186. 5.4.6.4
187. 5.4.6.5
188. 5.4.6.6
189. 5.4.6.7
190. 5.4.7.1
191. 5.4.7.2
192. 5.4.7.3
193. 5.4.7.4
231. 5.5.5.7
232. 5.5.6.1
233. 5.5.6.2
234. 5.5.6.3
235. 5.5.6.4
236. 5.5.6.5
237. 5.5.6.6
238. 5.5.6.7
239. 5.5.7.1
240. 5.5.7.2
241. 5.5.7.3
242. 5.5.7.4
243. 5.5.7.5
244. 5.5.7.6
245. 5.5.7.7
246. 5.6.1.1
247. 5.6.1.2
248. 5.6.1.3
249. 5.6.1.4
250. 5.6.1.5
251. 5.6.1.6
252. 5.6.1.7
253. 5.6.2.1
254. 5.6.2.2
255. 5.6.2.3
256. 5.6.2.4
257. 5.6.2.5
258. 5.6.2.6
259. 5.6.2.7
260. 5.6.3.1
261. 5.6.3.2
262. 5.6.3.3
300. 5.7.1.6
301. 5.7.1.7
302. 5.7.2.1
303. 5.7.2.2
304. 5.7.2.3
305. 5.7.2.4
306. 5.7.2.5
307. 5.7.2.6
308. 5.7.2.7
309. 5.7.3.1
310. 5.7.3.2
311. 5.7.3.3
312. 5.7.3.4
313. 5.7.3.5
314. 5.7.3.6
315. 5.7.3.7
316. 5.7.4.1
317. 5.7.4.2
318. 5.7.4.3
319. 5.7.4.4
320. 5.7.4.5
321. 5.7.4.6
322. 5.7.4.7
323. 5.7.5.1
324. 5.7.5.2
325. 5.7.5.3
326. 5.7.5.4
327. 5.7.5.5
328. 5.7.5.6
329. 5.7.5.7
330. 5.7.6.1
331. 5.7.6.2
265
56. 5.2.1.7
57. 5.2.2.1
58. 5.2.2.2
59. 5.2.2.3
60. 5.2.2.4
61. 5.2.2.5
62. 5.2.2.6
63. 5.2.2.7
64. 5.2.3.1
65. 5.2.3.2
66. 5.2.3.3
67. 5.2.3.4
68. 5.2.3.5
69. 5.2.3.6
125. 5.3.4.6
126. 5.3.4.7
127. 5.3.5.1
128. 5.3.5.2
129. 5.3.5.3
130. 5.3.5.4
131. 5.3.5.5
132. 5.3.5.6
133. 5.3.5.7
134. 5.3.6.1
135. 5.3.6.2
136. 5.3.6.3
137. 5.3.6.4
138. 5.3.6.5
194. 5.4.7.5
195. 5.4.7.6
196. 5.4.7.7
197. 5.5.1.1
198. 5.5.1.2
199. 5.5.1.3
200. 5.5.1.4
201. 5.5.1.5
202. 5.5.1.6
203. 5.5.1.7
204. 5.5.2.1
205. 5.5.2.2
206. 5.5.2.3
207. 5.5.2.4
263. 5.6.3.4
264. 5.6.3.5
265. 5.6.3.6
266. 5.6.3.7
267. 5.6.4.1
268. 5.6.4.2
269. 5.6.4.3
270. 5.6.4.4
271. 5.6.4.5
272. 5.6.4.6
273. 5.6.4.7
274. 5.6.5.1
275. 5.6.5.2
276. 5.6.5.3
332. 5.7.6.3
333. 5.7.6.4
334. 5.7.6.5
335. 5.7.6.6
336. 5.7.6.7
337. 5.7.7.1
338. 5.7.7.2
339. 5.7.7.3
340. 5.7.7.4
341. 5.7.7.5
342. 5.7.7.6
343. 5.7.7.7
Table 6.7 Structural tone combinations within a four-note set beginning with 6,
relevant to one bar of diatonic tunes in 4/4 and two bars of such in 2/4 or 6/8.
Conceptual Field Structural Tones
Conceptual Resolution Four note possibilities beginning with 6
1. 6.1.1.1
2. 6.1.1.2
3. 6.1.1.3
4. 6.1.1.4
5. 6.1.1.5
6. 6.1.1.6
7. 6.1.1.7
8. 6.1.2.1
9. 6.1.2.2
10. 6.1.2.3
11. 6.1.2.4
70. 6.2.3.7
71. 6.2.4.1
72. 6.2.4.2
73. 6.2.4.3
74. 6.2.4.4
75. 6.2.4.5
76. 6.2.4.6
77. 6.2.4.7
78. 6.2.5.1
79. 6.2.5.2
80. 6.2.5.3
139. 6.3.6.6
140. 6.3.6.7
141. 6.3.7.1
142. 6.3.7.2
143. 6.3.7.3
144. 6.3.7.4
145. 6.3.7.5
146. 6.3.7.6
147. 6.3.7.7
148. 6.4.1.1
149. 6.4.1.2
208. 6.5.2.5
209. 6.5.2.6
210. 6.5.2.7
211. 6.5.3.1
212. 6.5.3.2
213. 6.5.3.3
214. 6.5.3.4
215. 6.5.3.5
216. 6.5.3.6
217. 6.5.3.7
218. 6.5.4.1
277. 6.6.5.4
278. 6.6.5.5
279. 6.6.5.6
280. 6.6.5.7
281. 6.6.6.1
282. 6.6.6.2
283. 6.6.6.3
284. 6.6.6.4
285. 6.6.6.5
286. 6.6.6.6
287. 6.6.6.7
266
12. 6.1.2.5
13. 6.1.2.6
14. 6.1.2.7
15. 6.1.3.1
16. 6.1.3.2
17. 6.1.3.3
18. 6.1.3.4
19. 6.1.3.5
20. 6.1.3.6
21. 6.1.3.7
22. 6.1.4.1
23. 6.1.4.2
24. 6.1.4.3
25. 6.1.4.4
26. 6.1.4.5
27. 6.1.4.6
28. 6.1.4.7
29. 6.1.5.1
30. 6.1.5.2
31. 6.1.5.3
32. 6.1.5.4
33. 6.1.5.5
34. 6.1.5.6
35. 6.1.5.7
36. 6.1.6.1
37. 6.1.6.2
38. 6.1.6.3
39. 6.1.6.4
40. 6.1.6.5
41. 6.1.6.6
42. 6.1.6.7
43. 6.1.7.1
81. 6.2.5.4
82. 6.2.5.5
83. 6.2.5.6
84. 6.2.5.7
85. 6.2.6.1
86. 6.2.6.2
87. 6.2.6.3
88. 6.2.6.4
89. 6.2.6.5
90. 6.2.6.6
91. 6.2.6.7
92. 6.2.7.1
93. 6.2.7.2
94. 6.2.7.3
95. 6.2.7.4
96. 6.2.7.5
97. 6.2.7.6
98. 6.2.7.7
99. 6.3.1.1
100. 6.3.1.2
101. 6.3.1.3
102. 6.3.1.4
103. 6.3.1.5
104. 6.3.1.6
105. 6.3.1.7
106. 6.3.2.1
107. 6.3.2.2
108. 6.3.2.3
109. 6.3.2.4
110. 6.3.2.5
111. 6.3.2.6
112. 6.3.2.7
150. 6.4.1.3
151. 6.4.1.4
152. 6.4.1.5
153. 6.4.1.6
154. 6.4.1.7
155. 6.4.2.1
156. 6.4.2.2
157. 6.4.2.3
158. 6.4.2.4
159. 6.4.2.5
160. 6.4.2.6
161. 6.4.2.7
162. 6.4.3.1
163. 6.4.3.2
164. 6.4.3.3
165. 6.4.3.4
166. 6.4.3.5
167. 6.4.3.6
168. 6.4.3.7
169. 6.4.4.1
170. 6.4.4.2
171. 6.4.4.3
172. 6.4.4.4
173. 6.4.4.5
174. 6.4.4.6
175. 6.4.4.7
176. 6.4.5.1
177. 6.4.5.2
178. 6.4.5.3
179. 6.4.5.4
180. 6.4.5.5
181. 6.4.5.6
219. 6.5.4.2
220. 6.5.4.3
221. 6.5.4.4
222. 6.5.4.5
223. 6.5.4.6
224. 6.5.4.7
225. 6.5.5.1
226. 6.5.5.2
227. 6.5.5.3
228. 6.5.5.4
229. 6.5.5.5
230. 6.5.5.6
231. 6.5.5.7
232. 6.5.6.1
233. 6.5.6.2
234. 6.5.6.3
235. 6.5.6.4
236. 6.5.6.5
237. 6.5.6.6
238. 6.5.6.7
239. 6.5.7.1
240. 6.5.7.2
241. 6.5.7.3
242. 6.5.7.4
243. 6.5.7.5
244. 6.5.7.6
245. 6.5.7.7
246. 6.6.1.1
247. 6.6.1.2
248. 6.6.1.3
249. 6.6.1.4
250. 6.6.1.5
288. 6.6.7.1
289. 6.6.7.2
290. 6.6.7.3
291. 6.6.7.4
292. 6.6.7.5
293. 6.6.7.6
294. 6.6.7.7
295. 6.7.1.1
296. 6.7.1.2
297. 6.7.1.3
298. 6.7.1.4
299. 6.7.1.5
300. 6.7.1.6
301. 6.7.1.7
302. 6.7.2.1
303. 6.7.2.2
304. 6.7.2.3
305. 6.7.2.4
306. 6.7.2.5
307. 6.7.2.6
308. 6.7.2.7
309. 6.7.3.1
310. 6.7.3.2
311. 6.7.3.3
312. 6.7.3.4
313. 6.7.3.5
314. 6.7.3.6
315. 6.7.3.7
316. 6.7.4.1
317. 6.7.4.2
318. 6.7.4.3
319. 6.7.4.4
267
44. 6.1.7.2
45. 6.1.7.3
46. 6.1.7.4
47. 6.1.7.5
48. 6.1.7.6
49. 6.1.7.7
50. 6.2.1.1
51. 6.2.1.2
52. 6.2.1.3
53. 6.2.1.4
54. 6.2.1.5
55. 6.2.1.6
56. 6.2.1.7
57. 6.2.2.1
58. 6.2.2.2
59. 6.2.2.3
60. 6.2.2.4
61. 6.2.2.5
62. 6.2.2.6
63. 6.2.2.7
64. 6.2.3.1
65. 6.2.3.2
66. 6.2.3.3
67. 6.2.3.4
68. 6.2.3.5
69. 6.2.3.6
113. 6.3.3.1
114. 6.3.3.2
115. 6.3.3.3
116. 6.3.3.4
117. 6.3.3.5
118. 6.3.3.6
119. 6.3.3.7
120. 6.3.4.1
121. 6.3.4.2
122. 6.3.4.3
123. 6.3.4.4
124. 6.3.4.5
125. 6.3.4.6
126. 6.3.4.7
127. 6.3.5.1
128. 6.3.5.2
129. 6.3.5.3
130. 6.3.5.4
131. 6.3.5.5
132. 6.3.5.6
133. 6.3.5.7
134. 6.3.6.1
135. 6.3.6.2
136. 6.3.6.3
137. 6.3.6.4
138. 6.3.6.5
182. 6.4.5.7
183. 6.4.6.1
184. 6.4.6.2
185. 6.4.6.3
186. 6.4.6.4
187. 6.4.6.5
188. 6.4.6.6
189. 6.4.6.7
190. 6.4.7.1
191. 6.4.7.2
192. 6.4.7.3
193. 6.4.7.4
194. 6.4.7.5
195. 6.4.7.6
196. 6.4.7.7
197. 6.5.1.1
198. 6.5.1.2
199. 6.5.1.3
200. 6.5.1.4
201. 6.5.1.5
202. 6.5.1.6
203. 6.5.1.7
204. 6.5.2.1
205. 6.5.2.2
206. 6.5.2.3
207. 6.5.2.4
251. 6.6.1.6
252. 6.6.1.7
253. 6.6.2.1
254. 6.6.2.2
255. 6.6.2.3
256. 6.6.2.4
257. 6.6.2.5
258. 6.6.2.6
259. 6.6.2.7
260. 6.6.3.1
261. 6.6.3.2
262. 6.6.3.3
263. 6.6.3.4
264. 6.6.3.5
265. 6.6.3.6
266. 6.6.3.7
267. 6.6.4.1
268. 6.6.4.2
269. 6.6.4.3
270. 6.6.4.4
271. 6.6.4.5
272. 6.6.4.6
273. 6.6.4.7
274. 6.6.5.1
275. 6.6.5.2
276. 6.6.5.3
320. 6.7.4.5
321. 6.7.4.6
322. 6.7.4.7
323. 6.7.5.1
324. 6.7.5.2
325. 6.7.5.3
326. 6.7.5.4
327. 6.7.5.5
328. 6.7.5.6
329. 6.7.5.7
330. 6.7.6.1
331. 6.7.6.2
332. 6.7.6.3
333. 6.7.6.4
334. 6.7.6.5
335. 6.7.6.6
336. 6.7.6.7
337. 6.7.7.1
338. 6.7.7.2
339. 6.7.7.3
340. 6.7.7.4
341. 6.7.7.5
342. 6.7.7.6
343. 6.7.7.7
268
Table 6.8 Structural tone combinations within a four-note set beginning with 7,
relevant to one bar of diatonic tunes in 4/4 and two bars of such in 2/4 or 6/8.
Conceptual Field Structural Tones
Conceptual Resolution Four note possibilities beginning with 7
1. 7.1.1.1
2. 7.1.1.2
3. 7.1.1.3
4. 7.1.1.4
5. 7.1.1.5
6. 7.1.1.6
7. 7.1.1.7
8. 7.1.2.1
9. 7.1.2.2
10. 7.1.2.3
11. 7.1.2.4
12. 7.1.2.5
13. 7.1.2.6
14. 7.1.2.7
15. 7.1.3.1
16. 7.1.3.2
17. 7.1.3.3
18. 7.1.3.4
19. 7.1.3.5
20. 7.1.3.6
21. 7.1.3.7
22. 7.1.4.1
23. 7.1.4.2
24. 7.1.4.3
25. 7.1.4.4
26. 7.1.4.5
27. 7.1.4.6
70. 7.2.3.7
71. 7.2.4.1
72. 7.2.4.2
73. 7.2.4.3
74. 7.2.4.4
75. 7.2.4.5
76. 7.2.4.6
77. 7.2.4.7
78. 7.2.5.1
79. 7.2.5.2
80. 7.2.5.3
81. 7.2.5.4
82. 7.2.5.5
83. 7.2.5.6
84. 7.2.5.7
85. 7.2.6.1
86. 7.2.6.2
87. 7.2.6.3
88. 7.2.6.4
89. 7.2.6.5
90. 7.2.6.6
91. 7.2.6.7
92. 7.2.7.1
93. 7.2.7.2
94. 7.2.7.3
95. 7.2.7.4
96. 7.2.7.5
139. 7.3.6.6
140. 7.3.6.7
141. 7.3.7.1
142. 7.3.7.2
143. 7.3.7.3
144. 7.3.7.4
145. 7.3.7.5
146. 7.3.7.6
147. 7.3.7.7
148. 7.4.1.1
149. 7.4.1.2
150. 7.4.1.3
151. 7.4.1.4
152. 7.4.1.5
153. 7.4.1.6
154. 7.4.1.7
155. 7.4.2.1
156. 7.4.2.2
157. 7.4.2.3
158. 7.4.2.4
159. 7.4.2.5
160. 7.4.2.6
161. 7.4.2.7
162. 7.4.3.1
163. 7.4.3.2
164. 7.4.3.3
165. 7.4.3.4
208. 7.5.2.5
209. 7.5.2.6
210. 7.5.2.7
211. 7.5.3.1
212. 7.5.3.2
213. 7.5.3.3
214. 7.5.3.4
215. 7.5.3.5
216. 7.5.3.6
217. 7.5.3.7
218. 7.5.4.1
219. 7.5.4.2
220. 7.5.4.3
221. 7.5.4.4
222. 7.5.4.5
223. 7.5.4.6
224. 7.5.4.7
225. 7.5.5.1
226. 7.5.5.2
227. 7.5.5.3
228. 7.5.5.4
229. 7.5.5.5
230. 7.5.5.6
231. 7.5.5.7
232. 7.5.6.1
233. 7.5.6.2
234. 7.5.6.3
277. 7.6.5.4
278. 7.6.5.5
279. 7.6.5.6
280. 7.6.5.7
281. 7.6.6.1
282. 7.6.6.2
283. 7.6.6.3
284. 7.6.6.4
285. 7.6.6.5
286. 7.6.6.6
287. 7.6.6.7
288. 7.6.7.1
289. 7.6.7.2
290. 7.6.7.3
291. 7.6.7.4
292. 7.6.7.5
293. 7.6.7.6
294. 7.6.7.7
295. 7.7.1.1
296. 7.7.1.2
297. 7.7.1.3
298. 7.7.1.4
299. 7.7.1.5
300. 7.7.1.6
301. 7.7.1.7
302. 7.7.2.1
303. 7.7.2.2
269
28. 7.1.4.7
29. 7.1.5.1
30. 7.1.5.2
31. 7.1.5.3
32. 7.1.5.4
33. 7.1.5.5
34. 7.1.5.6
35. 7.1.5.7
36. 7.1.6.1
37. 7.1.6.2
38. 7.1.6.3
39. 7.1.6.4
40. 7.1.6.5
41. 7.1.6.6
42. 7.1.6.7
43. 7.1.7.1
44. 7.1.7.2
45. 7.1.7.3
46. 7.1.7.4
47. 7.1.7.5
48. 7.1.7.6
49. 7.1.7.7
50. 7.2.1.1
51. 7.2.1.2
52. 7.2.1.3
53. 7.2.1.4
54. 7.2.1.5
55. 7.2.1.6
56. 7.2.1.7
57. 7.2.2.1
58. 7.2.2.2
59. 7.2.2.3
97. 7.2.7.6
98. 7.2.7.7
99. 7.3.1.1
100. 7.3.1.2
101. 7.3.1.3
102. 7.3.1.4
103. 7.3.1.5
104. 7.3.1.6
105. 7.3.1.7
106. 7.3.2.1
107. 7.3.2.2
108. 7.3.2.3
109. 7.3.2.4
110. 7.3.2.5
111. 7.3.2.6
112. 7.3.2.7
113. 7.3.3.1
114. 7.3.3.2
115. 7.3.3.3
116. 7.3.3.4
117. 7.3.3.5
118. 7.3.3.6
119. 7.3.3.7
120. 7.3.4.1
121. 7.3.4.2
122. 7.3.4.3
123. 7.3.4.4
124. 7.3.4.5
125. 7.3.4.6
126. 7.3.4.7
127. 7.3.5.1
128. 7.3.5.2
166. 7.4.3.5
167. 7.4.3.6
168. 7.4.3.7
169. 7.4.4.1
170. 7.4.4.2
171. 7.4.4.3
172. 7.4.4.4
173. 7.4.4.5
174. 7.4.4.6
175. 7.4.4.7
176. 7.4.5.1
177. 7.4.5.2
178. 7.4.5.3
179. 7.4.5.4
180. 7.4.5.5
181. 7.4.5.6
182. 7.4.5.7
183. 7.4.6.1
184. 7.4.6.2
185. 7.4.6.3
186. 7.4.6.4
187. 7.4.6.5
188. 7.4.6.6
189. 7.4.6.7
190. 7.4.7.1
191. 7.4.7.2
192. 7.4.7.3
193. 7.4.7.4
194. 7.4.7.5
195. 7.4.7.6
196. 7.4.7.7
197. 7.5.1.1
235. 7.5.6.4
236. 7.5.6.5
237. 7.5.6.6
238. 7.5.6.7
239. 7.5.7.1
240. 7.5.7.2
241. 7.5.7.3
242. 7.5.7.4
243. 7.5.7.5
244. 7.5.7.6
245. 7.5.7.7
246. 7.6.1.1
247. 7.6.1.2
248. 7.6.1.3
249. 7.6.1.4
250. 7.6.1.5
251. 7.6.1.6
252. 7.6.1.7
253. 7.6.2.1
254. 7.6.2.2
255. 7.6.2.3
256. 7.6.2.4
257. 7.6.2.5
258. 7.6.2.6
259. 7.6.2.7
260. 7.6.3.1
261. 7.6.3.2
262. 7.6.3.3
263. 7.6.3.4
264. 7.6.3.5
265. 7.6.3.6
266. 7.6.3.7
304. 7.7.2.3
305. 7.7.2.4
306. 7.7.2.5
307. 7.7.2.6
308. 7.7.2.7
309. 7.7.3.1
310. 7.7.3.2
311. 7.7.3.3
312. 7.7.3.4
313. 7.7.3.5
314. 7.7.3.6
315. 7.7.3.7
316. 7.7.4.1
317. 7.7.4.2
318. 7.7.4.3
319. 7.7.4.4
320. 7.7.4.5
321. 7.7.4.6
322. 7.7.4.7
323. 7.7.5.1
324. 7.7.5.2
325. 7.7.5.3
326. 7.7.5.4
327. 7.7.5.5
328. 7.7.5.6
329. 7.7.5.7
330. 7.7.6.1
331. 7.7.6.2
332. 7.7.6.3
333. 7.7.6.4
334. 7.7.6.5
335. 7.7.6.6
270
60. 7.2.2.4
61. 7.2.2.5
62. 7.2.2.6
63. 7.2.2.7
64. 7.2.3.1
65. 7.2.3.2
66. 7.2.3.3
67. 7.2.3.4
68. 7.2.3.5
69. 7.2.3.6
129. 7.3.5.3
130. 7.3.5.4
131. 7.3.5.5
132. 7.3.5.6
133. 7.3.5.7
134. 7.3.6.1
135. 7.3.6.2
136. 7.3.6.3
137. 7.3.6.4
138. 7.3.6.5
198. 7.5.1.2
199. 7.5.1.3
200. 7.5.1.4
201. 7.5.1.5
202. 7.5.1.6
203. 7.5.1.7
204. 7.5.2.1
205. 7.5.2.2
206. 7.5.2.3
207. 7.5.2.4
267. 7.6.4.1
268. 7.6.4.2
269. 7.6.4.3
270. 7.6.4.4
271. 7.6.4.5
272. 7.6.4.6
273. 7.6.4.7
274. 7.6.5.1
275. 7.6.5.2
276. 7.6.5.3
336. 7.7.6.7
337. 7.7.7.1
338. 7.7.7.2
339. 7.7.7.3
340. 7.7.7.4
341. 7.7.7.5
342. 7.7.7.6
343. 7.7.7.7
6.4 Harmonic Structures
The following conceptual fields from Tables 6.9 to 6.15 contain 1,296 stylistic
elements. The first table features examples that begin with the chord of I, the second
table featuring examples that begin with the chord of ii and so on until chord vi is
reached.
Table 6.9 Potential harmonic structures in sets of three, relevant to one, two, four
or eight-bar segments of diatonic tunes in 2/2, 4/4, 2/4, 6/8.
Conceptual Field Harmonic Structures
Conceptual Resolution Three note possibilities
1. I.I.I
2. I.I.ii
3. I.I.iii
4. I.I.IV
5. I.I.V
6. I.I.vi
7. I.ii.I
8. I.ii.ii
44. ii.ii.ii 45. ii.ii.iii 46. ii.ii.IV
47. ii.ii.V
48. ii.ii.vi
49. ii.iii.I 50. ii.iii.ii 51. ii.iii.iii
87. iii.iii.iii
88. iii.iii.IV
89. iii.iii.V
90. iii.iii.vi
91. iii.IV.I
92. iii.IV.ii
93. iii.IV.iii
94. iii.IV.IV
130. IV.IV.IV
131. IV.IV.V
132. IV.IV.vi
133. IV.V.I
134. IV.V.ii
135. IV.V.iii
136. IV.V.IV
137. IV.V.V
173. V.V.V
174. V.V.vi
175. V.vi.I
176. V.vi.ii
177. V.vi.iii
178. V.vi.IV
179. V.vi.V
180. V.vi.vi
271
9. I.ii.iii
10. I.ii.IV
11. I.ii.V
12. I.ii.vi
13. I.iii.I 14. I.iii.ii 15. I.iii.iii 16. I.iii.IV
17. I.iii.V
18. I.iii.vi
19. I.IV.I
20. I.IV.ii
21. I.IV.iii
22. I.IV.IV
23. I.IV.V
24. I.IV.vi
25. I.V.I
26. I.V.ii
27. I.V.iii
28. I.V.IV
29. I.V.V
30. I.V.vi
31. I.vi.I
32. I.vi.ii
33. I.vi.iii
34. I.vi.IV
35. I.vi.V
36. I.vi.vi
37. ii.I.I 38. ii.I.ii 39. ii.I.iii 40. ii.I.IV
52. ii.iii.IV
53. ii.iii.V
54. ii.iii.vi
55. ii.IV.I
56. ii.IV.ii
57. ii.IV.iii
58. ii.IV.IV
59. ii.IV.V
60. ii.IV.vi
61. ii.V.I
62. ii.V.ii
63. ii.V.iii
64. ii.V.IV
65. ii.V.V
66. ii.V.vi
67. ii.vi.I
68. ii.vi.ii
69. ii.vi.iii
70. ii.vi.IV
71. ii.vi.V
72. ii.vi.vi
73. iii.I.I 74. iii.I.ii 75. iii.I.iii 76. iii.I.IV
77. iii.I.V
78. iii.I.vi
79. iii.ii.I 80. iii.ii.ii 81. iii.ii.iii 82. iii.ii.IV
83. iii.ii.V
95. iii.IV.V
96. iii.IV.vi
97. iii.V.I
98. iii.V.ii
99. iii.V.iii
100. iii.V.IV
101. iii.V.V
102. iii.V.vi
103. iii.vi.I
104. iii.vi.ii
105. iii.vi.iii
106. iii.vi.IV
107. iii.vi.V
108. iii.vi.vi
109. IV.I.I
110. IV.I.ii
111. IV.I.iii
112. IV.I.IV
113. IV.I.V
114. IV.I.vi
115. IV.ii.I
116. IV.ii.ii
117. IV.ii.iii
118. IV.ii.IV
119. IV.ii.V
120. IV.ii.vi
121. IV.iii.I
122. IV.iii.ii
123. IV.iii.iii
124. IV.iii.IV
125. IV.iii.V
126. IV.iii.vi
138. IV.V.vi
139. IV.vi.I
140. IV.vi.ii
141. IV.vi.iii
142. IV.vi.IV
143. IV.vi.V
144. IV.vi.vi
145. V.I.I
146. V.I.ii
147. V.I.iii
148. V.I.IV
149. V.I.V
150. V.I.vi
151. V.ii.I
152. V.ii.ii
153. V.ii.iii
154. V.ii.IV
155. V.ii.V
156. V.ii.vi
157. V.iii.I
158. V.iii.ii
159. V.iii.iii
160. V.iii.IV
161. V.iii.V
162. V.iii.vi
163. V.IV.I
164. V.IV.ii
165. V.IV.iii
166. V.IV.IV
167. V.IV.V
168. V.IV.vi
169. V.V.I
181. vi.I.I
182. vi.I.ii
183. vi.I.iii
184. vi.I.IV
185. vi.I.V
186. vi.I.vi
187. vi.ii.I
188. vi.ii.ii
189. vi.ii.iii
190. vi.ii.IV
191. vi.ii.V
192. vi.ii.vi
193. vi.iii.I
194. vi.iii.ii
195. vi.iii.iii
196. vi.iii.IV
197. vi.iii.V
198. vi.iii.vi
199. vi.IV.I
200. vi.IV.ii
201. vi.IV.iii
202. vi.IV.IV
203. vi.IV.V
204. vi.IV.vi
205. vi.V.I
206. vi.V.ii
207. vi.V.iii
208. vi.V.IV
209. vi.V.V
210. vi.V.vi
211. vi.vi.I
212. vi.vi.ii
272
41. ii.I.V
42. ii.I.vi
43. ii.ii.I
84. iii.ii.vi
85. iii.iii.I 86. iii.iii.ii
127. IV.IV.I
128. IV.IV.ii
129. IV.IV.iii
170. V.V.ii
171. V.V.iii
172. V.V.IV
213. vi.vi.iii
214. vi.vi.IV
215. vi.vi.V
216. vi.vi.vi
Table 6.10 Potential harmonic structures in sets of four beginning with chord I,
relevant to one, two, four or eight-bar segments of diatonic tunes in 2/2, 4/4, 2/4,
6/8.
Conceptual Field Harmonic Structures
Conceptual Resolution Sets of Four beginning with I
1. I.I.I.I
2. I.I.I.ii
3. I.I.I.iii
4. I.I.I.IV
5. I.I.I.V
6. I.I.I.vi
7. I.I.ii.I
8. I.I.ii.ii
9. I.I.ii.iii
10. I.I.ii.IV
11. I.I.ii.V
12. I.I.ii.vi
13. I.I.iii.I
14. I.I.iii.ii
15. I.I.iii.iii
16. I.I.iii.IV
17. I.I.iii.V
18. I.I.iii.vi
19. I.I.IV.I
20. I.I.IV.ii
44. I.ii.ii.ii 45. I.ii.ii.iii 46. I.ii.ii.IV
47. I.ii.ii.V
48. I.ii.ii.vi
49. I.ii.iii.I 50. I.ii.iii.ii 51. I.ii.iii.iii 52. I.ii.iii.IV
53. I.ii.iii.V
54. I.ii.iii.vi
55. I.ii.IV.I
56. I.ii.IV.ii
57. I.ii.IV.iii
58. I.ii.IV.IV
59. I.ii.IV.V
60. I.ii.IV.vi
61. I.ii.V.I
62. I.ii.V.ii
63. I.ii.V.iii
87. I.iii.iii.iii
88. I.iii.iii.IV
89. I.iii.iii.V
90. I.iii.iii.vi
91. I.iii.IV.I
92. I.iii.IV.ii
93. I.iii.IV.iii
94. I.iii.IV.IV
95. I.iii.IV.V
96. I.iii.IV.vi
97. I.iii.V.I
98. I.iii.V.ii
99. I.iii.V.iii
100. I.iii.V.IV
101. I.iii.V.V
102. I.iii.V.vi
103. I.iii.vi.I
104. I.iii.vi.ii
105. I.iii.vi.iii
106. I.iii.vi.IV
130. I.IV.IV.IV
131. I.IV.IV.V
132. I.IV.IV.vi
133. I.IV.V.I
134. I.IV.V.ii
135. I.IV.V.iii
136. I.IV.V.IV
137. I.IV.V.V
138. I.IV.V.vi
139. I.IV.vi.I
140. I.IV.vi.ii
141. I.IV.vi.iii
142. I.IV.vi.IV
143. I.IV.vi.V
144. I.IV.vi.vi
145. I.V.I.I
146. I.V.I.ii
147. I.V.I.iii
148. I.V.I.IV
149. I.V.I.V
173. I.V.V.V
174. I.V.V.vi
175. I.V.vi.I
176. I.V.vi.ii
177. I.V.vi.iii
178. I.V.vi.IV
179. I.V.vi.V
180. I.V.vi.vi
181. I.vi.I.I
182. I.vi.I.ii
183. I.vi.I.iii
184. I.vi.I.IV
185. I.vi.I.V
186. I.vi.I.vi
187. I.vi.ii.I
188. I.vi.ii.ii
189. I.vi.ii.iii
190. I.vi.ii.IV
191. I.vi.ii.V
192. I.vi.ii.vi
273
21. I.I.IV.iii
22. I.I.IV.IV
23. I.I.IV.V
24. I.I.IV.vi
25. I.I.V.I
26. I.I.V.ii
27. I.I.V.iii
28. I.I.V.IV
29. I.I.V.V
30. I.I.V.vi
31. I.I.vi.I
32. I.I.vi.ii
33. I.I.vi.iii
34. I.I.vi.IV
35. I.I.vi.V
36. I.I.vi.vi
37. I.ii.I.I
38. I.ii.I.ii
39. I.ii.I.iii
40. I.ii.I.IV
41. I.ii.I.V
42. I.ii.I.vi
43. I.ii.ii.I
64. I.ii.V.IV
65. I.ii.V.V
66. I.ii.V.vi
67. I.ii.vi.I
68. I.ii.vi.ii
69. I.ii.vi.iii
70. I.ii.vi.IV
71. I.ii.vi.V
72. I.ii.vi.vi
73. I.iii.I.I 74. I.iii.I.ii 75. I.iii.I.iii 76. I.iii.I.IV
77. I.iii.I.V
78. I.iii.I.vi
79. I.iii.ii.I 80. I.iii.ii.ii 81. I.iii.ii.iii 82. I.iii.ii.IV
83. I.iii.ii.V
84. I.iii.ii.vi
85. I.iii.iii.I 86. I.iii.iii.ii
107. I.iii.vi.V
108. I.iii.vi.vi
109. I.IV.I.I
110. I.IV.I.ii
111. I.IV.I.iii
112. I.IV.I.IV
113. I.IV.I.V
114. I.IV.I.vi
115. I.IV.ii.I
116. I.IV.ii.ii
117. I.IV.ii.iii
118. I.IV.ii.IV
119. I.IV.ii.V
120. I.IV.ii.vi
121. I.IV.iii.I
122. I.IV.iii.ii
123. I.IV.iii.iii
124. I.IV.iii.IV
125. I.IV.iii.V
126. I.IV.iii.vi
127. I.IV.IV.I
128. I.IV.IV.ii
129. I.IV.IV.iii
150. I.V.I.vi
151. I.V.ii.I
152. I.V.ii.ii
153. I.V.ii.iii
154. I.V.ii.IV
155. I.V.ii.V
156. I.V.ii.vi
157. I.V.iii.I
158. I.V.iii.ii
159. I.V.iii.iii
160. I.V.iii.IV
161. I.V.iii.V
162. I.V.iii.vi
163. I.V.IV.I
164. I.V.IV.ii
165. I.V.IV.iii
166. I.V.IV.IV
167. I.V.IV.V
168. I.V.IV.vi
169. I.V.V.I
170. I.V.V.ii
171. I.V.V.iii
172. I.V.V.IV
193. I.vi.iii.I
194. I.vi.iii.ii
195. I.vi.iii.iii
196. I.vi.iii.IV
197. I.vi.iii.V
198. I.vi.iii.vi
199. I.vi.IV.I
200. I.vi.IV.ii
201. I.vi.IV.iii
202. I.vi.IV.IV
203. I.vi.IV.V
204. I.vi.IV.vi
205. I.vi.V.I
206. I.vi.V.ii
207. I.vi.V.iii
208. I.vi.V.IV
209. I.vi.V.V
210. I.vi.V.vi
211. I.vi.vi.I
212. I.vi.vi.ii
213. I.vi.vi.iii
214. I.vi.vi.IV
215. I.vi.vi.V
216. I.vi.vi.vi
274
Table 6.11 Potential harmonic structures in sets of four beginning with chord ii, relevant
to one, two, four or eight-bar segments of diatonic tunes in 2/2, 4/4, 2/4, 6/8.
Conceptual Field Harmonic Structures
Conceptual Resolution Sets of Four beginning with ii
1. ii.I.I.I
2. ii.I.I.ii
3. ii.I.I.iii
4. ii.I.I.IV
5. ii.I.I.V
6. ii.I.I.vi
7. ii.I.ii.I
8. ii.I.ii.ii
9. ii.I.ii.iii
10. ii.I.ii.IV
11. ii.I.ii.V
12. ii.I.ii.vi
13. ii.I.iii.I
14. ii.I.iii.ii
15. ii.I.iii.iii
16. ii.I.iii.IV
17. ii.I.iii.V
18. ii.I.iii.vi
19. ii.I.IV.I
20. ii.I.IV.ii
21. ii.I.IV.iii
22. ii.I.IV.IV
23. ii.I.IV.V
24. ii.I.IV.vi
25. ii.I.V.I
26. ii.I.V.ii
27. ii.I.V.iii
44. ii.ii.ii.ii 45. ii.ii.ii.iii 46. ii.ii.ii.IV
47. ii.ii.ii.V
48. ii.ii.ii.vi
49. ii.ii.iii.I 50. ii.ii.iii.ii 51. ii.ii.iii.iii 52. ii.ii.iii.IV
53. ii.ii.iii.V
54. ii.ii.iii.vi
55. ii.ii.IV.I
56. ii.ii.IV.ii
57. ii.ii.IV.iii
58. ii.ii.IV.IV
59. ii.ii.IV.V
60. ii.ii.IV.vi
61. ii.ii.V.I
62. ii.ii.V.ii
63. ii.ii.V.iii
64. ii.ii.V.IV
65. ii.ii.V.V
66. ii.ii.V.vi
67. ii.ii.vi.I
68. ii.ii.vi.ii
69. ii.ii.vi.iii
70. ii.ii.vi.IV
87. ii.iii.iii.iii
88. ii.iii.iii.IV
89. ii.iii.iii.V
90. ii.iii.iii.vi
91. ii.iii.IV.I
92. ii.iii.IV.ii
93. ii.iii.IV.iii
94. ii.iii.IV.IV
95. ii.iii.IV.V
96. ii.iii.IV.vi
97. ii.iii.V.I
98. ii.iii.V.ii
99. ii.iii.V.iii
100. ii.iii.V.IV
101. ii.iii.V.V
102. ii.iii.V.vi
103. ii.iii.vi.I
104. ii.iii.vi.ii
105. ii.iii.vi.iii
106. ii.iii.vi.IV
107. ii.iii.vi.V
108. ii.iii.vi.vi
109. ii.IV.I.I
110. ii.IV.I.ii
111. ii.IV.I.iii
112. ii.IV.I.IV
113. ii.IV.I.V
130. ii.IV.IV.IV
131. ii.IV.IV.V
132. ii.IV.IV.vi
133. ii.IV.V.I
134. ii.IV.V.ii
135. ii.IV.V.iii
136. ii.IV.V.IV
137. ii.IV.V.V
138. ii.IV.V.vi
139. ii.IV.vi.I
140. ii.IV.vi.ii
141. ii.IV.vi.iii
142. ii.IV.vi.IV
143. ii.IV.vi.V
144. ii.IV.vi.vi
145. ii.V.I.I
146. ii.V.I.ii
147. ii.V.I.iii
148. ii.V.I.IV
149. ii.V.I.V
150. ii.V.I.vi
151. ii.V.ii.I
152. ii.V.ii.ii
153. ii.V.ii.iii
154. ii.V.ii.IV
155. ii.V.ii.V
156. ii.V.ii.vi
173. ii.V.V.V
174. ii.V.V.vi
175. ii.V.vi.I
176. ii.V.vi.ii
177. ii.V.vi.iii
178. ii.V.vi.IV
179. ii.V.vi.V
180. ii.V.vi.vi
181. ii.vi.I.I
182. ii.vi.I.ii
183. ii.vi.I.iii
184. ii.vi.I.IV
185. ii.vi.I.V
186. ii.vi.I.vi
187. ii.vi.ii.I
188. ii.vi.ii.ii
189. ii.vi.ii.iii
190. ii.vi.ii.IV
191. ii.vi.ii.V
192. ii.vi.ii.vi
193. ii.vi.iii.I
194. ii.vi.iii.ii
195. ii.vi.iii.iii
196. ii.vi.iii.IV
197. ii.vi.iii.V
198. ii.vi.iii.vi
199. ii.vi.IV.I
275
28. ii.I.V.IV
29. ii.I.V.V
30. ii.I.V.vi
31. ii.I.vi.I
32. ii.I.vi.ii
33. ii.I.vi.iii
34. ii.I.vi.IV
35. ii.I.vi.V
36. ii.I.vi.vi
37. ii.ii.I.I
38. ii.ii.I.ii
39. ii.ii.I.iii
40. ii.ii.I.IV
41. ii.ii.I.V
42. ii.ii.I.vi
43. ii.ii.ii.I
71. ii.ii.vi.V
72. ii.ii.vi.vi
73. ii.iii.I.I 74. ii.iii.I.ii 75. ii.iii.I.iii 76. ii.iii.I.IV
77. ii.iii.I.V
78. ii.iii.I.vi
79. ii.iii.ii.I 80. ii.iii.ii.ii 81. ii.iii.ii.iii 82. ii.iii.ii.IV
83. ii.iii.ii.V
84. ii.iii.ii.vi
85. ii.iii.iii.I 86. ii.iii.iii.ii
114. ii.IV.I.vi
115. ii.IV.ii.I
116. ii.IV.ii.ii
117. ii.IV.ii.iii
118. ii.IV.ii.IV
119. ii.IV.ii.V
120. ii.IV.ii.vi
121. ii.IV.iii.I
122. ii.IV.iii.ii
123. ii.IV.iii.iii
124. ii.IV.iii.IV
125. ii.IV.iii.V
126. ii.IV.iii.vi
127. ii.IV.IV.I
128. ii.IV.IV.ii
129. ii.IV.IV.iii
157. ii.V.iii.I
158. ii.V.iii.ii
159. ii.V.iii.iii
160. ii.V.iii.IV
161. ii.V.iii.V
162. ii.V.iii.vi
163. ii.V.IV.I
164. ii.V.IV.ii
165. ii.V.IV.iii
166. ii.V.IV.IV
167. ii.V.IV.V
168. ii.V.IV.vi
169. ii.V.V.I
170. ii.V.V.ii
171. ii.V.V.iii
172. ii.V.V.IV
200. ii.vi.IV.ii
201. ii.vi.IV.iii
202. ii.vi.IV.IV
203. ii.vi.IV.V
204. ii.vi.IV.vi
205. ii.vi.V.I
206. ii.vi.V.ii
207. ii.vi.V.iii
208. ii.vi.V.IV
209. ii.vi.V.V
210. ii.vi.V.vi
211. ii.vi.vi.I
212. ii.vi.vi.ii
213. ii.vi.vi.iii
214. ii.vi.vi.IV
215. ii.vi.vi.V
216. ii.vi.vi.vi
Table 6.12 Potential harmonic structures in sets of four beginning with chord iii,
relevant to one, two, four or eight-bar segments of diatonic tunes in 2/2, 4/4, 2/4, 6/8.
Conceptual Field Harmonic Structures
Conceptual Resolution Sets of Four beginning with iii
1. iii.I.I.I
2. iii.I.I.ii
3. iii.I.I.iii
4. iii.I.I.IV
5. iii.I.I.V
6. iii.I.I.vi
7. iii.I.ii.I
8. iii.I.ii.ii
44. iii.ii.ii.ii 45. iii.ii.ii.iii 46. iii.ii.ii.IV
47. iii.ii.ii.V
48. iii.ii.ii.vi
49. iii.ii.iii.I 50. iii.ii.iii.ii 51. iii.ii.iii.iii
87. iii.iii.iii.iii
88. iii.iii.iii.IV
89. iii.iii.iii.V
90. iii.iii.iii.vi
91. iii.iii.IV.I
92. iii.iii.IV.ii
93. iii.iii.IV.iii
94. iii.iii.IV.IV
130. iii.IV.IV.IV
131. iii.IV.IV.V
132. iii.IV.IV.vi
133. iii.IV.V.I
134. iii.IV.V.ii
135. iii.IV.V.iii
136. iii.IV.V.IV
137. iii.IV.V.V
173. iii.V.V.V
174. iii.V.V.vi
175. iii.V.vi.I
176. iii.V.vi.ii
177. iii.V.vi.iii
178. iii.V.vi.IV
179. iii.V.vi.V
180. iii.V.vi.vi
276
9. iii.I.ii.iii
10. iii.I.ii.IV
11. iii.I.ii.V
12. iii.I.ii.vi
13. iii.I.iii.I 14. iii.I.iii.ii 15. iii.I.iii.iii 16. iii.I.iii.IV
17. iii.I.iii.V
18. iii.I.iii.vi
19. iii.I.IV.I
20. iii.I.IV.ii
21. iii.I.IV.iii
22. iii.I.IV.IV
23. iii.I.IV.V
24. iii.I.IV.vi
25. iii.I.V.I
26. iii.I.V.ii
27. iii.I.V.iii
28. iii.I.V.IV
29. iii.I.V.V
30. iii.I.V.vi
31. iii.I.vi.I
32. iii.I.vi.ii
33. iii.I.vi.iii
34. iii.I.vi.IV
35. iii.I.vi.V
36. iii.I.vi.vi
37. iii.ii.I.I 38. iii.ii.I.ii 39. iii.ii.I.iii 40. iii.ii.I.IV
52. iii.ii.iii.IV
53. iii.ii.iii.V
54. iii.ii.iii.vi
55. iii.ii.IV.I
56. iii.ii.IV.ii
57. iii.ii.IV.iii
58. iii.ii.IV.IV
59. iii.ii.IV.V
60. iii.ii.IV.vi
61. iii.ii.V.I
62. iii.ii.V.ii
63. iii.ii.V.iii
64. iii.ii.V.IV
65. iii.ii.V.V
66. iii.ii.V.vi
67. iii.ii.vi.I
68. iii.ii.vi.ii
69. iii.ii.vi.iii
70. iii.ii.vi.IV
71. iii.ii.vi.V
72. iii.ii.vi.vi
73. iii.iii.I.I 74. iii.iii.I.ii 75. iii.iii.I.iii 76. iii.iii.I.IV
77. iii.iii.I.V
78. iii.iii.I.vi
79. iii.iii.ii.I 80. iii.iii.ii.ii 81. iii.iii.ii.iii 82. iii.iii.ii.IV
83. iii.iii.ii.V
95. iii.iii.IV.V
96. iii.iii.IV.vi
97. iii.iii.V.I
98. iii.iii.V.ii
99. iii.iii.V.iii
100. iii.iii.V.IV
101. iii.iii.V.V
102. iii.iii.V.vi
103. iii.iii.vi.I
104. iii.iii.vi.ii
105. iii.iii.vi.iii
106. iii.iii.vi.IV
107. iii.iii.vi.V
108. iii.iii.vi.vi
109. iii.IV.I.I
110. iii.IV.I.ii
111. iii.IV.I.iii
112. iii.IV.I.IV
113. iii.IV.I.V
114. iii.IV.I.vi
115. iii.IV.ii.I
116. iii.IV.ii.ii
117. iii.IV.ii.iii
118. iii.IV.ii.IV
119. iii.IV.ii.V
120. iii.IV.ii.vi
121. iii.IV.iii.I
122. iii.IV.iii.ii
123. iii.IV.iii.iii
124. iii.IV.iii.IV
125. iii.IV.iii.V
126. iii.IV.iii.vi
138. iii.IV.V.vi
139. iii.IV.vi.I
140. iii.IV.vi.ii
141. iii.IV.vi.iii
142. iii.IV.vi.IV
143. iii.IV.vi.V
144. iii.IV.vi.vi
145. iii.V.I.I
146. iii.V.I.ii
147. iii.V.I.iii
148. iii.V.I.IV
149. iii.V.I.V
150. iii.V.I.vi
151. iii.V.ii.I
152. iii.V.ii.ii
153. iii.V.ii.iii
154. iii.V.ii.IV
155. iii.V.ii.V
156. iii.V.ii.vi
157. iii.V.iii.I
158. iii.V.iii.ii
159. iii.V.iii.iii
160. iii.V.iii.IV
161. iii.V.iii.V
162. iii.V.iii.vi
163. iii.V.IV.I
164. iii.V.IV.ii
165. iii.V.IV.iii
166. iii.V.IV.IV
167. iii.V.IV.V
168. iii.V.IV.vi
169. iii.V.V.I
181. iii.vi.I.I
182. iii.vi.I.ii
183. iii.vi.I.iii
184. iii.vi.I.IV
185. iii.vi.I.V
186. iii.vi.I.vi
187. iii.vi.ii.I
188. iii.vi.ii.ii
189. iii.vi.ii.iii
190. iii.vi.ii.IV
191. iii.vi.ii.V
192. iii.vi.ii.vi
193. iii.vi.iii.I
194. iii.vi.iii.ii
195. iii.vi.iii.iii
196. iii.vi.iii.IV
197. iii.vi.iii.V
198. iii.vi.iii.vi
199. iii.vi.IV.I
200. iii.vi.IV.ii
201. iii.vi.IV.iii
202. iii.vi.IV.IV
203. iii.vi.IV.V
204. iii.vi.IV.vi
205. iii.vi.V.I
206. iii.vi.V.ii
207. iii.vi.V.iii
208. iii.vi.V.IV
209. iii.vi.V.V
210. iii.vi.V.vi
211. iii.vi.vi.I
212. iii.vi.vi.ii
277
41. iii.ii.I.V
42. iii.ii.I.vi
43. iii.ii.ii.I
84. iii.iii.ii.vi
85. iii.iii.iii.I 86. iii.iii.iii.ii
127. iii.IV.IV.I
128. iii.IV.IV.ii
129. iii.IV.IV.iii
170. iii.V.V.ii
171. iii.V.V.iii
172. iii.V.V.IV
213. iii.vi.vi.iii
214. iii.vi.vi.IV
215. iii.vi.vi.V
216. iii.vi.vi.vi
Table 6.13 Potential harmonic structures in sets of four beginning with chord IV,
relevant to one, two, four or eight-bar segments of diatonic tunes in 2/2, 4/4, 2/4, 6/8.
Conceptual Field Harmonic Structures
Conceptual Resolution Sets of Four beginning with IV
1. IV.I.I.I
2. IV.I.I.ii
3. IV.I.I.iii
4. IV.I.I.IV
5. IV.I.I.V
6. IV.I.I.vi
7. IV.I.ii.I
8. IV.I.ii.ii
9. IV.I.ii.iii
10. IV.I.ii.IV
11. IV.I.ii.V
12. IV.I.ii.vi
13. IV.I.iii.I
14. IV.I.iii.ii
15. IV.I.iii.iii
16. IV.I.iii.IV
17. IV.I.iii.V
18. IV.I.iii.vi
19. IV.I.IV.I
20. IV.I.IV.ii
44. IV.ii.ii.ii
45. IV.ii.ii.iii
46. IV.ii.ii.IV
47. IV.ii.ii.V
48. IV.ii.ii.vi
49. IV.ii.iii.I
50. IV.ii.iii.ii
51. IV.ii.iii.iii
52. IV.ii.iii.IV
53. IV.ii.iii.V
54. IV.ii.iii.vi
55. IV.ii.IV.I
56. IV.ii.IV.ii
57. IV.ii.IV.iii
58. IV.ii.IV.IV
59. IV.ii.IV.V
60. IV.ii.IV.vi
61. IV.ii.V.I
62. IV.ii.V.ii
63. IV.ii.V.iii
87. IV.iii.iii.iii
88. IV.iii.iii.IV
89. IV.iii.iii.V
90. IV.iii.iii.vi
91. IV.iii.IV.I
92. IV.iii.IV.ii
93. IV.iii.IV.iii
94. IV.iii.IV.IV
95. IV.iii.IV.V
96. IV.iii.IV.vi
97. IV.iii.V.I
98. IV.iii.V.ii
99. IV.iii.V.iii
100. IV.iii.V.IV
101. IV.iii.V.V
102. IV.iii.V.vi
103. IV.iii.vi.I
104. IV.iii.vi.ii
105. IV.iii.vi.iii
106. IV.iii.vi.IV
130. IV.IV.IV.IV
131. IV.IV.IV.V
132. IV.IV.IV.vi
133. IV.IV.V.I
134. IV.IV.V.ii
135. IV.IV.V.iii
136. IV.IV.V.IV
137. IV.IV.V.V
138. IV.IV.V.vi
139. IV.IV.vi.I
140. IV.IV.vi.ii
141. IV.IV.vi.iii
142. IV.IV.vi.IV
143. IV.IV.vi.V
144. IV.IV.vi.vi
145. IV.V.I.I
146. IV.V.I.ii
147. IV.V.I.iii
148. IV.V.I.IV
149. IV.V.I.V
173. IV.V.V.V
174. IV.V.V.vi
175. IV.V.vi.I
176. IV.V.vi.ii
177. IV.V.vi.iii
178. IV.V.vi.IV
179. IV.V.vi.V
180. IV.V.vi.vi
181. IV.vi.I.I
182. IV.vi.I.ii
183. IV.vi.I.iii
184. IV.vi.I.IV
185. IV.vi.I.V
186. IV.vi.I.vi
187. IV.vi.ii.I
188. IV.vi.ii.ii
189. IV.vi.ii.iii
190. IV.vi.ii.IV
191. IV.vi.ii.V
192. IV.vi.ii.vi
278
21. IV.I.IV.iii
22. IV.I.IV.IV
23. IV.I.IV.V
24. IV.I.IV.vi
25. IV.I.V.I
26. IV.I.V.ii
27. IV.I.V.iii
28. IV.I.V.IV
29. IV.I.V.V
30. IV.I.V.vi
31. IV.I.vi.I
32. IV.I.vi.ii
33. IV.I.vi.iii
34. IV.I.vi.IV
35. IV.I.vi.V
36. IV.I.vi.vi
37. IV.ii.I.I
38. IV.ii.I.ii
39. IV.ii.I.iii
40. IV.ii.I.IV
41. IV.ii.I.V
42. IV.ii.I.vi
43. IV.ii.ii.I
64. IV.ii.V.IV
65. IV.ii.V.V
66. IV.ii.V.vi
67. IV.ii.vi.I
68. IV.ii.vi.ii
69. IV.ii.vi.iii
70. IV.ii.vi.IV
71. IV.ii.vi.V
72. IV.ii.vi.vi
73. IV.iii.I.I
74. IV.iii.I.ii
75. IV.iii.I.iii
76. IV.iii.I.IV
77. IV.iii.I.V
78. IV.iii.I.vi
79. IV.iii.ii.I
80. IV.iii.ii.ii
81. IV.iii.ii.iii
82. IV.iii.ii.IV
83. IV.iii.ii.V
84. IV.iii.ii.vi
85. IV.iii.iii.I
86. IV.iii.iii.ii
107. IV.iii.vi.V
108. IV.iii.vi.vi
109. IV.IV.I.I
110. IV.IV.I.ii
111. IV.IV.I.iii
112. IV.IV.I.IV
113. IV.IV.I.V
114. IV.IV.I.vi
115. IV.IV.ii.I
116. IV.IV.ii.ii
117. IV.IV.ii.iii
118. IV.IV.ii.IV
119. IV.IV.ii.V
120. IV.IV.ii.vi
121. IV.IV.iii.I
122. IV.IV.iii.ii
123. IV.IV.iii.iii
124. IV.IV.iii.IV
125. IV.IV.iii.V
126. IV.IV.iii.vi
127. IV.IV.IV.I
128. IV.IV.IV.ii
129. IV.IV.IV.iii
150. IV.V.I.vi
151. IV.V.ii.I
152. IV.V.ii.ii
153. IV.V.ii.iii
154. IV.V.ii.IV
155. IV.V.ii.V
156. IV.V.ii.vi
157. IV.V.iii.I
158. IV.V.iii.ii
159. IV.V.iii.iii
160. IV.V.iii.IV
161. IV.V.iii.V
162. IV.V.iii.vi
163. IV.V.IV.I
164. IV.V.IV.ii
165. IV.V.IV.iii
166. IV.V.IV.IV
167. IV.V.IV.V
168. IV.V.IV.vi
169. IV.V.V.I
170. IV.V.V.ii
171. IV.V.V.iii
172. IV.V.V.IV
193. IV.vi.iii.I
194. IV.vi.iii.ii
195. IV.vi.iii.iii
196. IV.vi.iii.IV
197. IV.vi.iii.V
198. IV.vi.iii.vi
199. IV.vi.IV.I
200. IV.vi.IV.ii
201. IV.vi.IV.iii
202. IV.vi.IV.IV
203. IV.vi.IV.V
204. IV.vi.IV.vi
205. IV.vi.V.I
206. IV.vi.V.ii
207. IV.vi.V.iii
208. IV.vi.V.IV
209. IV.vi.V.V
210. IV.vi.V.vi
211. IV.vi.vi.I
212. IV.vi.vi.ii
213. IV.vi.vi.iii
214. IV.vi.vi.IV
215. IV.vi.vi.V
216. IV.vi.vi.vi
279
Table 6.14 Potential harmonic structures in sets of four beginning with chord V,
relevant to one, two, four or eight-bar segments of diatonic tunes in 2/2, 4/4, 2/4, 6/8.
Conceptual Field Harmonic Structures
Conceptual Resolution Sets of Four beginning with V
1. V.I.I.I
2. V.I.I.ii
3. V.I.I.iii
4. V.I.I.IV
5. V.I.I.V
6. V.I.I.vi
7. V.I.ii.I
8. V.I.ii.ii
9. V.I.ii.iii
10. V.I.ii.IV
11. V.I.ii.V
12. V.I.ii.vi
13. V.I.iii.I
14. V.I.iii.ii
15. V.I.iii.iii
16. V.I.iii.IV
17. V.I.iii.V
18. V.I.iii.vi
19. V.I.IV.I
20. V.I.IV.ii
21. V.I.IV.iii
22. V.I.IV.IV
23. V.I.IV.V
24. V.I.IV.vi
25. V.I.V.I
26. V.I.V.ii
44. V.ii.ii.ii
45. V.ii.ii.iii
46. V.ii.ii.IV
47. V.ii.ii.V
48. V.ii.ii.vi
49. V.ii.iii.I
50. V.ii.iii.ii
51. V.ii.iii.iii
52. V.ii.iii.IV
53. V.ii.iii.V
54. V.ii.iii.vi
55. V.ii.IV.I
56. V.ii.IV.ii
57. V.ii.IV.iii
58. V.ii.IV.IV
59. V.ii.IV.V
60. V.ii.IV.vi
61. V.ii.V.I
62. V.ii.V.ii
63. V.ii.V.iii
64. V.ii.V.IV
65. V.ii.V.V
66. V.ii.V.vi
67. V.ii.vi.I
68. V.ii.vi.ii
69. V.ii.vi.iii
87. V.iii.iii.iii
88. V.iii.iii.IV
89. V.iii.iii.V
90. V.iii.iii.vi
91. V.iii.IV.I
92. V.iii.IV.ii
93. V.iii.IV.iii
94. V.iii.IV.IV
95. V.iii.IV.V
96. V.iii.IV.vi
97. V.iii.V.I
98. V.iii.V.ii
99. V.iii.V.iii
100. V.iii.V.IV
101. V.iii.V.V
102. V.iii.V.vi
103. V.iii.vi.I
104. V.iii.vi.ii
105. V.iii.vi.iii
106. V.iii.vi.IV
107. V.iii.vi.V
108. V.iii.vi.vi
109. V.IV.I.I
110. V.IV.I.ii
111. V.IV.I.iii
112. V.IV.I.IV
130. V.IV.IV.IV
131. V.IV.IV.V
132. V.IV.IV.vi
133. V.IV.V.I
134. V.IV.V.ii
135. V.IV.V.iii
136. V.IV.V.IV
137. V.IV.V.V
138. V.IV.V.vi
139. V.IV.vi.I
140. V.IV.vi.ii
141. V.IV.vi.iii
142. V.IV.vi.IV
143. V.IV.vi.V
144. V.IV.vi.vi
145. V.V.I.I
146. V.V.I.ii
147. V.V.I.iii
148. V.V.I.IV
149. V.V.I.V
150. V.V.I.vi
151. V.V.ii.I
152. V.V.ii.ii
153. V.V.ii.iii
154. V.V.ii.IV
155. V.V.ii.V
173. V.V.V.V
174. V.V.V.vi
175. V.V.vi.I
176. V.V.vi.ii
177. V.V.vi.iii
178. V.V.vi.IV
179. V.V.vi.V
180. V.V.vi.vi
181. V.vi.I.I
182. V.vi.I.ii
183. V.vi.I.iii
184. V.vi.I.IV
185. V.vi.I.V
186. V.vi.I.vi
187. V.vi.ii.I
188. V.vi.ii.ii
189. V.vi.ii.iii
190. V.vi.ii.IV
191. V.vi.ii.V
192. V.vi.ii.vi
193. V.vi.iii.I
194. V.vi.iii.ii
195. V.vi.iii.iii
196. V.vi.iii.IV
197. V.vi.iii.V
198. V.vi.iii.vi
280
27. V.I.V.iii
28. V.I.V.IV
29. V.I.V.V
30. V.I.V.vi
31. V.I.vi.I
32. V.I.vi.ii
33. V.I.vi.iii
34. V.I.vi.IV
35. V.I.vi.V
36. V.I.vi.vi
37. V.ii.I.I
38. V.ii.I.ii
39. V.ii.I.iii
40. V.ii.I.IV
41. V.ii.I.V
42. V.ii.I.vi
43. V.ii.ii.I
70. V.ii.vi.IV
71. V.ii.vi.V
72. V.ii.vi.vi
73. V.iii.I.I
74. V.iii.I.ii
75. V.iii.I.iii
76. V.iii.I.IV
77. V.iii.I.V
78. V.iii.I.vi
79. V.iii.ii.I
80. V.iii.ii.ii
81. V.iii.ii.iii
82. V.iii.ii.IV
83. V.iii.ii.V
84. V.iii.ii.vi
85. V.iii.iii.I
86. V.iii.iii.ii
113. V.IV.I.V
114. V.IV.I.vi
115. V.IV.ii.I
116. V.IV.ii.ii
117. V.IV.ii.iii
118. V.IV.ii.IV
119. V.IV.ii.V
120. V.IV.ii.vi
121. V.IV.iii.I
122. V.IV.iii.ii
123. V.IV.iii.iii
124. V.IV.iii.IV
125. V.IV.iii.V
126. V.IV.iii.vi
127. V.IV.IV.I
128. V.IV.IV.ii
129. V.IV.IV.iii
156. V.V.ii.vi
157. V.V.iii.I
158. V.V.iii.ii
159. V.V.iii.iii
160. V.V.iii.IV
161. V.V.iii.V
162. V.V.iii.vi
163. V.V.IV.I
164. V.V.IV.ii
165. V.V.IV.iii
166. V.V.IV.IV
167. V.V.IV.V
168. V.V.IV.vi
169. V.V.V.I
170. V.V.V.ii
171. V.V.V.iii
172. V.V.V.IV
199. V.vi.IV.I
200. V.vi.IV.ii
201. V.vi.IV.iii
202. V.vi.IV.IV
203. V.vi.IV.V
204. V.vi.IV.vi
205. V.vi.V.I
206. V.vi.V.ii
207. V.vi.V.iii
208. V.vi.V.IV
209. V.vi.V.V
210. V.vi.V.vi
211. V.vi.vi.I
212. V.vi.vi.ii
213. V.vi.vi.iii
214. V.vi.vi.IV
215. V.vi.vi.V
216. V.vi.vi.vi
Table 6.15 Potential harmonic structures in sets of four beginning with chord vi,
relevant to one, two, four or eight-bar segments of diatonic tunes in 2/2, 4/4, 2/4, 6/8.
Conceptual Field Harmonic Structures
Conceptual Resolution Sets of Four beginning with vi
1. vi.I.I.I
2. vi.I.I.ii
3. vi.I.I.iii
4. vi.I.I.IV
5. vi.I.I.V
6. vi.I.I.vi
7. vi.I.ii.I
44. vi.ii.ii.ii
45. vi.ii.ii.iii
46. vi.ii.ii.IV
47. vi.ii.ii.V
48. vi.ii.ii.vi
49. vi.ii.iii.I
50. vi.ii.iii.ii
87. vi.iii.iii.iii
88. vi.iii.iii.IV
89. vi.iii.iii.V
90. vi.iii.iii.vi
91. vi.iii.IV.I
92. vi.iii.IV.ii
93. vi.iii.IV.iii
130. vi.IV.IV.IV
131. vi.IV.IV.V
132. vi.IV.IV.vi
133. vi.IV.V.I
134. vi.IV.V.ii
135. vi.IV.V.iii
136. vi.IV.V.IV
173. vi.V.V.V
174. vi.V.V.vi
175. vi.V.vi.I
176. vi.V.vi.ii
177. vi.V.vi.iii
178. vi.V.vi.IV
179. vi.V.vi.V
281
8. vi.I.ii.ii
9. vi.I.ii.iii
10. vi.I.ii.IV
11. vi.I.ii.V
12. vi.I.ii.vi
13. vi.I.iii.I
14. vi.I.iii.ii
15. vi.I.iii.iii
16. vi.I.iii.IV
17. vi.I.iii.V
18. vi.I.iii.vi
19. vi.I.IV.I
20. vi.I.IV.ii
21. vi.I.IV.iii
22. vi.I.IV.IV
23. vi.I.IV.V
24. vi.I.IV.vi
25. vi.I.V.I
26. vi.I.V.ii
27. vi.I.V.iii
28. vi.I.V.IV
29. vi.I.V.V
30. vi.I.V.vi
31. vi.I.vi.I
32. vi.I.vi.ii
33. vi.I.vi.iii
34. vi.I.vi.IV
35. vi.I.vi.V
36. vi.I.vi.vi
37. vi.ii.I.I
38. vi.ii.I.ii
39. vi.ii.I.iii
51. vi.ii.iii.iii
52. vi.ii.iii.IV
53. vi.ii.iii.V
54. vi.ii.iii.vi
55. vi.ii.IV.I
56. vi.ii.IV.ii
57. vi.ii.IV.iii
58. vi.ii.IV.IV
59. vi.ii.IV.V
60. vi.ii.IV.vi
61. vi.ii.V.I
62. vi.ii.V.ii
63. vi.ii.V.iii
64. vi.ii.V.IV
65. vi.ii.V.V
66. vi.ii.V.vi
67. vi.ii.vi.I
68. vi.ii.vi.ii
69. vi.ii.vi.iii
70. vi.ii.vi.IV
71. vi.ii.vi.V
72. vi.ii.vi.vi
73. vi.iii.I.I
74. vi.iii.I.ii
75. vi.iii.I.iii
76. vi.iii.I.IV
77. vi.iii.I.V
78. vi.iii.I.vi
79. vi.iii.ii.I
80. vi.iii.ii.ii
81. vi.iii.ii.iii
82. vi.iii.ii.IV
94. vi.iii.IV.IV
95. vi.iii.IV.V
96. vi.iii.IV.vi
97. vi.iii.V.I
98. vi.iii.V.ii
99. vi.iii.V.iii
100. vi.iii.V.IV
101. vi.iii.V.V
102. vi.iii.V.vi
103. vi.iii.vi.I
104. vi.iii.vi.ii
105. vi.iii.vi.iii
106. vi.iii.vi.IV
107. vi.iii.vi.V
108. vi.iii.vi.vi
109. vi.IV.I.I
110. vi.IV.I.ii
111. vi.IV.I.iii
112. vi.IV.I.IV
113. vi.IV.I.V
114. vi.IV.I.vi
115. vi.IV.ii.I
116. vi.IV.ii.ii
117. vi.IV.ii.iii
118. vi.IV.ii.IV
119. vi.IV.ii.V
120. vi.IV.ii.vi
121. vi.IV.iii.I
122. vi.IV.iii.ii
123. vi.IV.iii.iii
124. vi.IV.iii.IV
125. vi.IV.iii.V
137. vi.IV.V.V
138. vi.IV.V.vi
139. vi.IV.vi.I
140. vi.IV.vi.ii
141. vi.IV.vi.iii
142. vi.IV.vi.IV
143. vi.IV.vi.V
144. vi.IV.vi.vi
145. vi.V.I.I
146. vi.V.I.ii
147. vi.V.I.iii
148. vi.V.I.IV
149. vi.V.I.V
150. vi.V.I.vi
151. vi.V.ii.I
152. vi.V.ii.ii
153. vi.V.ii.iii
154. vi.V.ii.IV
155. vi.V.ii.V
156. vi.V.ii.vi
157. vi.V.iii.I
158. vi.V.iii.ii
159. vi.V.iii.iii
160. vi.V.iii.IV
161. vi.V.iii.V
162. vi.V.iii.vi
163. vi.V.IV.I
164. vi.V.IV.ii
165. vi.V.IV.iii
166. vi.V.IV.IV
167. vi.V.IV.V
168. vi.V.IV.vi
180. vi.V.vi.vi
181. vi.vi.I.I
182. vi.vi.I.ii
183. vi.vi.I.iii
184. vi.vi.I.IV
185. vi.vi.I.V
186. vi.vi.I.vi
187. vi.vi.ii.I
188. vi.vi.ii.ii
189. vi.vi.ii.iii
190. vi.vi.ii.IV
191. vi.vi.ii.V
192. vi.vi.ii.vi
193. vi.vi.iii.I
194. vi.vi.iii.ii
195. vi.vi.iii.iii
196. vi.vi.iii.IV
197. vi.vi.iii.V
198. vi.vi.iii.vi
199. vi.vi.IV.I
200. vi.vi.IV.ii
201. vi.vi.IV.iii
202. vi.vi.IV.IV
203. vi.vi.IV.V
204. vi.vi.IV.vi
205. vi.vi.V.I
206. vi.vi.V.ii
207. vi.vi.V.iii
208. vi.vi.V.IV
209. vi.vi.V.V
210. vi.vi.V.vi
211. vi.vi.vi.I
282
40. vi.ii.I.IV
41. vi.ii.I.V
42. vi.ii.I.vi
43. vi.ii.ii.I
83. vi.iii.ii.V
84. vi.iii.ii.vi
85. vi.iii.iii.I
86. vi.iii.iii.ii
126. vi.IV.iii.vi
127. vi.IV.IV.I
128. vi.IV.IV.ii
129. vi.IV.IV.iii
169. vi.V.V.I
170. vi.V.V.ii
171. vi.V.V.iii
172. vi.V.V.IV
212. vi.vi.vi.ii
213. vi.vi.vi.iii
214. vi.vi.vi.IV
215. vi.vi.vi.V
216. vi.vi.vi.vi
6.5 Styles of Harmony
While it was found that melodic construction or variation based on harmonic structures
is not documented in the literature, styles of harmonising a tune are described. Of these,
drones have been in use for quite some time as a feature of piping.56 The use of dyads is
probably a more recent style and describes chords that use only two pitches, most often
the root and fifth. These are often called ‘power chords’ and are associated with
‘supergroups’ such as Altan and the Bothy Band who may be credited with their
introduction. Triads are perhaps the most common type of homophonic accompaniment
and use three notes: the root, third and fifth, in any inversion. Accordion bass buttons
contain triads, which can be sounded on the depression of a single button. Triads are
also used in the type of piano accompaniment that is associated with the céilí band style.
Extended diatonic harmony describes the use of sevenths (major and minor), ninths,
(usually major) and more unusually, elevenths and thirteenths. This type of harmony is
much rarer and recent and is found in the playing of contemporary musicians such as
Mícheál Ó Súilleabháin and David Flynn, both of whom have studied classical and jazz
music. As stated earlier, chromatic harmony is a relatively rare feature in Irish
traditional music but since it is occasionally found in some compositions, it is included
as an option below. At the same time however, it is not worth the level of exploration
that comes with permutations because such a large number of options would yield
examples that would likely never occur in practice. Furthermore, extended chromatic
56 Although it is worth noting that drone-use in piping is often employed indiscriminately with regard to
the home-note of a tune and so volume and texture rather than harmonisation may be the more salient conceptual fields in this regard.
283
harmony is much rarer and involves the extension of chromatic chords in the same
manner as the extension of diatonic harmony as explained above.
Tertian harmony moves either at a third above or a sixth below the melody. It is
relatively common in ‘chamber’ arrangements of Irish traditional music but is used
sparingly. It can be heard as a subtle feature in the final tune, ‘Fintan McManus’s’ on
Altan’s Island Angel album.57 Quartal and quintal harmony involves moving in parallel
fourths or fifths respectively. It is much rarer again but one such example of its use can
be found in the opening section of Mícheál Ó Súilleabháin’s arrangement of ‘Christmas
Eve’.58 Parallel octaves are a staple feature of the fiddle music associated with
Southwest Donegal and Co. Kerry but are also used, albeit sparingly, in concertina
playing. Finally, counterpoint was popularised by members of the band Planxty and is
associated with the bouzouki and mandolin in this case. Other musicians, notably the
fiddler Ciaran Tourish (1967– ) use it occasionally in arrangements with the band Altan.
Table 6.16 Harmonic styles observed in the tradition.
Conceptual Field Harmonic Styles
Conceptual Resolution From observation
1. Drones/ single bass notes (Homophonic)
2. Dyads (Homophonic)
3. Triads (Homophonic)
4. Extended diatonic harmony (Homophonic)
5. Chromatic Harmony (Homophonic)
6. Extended Chromatic Harmony (Homophonic)
7. Tertian (Polyphonic)
8. Quartal/ Quintal (Polyphonic)
9. Parallel Octaves (Polyphonic)
10. Counterpoint
57 Altan: Island Angel, (Danbury, CT: Green Linnet, 1993), track 1. 58 Mícheál Ó Súilleabháin: Between Worlds, (London: Virgin Records, 1995), track 1.
284
6.6 Motivic Development and Variation
As noted in Section 6.1, motifs can be developed in a variety of ways. When these are
analysed, the following, as illustrated in Table 6.17, are possible.
1. Retrograde Pitch using the same rhythm
2. Retrograde Rhythm using the same pitches
3. Retrograde Pitch and Rhythm
4. Pitch Variation – on the strong or weak beats or both
5. Rhythmic Variation
6. Pitch and Rhythmic Variation
7. Retrograde Pitch and Rhythmic Variation
8. Retrograde Rhythmic and Pitch Variation
9. Transposition, usually within the same mode – as is evident in the fourth part of
the reel ‘Farewell to Ireland’, a detailed explanation of which may be found in
Ex. 7.4 of Chapter Seven.59
In some cases, passing notes can be added to the motif as diminutions of existing notes
but this is really a form of ornamentation and so further discussion on this aspect is left
to Chapter Nine. Although the observations of both Ó Canainn and Ó Riada amongst
others are based upon the slow air tune-type and the development of the three-note
motif at the beginning of a tune, as evidenced by Robert Harvey, this can equally apply
to other small motifs elsewhere in the tune and in the dance music genre.
59 See Chapter Seven, 294-295.
285
Table 6.17 Nine approaches to motivic development.
Conceptual Field Motivic Development
Conceptual Resolution One Bar Examples
6.7 Compass/ Range
Compass or range describes the interval created between the lowest and highest notes
that are either possible on an instrument or found in a piece.60 In this case, it is
understood to be the range utilised within a tune. Breathnach states that ‘the vast
majority of airs have a range varying from nine to eleven notes. Scarcely any exceed a
range of thirteen notes, and few have less than an octave’.61 Although it is unclear as to
whether he is referring to song airs or instrumental airs, from my own experience of the
tradition, it would seem that his comment applies to both types. He goes on to point out
‘one freak’ that contains only two notes.62
60 Rushton. Julian: ‘Range [Compass]’, Grove Music Online. http://0-
www.oxfordmusiconline.com.ditlib.dit.ie:80/subscriber/article/grove/music/22879 (Accessed 21 March 2012).
61 Breathnach: Folk Music and Dances of Ireland, 14. 62 Ibid. This is a reference to the tune or rather, or ‘school boy chant’ entitled ‘Harry Duff’.
286
The upper ranges suggested by Breathnach are a conservative guess. As subjective as it
is to decide the widest and narrowest range, the interval of a perfect fifth is given as the
narrowest example because through experimenting with playing tunes with greater
ranges, the identity of these tunes could still be maintained, even in this more confined
space. On the other hand, the well-known reel ‘The Mason’s Apron’ – in the version
popularised by the revered Belfast fiddler Seán Maguire – may very well have the
widest range. This tune can span from a (touched generally as the final note of a
descending run to end the tune), to (at the other extreme in one of the many parts
modified by Maguire) a g’’’-sharp or high a’’’.63 Similarly, the hornpipe ‘The
Mathematician’ can reach a g’’’ or a’’’ depending on the version. These examples are
very much the exception but do demonstrate the often-dazzling results when a musician
or composer plays with compass/range as a conceptual field. Consequently, for the
purposes of this study, a compass from the fifth to the three-octave mark is selected, and
this gives rise to eighteen possibilities as demonstrated in Table 6.18 below.
Table 6.18 Various ranges likely to be found in traditional tunes or arrangements
thereof.
Conceptual Field Compass / Range
Conceptual Resolution From 5th to 3 octaves
1. 5th
2. 6th
3. 7th
4. One 8ve
5. One 8ve + 2nd
6. One 8ve + 3rd
7. One 8ve + 4th
8. One 8ve + 5th
9. One 8ve + 6th
10. One 8ve + 7th
11. Two 8ve
12. Two 8ve + 2nd
13. Two 8ve + 3rd
14. Two 8ve + 4th
15. Two 8ve + 5th
16. Two 8ve + 6th
17. Two 8ve + 7th
18. Three Octaves
63 For a recording of Maguire playing this tune, see: Various Artists: Milestone at the Garden: Irish
Fiddle Masters from the 78RPM Era, (Rounder CD, 1996), track 19.
287
The study of structural tones yielded 343 stylistic elements when sets of three structural
tones were considered. In terms of sets of four structural tones, a total of 2,401
possibilities were found. This gives a total of 2,744 possibilities across eight conceptual
fields that can be realised as either structural tones or motoric tones.
The study of potential harmonic structures resulted in a series of stylistic data that may
be used to affect the construction of a melody through imposed harmonic progressions.
Using sets of four, which cover the majority of tune-types, 1,296 possibilities have been
found. Added to the 216 possibilities using sets of three, which is suited to tune-types
such as the slip jig, mazurka and waltz, a total of 1,512 stylistic elements have been
identified across seven conceptual fields.
In the study of the various styles of harmony that are used in the genre, a total of ten
types have been established. In terms of variation on a motivic level, nine basic
approaches have been found to exist. Finally, eighteen ranges within which a tune can
be played have been found. In total, this chapter contains 4,293 stylistic elements across
eighteen conceptual fields.