An Expanded Macro Analysis

System for Chromatic Harmony

Daniel Sommerville

Part One: The rationale for the significance of other

chord successions in addition to circle progressions.

I
n the sixth edition of Music in Theory and Practice, authors Bruce Ben-
ward and Gary White state that, Òall tonal music from the beginning
of the baroque to the middle of the romantic period contains a pre-
ponderance of circle progressions.Ó1 They then outline a system of analy-
sisÑÒmacro analysisÓÑin which circle progressions are readily
identiÞed. Letter names for chords are used instead of roman numerals,
and under-slurs are used to link those chords that form such progressions
(i.e. root movement by descending Þfth or ascending fourth). With such
analysis, one can see at a glance a wealth of information concerning har-
monic movement. Prolongation and Ònested progressionsÓ are readily
seen, as are circle progressions resulting in strong directional motion. The
linking symbol of the under-slur is also useful for training the ear to hear
circle progressions as one is studying a score.
However, as Benward and White allude, the romantic composers
began to incorporate other chord relationships, particularly third relation-
ships, into their music. The music of this era was characterized by phras-
ing that was more continuous and less punctuated by cadences.
SpeciÞcally, this was manifest in deceptive cadences and other types of
chord successions such as third relationships, Òbackward circles,Ó com-
mon-tone diminished sevenths and root movement by seconds. The circle
progression remained the strongest arbiter of harmonic movement, but
certain other chord relationships, speciÞcally chromatic third relation-
ships, exerted a strong harmonic pull as well.
RameauÕs statement that Òthe progressions of harmony are nothing
but a chain of tonic notes and dominantsÓ2 (i.e. circle progressions) may
be an adequate way of describing much of the music of the eighteenth
and early nineteenth centuries, but it is certainly less true for music after
that time. Later, Rameau published his GŽnŽration Harmonique, in which

1. Bruce Benward and Gary White, Music in Theory and Practice, 6th ed. (Madison, WI:
Brown and Benchmark, 1997), vol. 2, 67.
2. Jean Philippe Rameau, Treatise on Harmony, translated by Philip Gossett (New York:
Dover, 1971), 288.

53
54 ¥ Musical Insights

he modiÞes his views and allows for a third progression in addition to the
Þfth. The third progression he labeled ÒchromaticÓ and the Þfth progres-
sion, Òdiatonic.Ó3
Over 150 years later, Moritz HauptmannÕs theory of chord succes-
sion takes into account the romantic composersÕ predilection for colorful
chromatic relationships: ÒThe succession of two triads is. . . only intelligi-
ble in so far as both can be referred to a common element which changes
meaning during the passage.Ó4 HauptmannÕs main point was to show the
commonality and hence, relationship, between the tonic and dominant,
and the tonic and subdominant, as each of these pairs share a common
tone. But his principal has signiÞcance for such chromatic relationships as
GÄ minor to E minor (used by Wagner, for example, as the ÒTarnhelmÓ
motive in The Ring; see example 11).
Because of the importance of other types of chord successions in
the music of the romantic composers, it is necessary to devise a means for
identifying such successions in macro analysis. Toward this end, what fol-
lows is a list of proposed symbols to use in addition to the circle-progres-
sion under-slur. Care was taken to make the symbols as intuitive as
possible in order to make their usage easy and effective.

Part Two: The SymbolsÑa vocabulary of linking sym-

bols and other analytical tools.
Certainly the strongest harmonic pull occurs in circle progressions,
and these chord relationships are shown in current macro analysis tech-
nique by the under-slur. A double under-slur can be used to show the
strongest portion of a circle progression: the authentic cadence. A dotted
or dashed under-slur indicates the movement from the leading-tone
diminished seventh to its tonic. This latter progression is certainly weaker
than the root-movement-by-Þfth circle, but since the dominant seventh
and the leading-tone diminished seventh share three pitches, their effect
is similar.5

3. Matthew Shirlaw, The Theory of Harmony (London: Novello, 1955), 110.

4. Moritz Hauptmann, The Nature of Harmony and Metre, translated and edited by
W.E.Heathcote, (New York: Da Capo Press, 1991), 45.
5. Romantic composers would often stack the two sonoritiesÑV7 and viiû7Ñtogether,
forming a ÒsuperdominantÓ sonority, the same as the V§9 chord used in jazz. Beethoven uses
this sonority often in his symphonies.
 Expanded Macro Analysis ¥ 55

Under-slurs

ii V I

A§: b§ E§ A§6

viiû7 I

aÄû7 b

œ œ œ œ œœ œ œœ œ œ Œ
& c ≈œœ œœ œœ œ # œ ≈œœœœœ œœ œ œ œ
œ œ œ
a
œ œ œ
? c j œ # Jœ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
a (E a E a E a E) a d
(prolongation of a)

œœ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Jœ ‰
4

& œ œ
CM
œ
? œ œ œ œ œœœœœœ œ œ œœœœ œ œœ œ œœœ œ œ
œ œ œ œ œ œ œ
7
œ
G C a d G C d G C

Example 1. Bach, Two-Part Invention 13 in A Minor, mm. 1Ð6

(circle progressions). The area within parentheses indicates pro-
longation of the tonic before signiÞcant harmonic motion begins.

6. Upper-case letters will always refer to major (or augmented) chords, lower case to
minor. Since ÒCÓ has the same shape in upper and lower case, the major chord will be
notated ÒC,Ó and the minor, Òcm.Ó
56 ¥ Musical Insights

b j
Grave

&bb c j‰ œœœ .. œœœ œœœ .. œœœ œœœ œœœ ‰

œ œ . œ n œœ .. œœ n œœœ œœ n œœœ . .
8. cm Í Í
? b b c œœœ Kr œ œ. œ œ. œ œ
b œœ œœœœ ... œœ œœ .. œœ # œ œ
J ≈. œ œ ≈. œ
œ œœ ...
cm f
#˜¶ G b
˜¶ cm

.j œ œ œ œ œ œ œb œ œ
bb b n œœ œœ . œœ œœ . œœ œœ œ ® œœ œœ . œœ n œœ œ n œœ b œœœ Jœ
3

& # œ œ .. œ œ .. œ œ œœ œ œ .. œ # œ œœ n œœ œ œ œ œ œn œ œ œ œ œ œ
. œœ œ
S b 9
Í . S S p cresc. E
œ œ œ œ . œ œ n œ. ® œ œ . œ œn œ b œœ œœ S
? bb J. ‰ œ
b
#˜¶ #˜¶ ¶ fm œ b¶ b¶
f G f G C B (E )

Example 2. Beethoven, Piano Sonata, Op. 13, ÒPathetique,Ó I,

mm. 1Ð5 (leading-tone diminished sevenths and their resolu-
tions). Note the signiÞcant circle progression in the last measure
of the example, leading to the secondary key of E§.

What follows is a list, with examples, of the analytical symbols that

are useful for expanding the chord relationships that can be shown by
macro analysis.

A. Predominant chord (other than ii) to dominant. In the baroque

era, composers often utilized the diminished seventh chord to provide
chromatic color. The recitatives of Bach are full of such unstable sonori-
ties. In the classic era, composers focused most of their chromatic efforts
on the sonority immediately preceding the dominant (called the Òpre-
dominantÓ chord in this discussion). In this predominant position, com-
posers used a wide variety of borrowed and secondary-function chords.
These chords not only include ii and IV, but also Neapolitan sixth, sec-
ondary dominant and leading-tone diminished seventh chords, and aug-
mented sixth chords. Augmented sixth chords in particular defy roman
numeral analysis because of their chromatic linear resolutions. The strong
chromatic pull of the augmented sixth interval to the root in octaves of
the dominant is proof that chromatic relationships can effect as strong a
harmonic pull as a circle progression. Therefore, such relationships need
to be shown in analysis. The symbol is an under-slur in parenthesis. The
 Expanded Macro Analysis ¥ 57

under-slur indicates strong, predictable harmonic movement from pre-

dominant to dominant and the parenthesis reminds one that it is not a
true circle progression, in terms of root movement by descending Þfth.
Regarding the IV to V movement, I use an under-slur with paren-
thesis, although there are good reasons for just using the under-slur with-
out parentheses and treating the succession as a true circle progression.
Rameau referred to the ii# as a subdominant with an added sixth!7 To him,
the root movement from the fourth to the Þfth scale degree was even
more important than root movement from the second to the Þfth. This is
borne out in the music of the eighteenth century, because the iià chord as
predominant certainly appeared much more in Þrst inversion (like a sub-
dominant with an added sixth) than it did in root position. Therefore, a
case can be made that IV and ii# are interchangeable, as they share three
common tones.
When Wagner uses the IV chord as a predominant, he often puts it
in Þrst inversion, making it resolve like an augmented sixth chord with-
out the chromaticism.

Predominant Chord (other than a ii) to Dominant

+6
( ) IV ( )V ( )V

C major: F(6) ( )G

j œ
œ œ œ œ œ œ œ #œ œ œ
### œ œ Jœ œ œ
J J J œ œ œ œœ
#œ œ
& œ

# # # Œ .. œ ˙
3

œœ œœ . œ œ˙ œ . j
& œ œœœ .... œœœ ˙˙˙ œ œ #˙ œ œœœ œ œ œ œ œœ œœœ œœœ . œ
œœ # œœ
poco marcato dim.
¢-£ # ª-• (§) ¶
E c m E B(§) A( B
) E

Example 3. Wagner, from Prelude to Lohengrin. Note IV6 to V

motion in m. 3. Also see example 19, mm. 5 and 14Ð15.

7. Shirlaw, p. 113.
58 ¥ Musical Insights

b œ œ œ bœ œ œ œ
31

&b œ œœœœ œ œ Œ œ œ bœ œ œ bœ œ œ œ
C
? bœ œ œ œ œ œ bœ œ œ œ œ œ œ bœ bœ œ œ œ
b
cm A
b

bœ bœ œ œ œ œ
&b
34
Œ œ œ #œ œ œ bœ œ œ œ #œ bœ œ œ œ

? bœ œ œ œ
b œ bœ bœ œ
bœ œ œ œ
bœ œ
bœ œ œ œ
§
Ger. (

˙ œ bœ œ œ ˙ œ bœ œ œ œ. bœ œ œ bœ œ œ
&b
37
nœœ
œ

? œ œ œ. bœ œ œ bœ œ
b œ n œ œ œ bœ œ n œ œ œ bœ œ. œ
cm G cm
G
)

œ. n œ. ‰
&b Œ
40

œ. œ
r
J
p
œ
? œ. Œ œ
b œ. œ

Example 4. Mozart, Piano Sonata in F, K. 332, I, mm. 31Ð41. The

tonality (C major) is labeled between the systems in m. 1 (tonal
proÞling will be explained in detail later). Also evident in this
example are nested circle progressions (m. 37 and 38).
 Expanded Macro Analysis ¥ 59

B. Retrogression. A ÒretrogressionÓ (or ÒregressionÓ) is a back-

ward circle progression, i.e. root movement by descending fourth or
ascending Þfth. Such root movement is used in a coloristic way, but it also
has its antecedent in the ÒsoftÓ plagal cadences of the Renaissance era.
The symbol for a retrogression is an over-slur (signifying the opposite of
an under-slur).

Retrogression

ii vi iii

G: a e b

œ œ bœ œ œœ œ œ œ œ œ œœ œ œ
œ
bœ œ œ œ b œœœ œ œœ œb œ œ œ
51
3 b œ
& 4 b œ b œœ œœ œœ œœ œœ œœ œœœ
b
b œ œ @ @ b@œ œ
œ @ @ @ @ @
f 3 œp3 œ œ f p f p f p f p
? 3 œ œ œ œ œœ œ
b 4 œ œ œ œœ œ
œ œ
eb b
b f cm g

54
œœ œ œ œ œ œ œ œ 3 3 ‰ j
b œ œ
& œ œ œœ œœ œœ b œœb œb œœœ # œ œ œœ n # œœ œ j #œ œ œ œ
@ @ @ @ @ nœ # œœ ‰ œ # œ œ œ œ
f pd J J
f p
œ œœ œ
?b œ œ œ œ œ œ #œ œ 3 j
3 3

œ J ‰ œ œ
b § +§
d E (N ) g#˜¶ A It( )A

Example 5. Mozart, Symphony No. 41, II, mm. 51Ð56. A poignant

string of suspensions is made possible by the long, retrogressive
chord movement. The tonic (D minor at this point) is all but
obliterated by the combination of melodic and harmonic
sequence, retrogression, and the use of all minor chords (real imi-
tation).
60 ¥ Musical Insights

b b b b 6 Ó . Œ Œ ^ œ^ ^ ^ ^ ^ ^
& 4 œ œœ˙ œ ww .. œœ Œ Œ Ó b œ
ww .. œœ bœ
f ƒ
? b b b 46 ˙˙^ ..
b ∑ Ó . ˙. ˙. œ Œ Œ Ó Œ
˙ . ˙. œ
b (plagal) E
b
A
^
bb b b b œ^ œ œ^ ^ œ^ w^ .
5

& . œœ
b œ œ œ bb˙˙˙. œ b www .. œœ
p
? bb b Ó . b ˙^ .
b b˙. b˙. ˙. bœ
b b b˙. ˙. œ
C G

Example 6. Wagner, from Prelude to Parsifal. The harmonic

vocabulary of the entire work is based on the plagal cadence,
namely, the Dresden Amen, which is itself a retrogression. Wagner
chose this familiar Lutheran Amen in keeping with the Christian
themes of this opera.

C. Deceptive cadences. These chord relationships abound in all

tonal music but are exploited in the romantic era. Wagner and Mahler
often use deceptive cadences to usher in new tonal areas, and it is impor-
tant to have a symbol for this relationship. It is the under-slur with a slash
through it, signifying the thwarting of the expected circle progression.

Deceptive Cadences

V vi V §VI
/ / /
D7 e D7 E§
/ /
 Expanded Macro Analysis ¥ 61

drŠngend

&b Œ bbbbbb ∑
bœ bœ bœ
Harfe f ƒ
?b Ó ‰œ bœ Œ œ œ œ bœ œ Œ bœ Œ bbbbbb ∑
œ bœ
b b
B
œbœ . bœ
G ,
& b œj œn œ œ b œj œ œ œ- œ œ . j œ b œ œ b œj b œ b b b b b b ˙ .. œ
D-Saite (G-Saite)

Erste Viol. J
œ sempre cresc. -
j
#œ œ > > ƒ p

bbbbbb œ
cresc.
Zweite Viol. &b bœ w œ œ œ
n œ œ >Sœ
˙. ˙ > p
ƒ
> > > b˙ bœ œ
bbbbbb Œ n œ œ
cresc.
B b ˙. ˙ bœ œ nœ #œ nœ
Violen
bœ b˙
ƒ p S
bœ >
?b œ ˙ ˙
>
nœ œ ˙ b˙ bbbbbb w
cresc.
ƒ ƒ p
Vcelle.
bœ >
?b œ ˙ ˙
>
nœ œ ˙ b˙ bbbbbb w
cresc.
ƒ p
ƒ
? b b˙. œ ˙ bbbbbb ˙ Ó
BŠsse
˙ ˙ b˙
ƒ p
cm F¶ G
b

Example 7. Mahler, Symphony No. 5, IV, Adagietto, mm. 44Ð47.

The effect of the deceptive cadence is heightened by the use of
the predominant ii chord (C minor) before the dominant, by the
use of the lowered VI chord (borrowed from the parallel minor of
the tonic key, B§), and by the suspensions in the violins.
62 ¥ Musical Insights

#œ #œ œ j œ. œ
# œ # œ Jœ ‰ ‰ J J ‰ ‰ # œœœ .# œ œœœ ..nn œœ ## œœ œœ .. œ
& J # œ .# œ œ J
π ß f p
œœ .. œœ . j
j # œ # œ Jœ ‰ ‰ ? # œœ .. œ .. œ
& # œj # œ œ ‰ ‰ J œ. œ. œ.
œ.
nœ.
ª ¢ £
E¶ F

Example 8. Wagner, Prelude from Tristan und Isolde, mm. 14Ð17.

The effect of this deceptive cadence is heightened by the Lydian
4Ð3 suspension, so often employed by Wagner.

D. Third relationships. There are three types of third relationships

between chords. First, a diatonic relationship in which there are two com-
mon tones between the chords. In the classic era, this can often be inter-
preted as mere chord substitution, e.g. between I and iii. In his classic
book on analysis, Guidelines for Style Analysis, Jan La Rue refers to the
baroque perception of Òbi-focal tonality,Ó8 showing a close relationship
between the major key and its relative minor, but otherwise third relation-
ships were usually chord substitutions. In the romantic era, however, the
color aspect of diatonic third relationships was exploited. The third rela-
tionship is shown by a squared-off under-bracket between chords.

Diatonic Third Relationships

C e fÄ D

8. Jan La Rue, Guidelines for Style Analysis, 2nd ed. (Michigan: Harmonie Park Press, Sec-
ond Edition, 1992), 52Ð53.
 Expanded Macro Analysis ¥ 63

√œ U˙ ..
œ˙
bb b b œœ ˙˙ .. j
œœœœ ˙˙ ˙˙˙ ˙˙˙ œ œœ œœ n œœ ww
& ˙˙ œœ .. œ ˙˙ œ œ œ œ
œ ˙ w
p π
U
bb b b œœœ ˙˙˙ ... ? ˙ œœ .. œ ˙ ˙ ww ˙˙ ˙˙˙ w
ww
& œ ˙ ˙
J ˙ w
j
œ

cm
b
A f D
b bb E b A
b f
b¶ b
B E

Example 9. Wagner, from the Prelude to Parsifal. In listening to

this example, note the difference between the color changes of
the third relationships (mm. 1Ð3), yielding a sense of static
motion, or at most, local activity, contrasted against the strong
directional motion of the circle progressions (mm. 3Ð4, 5Ð6). Thus
can one showÑand hearÑdifferent levels of harmonic motion
through macro analysis.

The second and third types of third relationships are chromatic

relationships. The second type consists of chords that share just one com-
mon tone, and where one or both of the linear moves is chromatic (by
half-step). ÒChrÓ can be written on the under-bracket to differentiate it
from a diatonic third relationship.

Chromatic Third Relationships (one common tone)

C E gÄ e
chr chr chr
64 ¥ Musical Insights

b Langsam.
Œ ‰ œj Jœ . Rœ Jœ . Rœ œ œ œ
Singstimme. &bb c ∑ Ó
J J
Die Lie - be hat ge - lo - gen, die
cm
b
& b b c œœ œœ œœ b œ˙. œ n œœ œœ œœ ˙ œœ œœ œœ ˙˙
œ œ œ ˙ J œ # œ œ n ˙˙ œ œœ ˙
Pianoforte. p Í π
? b c œ œ œ b œ˙. œ n œœ œ œ ˙ œ œœ ˙
bb ˙˙ J œ œ œ ˙
cm N
§ Gsus ¢ Fr+§ G cm A
b
( ) ( )

b . . j j nœ. œ œ. œ œ j j œ. œ nœ
4

S & b b Jœ Rœ Jœ Rœ œ œ œ J R J R n œ œ J R J n Jœ ˙
Sor - ge la - stet schwer, be - tro - gen, ach, be - tro - gen hat al - les mich um - her!

4
b n œœ n œœ œ ˙ j
? n œ b œ œ œœ n ˙œ . b œ
& b b œœ œœ œœ ˙ n œœ œœœ œœœ n # ˙˙˙
œ # œ œ n ˙˙ œ
Pno. Í Í
? b œ œ œ n˙
bb œ œ œ ˙
œ œ œ n˙ œ œ œ œœ œ
ø¶ Fr+§ G œ œ œ
d ( )
CM chr. A F C G¶ C
¶ (F)
chr.

Example 10. Schubert, ÒDie Liebe hat gelogen,Ó mm. 1Ð6. Note
the contrast between the diatonic third relationship of m. 3, and
the chromatic third relationships of mm. 5Ð6.

###
MŠssig langsam.

& j
# ˙˙ œœ # ˙˙ œœ # œœ œœ .. œœ ˙˙ .
.
π
? ### ˙ n œœ ˙ n œœ œ n œœ .. œ ˙ ..
œ Œ œ ˙
# J
g
# e g
# e g e b
chr. chr.

Example 11. Wagner, Tarnhelm motive from Das Rheingold. The

eerie character of the music at this point is due to the chromatic
third chord relationships.
 Expanded Macro Analysis ¥ 65

The Þnal (third) level is fully chromatic, where there are no shared
tones, and at least two of the linear moves are chromatic.

Chromatic Third Relationships (no common tones)

f chr
C f chr
e§ E f chr
cm

# π j
& # œ. œ #œ œ n˙ #˙ œ œ œœ œ œ
in a bar - ren de - sert where there is no wa - ter.

# ˙ #œ n˙ œ œœ œœ œœ œ
& # # ˙˙˙ # œœ # œœœ n n ˙˙˙ # œ˙ œœ œ œ ˙ œ œ #œ
˙
π π
#œ œ #œ #œ #œ œ
? ## œœ ˙ œ œ œ œ œ œ œ œ œœ œ # œ˙ œ
˙œ ˙œ œ ˙
# # B e
F C f chr.
e

Example 12. Dvorak, ÒHear my Prayer,Ó from Biblical Songs, Op.

99. Part of the harmonic richness of the Þrst two measures derives
from the descending sequence of backward circle progressions
(retrogressions), but its real poignancy comes from the fully
chromatic relationship between the CÄ major and E minor chords
which connects the two segments of the sequence.
66 ¥ Musical Insights

˙. œ œ œ ˙ ˙. œ œ œ œ œ ˙
? # 32 ˙ ˙ Ó ˙ ˙ Ó # ˙
Grave

Singstimme Œ Ó œ
O Tod, o Tod, wie bit - ter, wie bit - ter bist du, wenn

#
& 32 Ó ∑ ˙˙˙ # # ˙˙˙ Ó # # ˙˙ ˙˙ œœ Œ Ó n ˙˙ ˙ #˙ œ
˙ #˙ œ
Pianoforte fe
P œ
˙
? # 32 Ó ˙˙ ˙˙ ˙˙ œ Œ Ó #˙ ˙ œœ
˙˙ Ó ˙ # ˙˙ œ œ œ
˙ ˙ ˙Ó ˙˙ œ #˙ ˙ ˙
˙ ˙ ˙ ˙ ˙Ó œ
F
# #¶ #˜¶ e A( B e
e C a f chr. F G e d )

Example 13. Brahms, ÒO Tod, wie bitter bist Du,Ó from Vier Ern-
ste GesŠnge, mm. 1Ð6. As with the example from WagnerÕs Parsi-
fal (example 9), this example begins with chords based on third
relationships, resulting in rich and colorful harmony but no
strong harmonic motion, and ends with strong directional
motion through circle progression. Note the added interest pro-
vided by the chromatic third relationship to the FÄ major chord in
m. 2, and the deceptive cadence (in the dominant key) of m. 3.

E. Root movement by second. Often this type of harmonic motion

is ornamental, serving to prolong a chord as a neighboring or passing
chord, but occasionally it will serve to cloud the tonality or ÒmigrateÓ the
tonality to a different key. A diagonal line in the pertinent direction
between the chord names indicates this type of movement.

Root Movement by Second

f(6) E§(6) d(6) c(6)

or
G a B§
 Expanded Macro Analysis ¥ 67

˙˙ ˙ ˙ ˙
b ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙
˙ ˙ ˙ ˙
&b c

˙. œ ˙. œ
? b c ˙ œ Œ œ. œœ œ
b J
B
b (§)
>
chr.
˙ ˙ # ˙ ..
bb ˙ # ˙˙ ˙ ˙˙ ˙ ..# n ˙˙ .... # www> # n # www #
n n 68
5

& ‰
p
˙ œ. #œ n˙ g# ˙
? b # œ n œ gggg ˙˙ #w # 6
nn 8
Ó ?
b J g &

(chr.) D
¶
A (¢™ ) #
D cm

(q.»h) ˙˙ .. ˙˙ ... ˙˙ .. œœ
# 6
9
˙˙ .. ˙˙ . ˙˙ .. œœ
& 8 ‰ Œ‰
. . .
œœ œœœ œ œ œ œœœ œœ. œœœ œœ. œœœ
? # 6 œ. . œ ‰ ? œœ œ.
8 œ &œ œ . ‰ . œ & œœ ‰ ? . œ & œœ ‰ ?
œ. œ œ. œ œ.
œ œ œ œ
b D¶ G
p
13
# Cantando œ # œj n œ . œ j . j
& œ . œ. œ œœ œ b œ n œ. # œœ œ ˙ .
œ . œœ # œ n œ . J ‰ œ b œ . b œœ œ œ ˙ .
‰ ‰
.
œ j œ
œ
œ
.
œ .
œ œ b . b œœ.
œ j
? # . œ œ ‰ ‰ ? œ. . J ‰ ‰ œ n œ œ ‰ b œ œ .
œ & œ. œ . & b œœ ‰‰
œ bœ b œ.
œ œ.
B
b D
¶ b §-∞ Eb
G a chr.

Example 14. Wagner, from Act III, Scene 2 of TannhŠuser. The

Þrst set of chords that moves by seconds actually serves to modu-
late, brießy, to a new tonal area (mm. 7Ð9). The second set is more
ornamental in nature (mm. 13Ð15). Whenever Wagner uses paral-
lel chords in root position, he always moves the bass and soprano
in contrary motion.
68 ¥ Musical Insights

F. Substitute chords. The main substitutions are between the dom-

inant and the leading-tone seventh chord, and between the supertonic
triad (or seventh chord) and the subdominant (or their diminished/
minor counterparts). I and iii or I and vi could be considered substitutes,
as mentioned earlier, or may be considered third relationships, depend-
ing on the context and the analystÕs interpretation. Substitute chord rela-
tionships would be shown by an ÒequalsÓ sign (=) between the chords,
signifying no real harmonic movement, but a slight change in color none-
theless.

Substitute Chords
D: cġ7 = A7
=
Fm: gû = b§m

œ ˙ nœ
## j piu p j ? ˙œœ . ˙ n Jœ ˙
& # œœ . œ œ # œ˙ . œ nœ
œ # œ ˙˙˙

? ### ˙ ˙œ . j j
œ #œ
#˙ ˙ ˙ n œ # œ˙ œ .
˙ ∏
(§) #˜¶ #¶ # ¢-£ #˜ b¢ - £
c m
B b = G c

Example 15. Wagner, excerpt from Prelude to Lohengrin.

Although WagnerÕs music includes passages so contrapuntal as
to defy harmonic analysis, nevertheless there are usually points
of clear harmonic motion even in such passages, as can be seen in
this example (the circle progression from GÄ7 to CÄ minor).

G. Same root, or same root feeling. In the music of the nineteenth

century, there are chord relationships where two successive chords have
the same root, but where other chord tones are moved chromatically. Two
incidences of this are the common-tone diminished seventh going to its
tonic, and a modal shift (C major to C minor, for example). The symbol is
a horizontal line between the two chords, signifying no root movement.
 Expanded Macro Analysis ¥ 69

Same Root, or Same Root Feeling

CTû7 I I i

fÄû7($) C D d

# # œ. j
29
j
& # # œ˙˙ .. œ œ œ œ œ œ. j œœœ
# œ˙ . œ œœ œœ œœ ˙ œ œ3 œ n # ˙˙˙˙# œœœ œ nœ œœ˙. . œ œ
r
œ
˙. œ .œ œ ˙
˙
E F Í πJ
? # # # # ˙˙˙ .... ˙˙˙ .. # ˙˙˙ ... œœ œœ œœ ˙˙˙ .. jn œ
˙ ˙ .. ˙. ˙˙ .. ˙. œ
˙.. œ ˙˙ ..
.
#¶ # ¶ ˜¶
E
_ _
C _f E B E CT _ E _a E
B B B E

Example 16. Schubert, Moment Musical No. 6, Op. 94, mm. 29Ð36.
Note the common-tone diminished seventh in m. 34. The letters
under the horizontal lines indicate pedal tones.

For an example of change of mode of a chord, see m. 8 of example

18.

H. Cadential @ chords. The cadential @ is a sonority that occurs

through voice-leading means, as the 6 and 4 above the root of the domi-
nant resolve to 5 and 3. It is the tonic sonority posing as both a predomi-
nant chord and part of the dominant chord with suspensions or
appoggiaturas. Because of its hybrid, yet important function, it needs to
be shown in analysis in a unique way. A way of notating it that makes
such cadences immediately noticeable is with a piano bracket underneath
both the cadential @ and the V(7). The chord before the cadential @ (the real
predominant) is then connected by under-slur (or dotted line, or under-
slur with parentheses) to the middle of the piano bracket, like this:
70 ¥ Musical Insights

Cadential @ Chords

ii6 I@ V7 I








Ger.+6 i@ V7 I




( )
F: bû7 F@ C7 F




See example 17 at mm. 9Ð10 and 15Ð17. Note the partial cadence at
m. 10, to the cadential @, but moving via mode change on to a different
tonality.

I. Other symbols for analysis.In addition to the symbols described

above, there are a few other analytical symbols that provide useful infor-
mation. Whenever possible, it is preferable to keep the analysis on the
musical score and not have to resort to separate graphs, tables or charts.
For instance, writing the tonal proÞle on the musical score itself saves one
from having to constantly go back and forth between a graph, table or
chart and the musical score. To this end, I employ LaRueÕs Òrule of threeÓ9
in assigning relative importance to tonalities. The tonal center (key) is
written between the staves, with the macro analysis below the staves. Sig-
niÞcant tonal centers are circled and brief, insigniÞcant tonicizations are
in parenthesis. A middle level is neither circled nor in parenthesis. Such a
system can be seen in example 17.

Tonal Centers

1. SigniÞcant tonicÑcircled A§

2. Middle-levelÑnot circled A§

3. Brief, insigniÞcantÑin parenthesis ( A§ )

9. Ibid., p. 5
 Expanded Macro Analysis ¥ 71

Moderato
˙ œœ œ. œ œ. œ œ
bb c œ Œ Œespress. ? ˙ œœ Œ œ3 œ # œœœ ... œ œ . J ˙˙ œ Ó œ3œ
& œœ œ ˙ . œ J
œ œ n ˙˙˙ .. œ
.
gm p (cm) gm
? b b c œœ Œ Ó ˙ . Œ Ó ‰ 3 œ Œ Œ ‰ j 3

œ ˙˙ .. œ œ œ œ
˙ œœœ
œ
˙. œ œ œ
g G ¶ D
¶ g ¢-£
j cm ( )

n Œœ œ œ . œ ˙˙ .. œ œ . œ œ œ n n œœ œœ œÓ b œ Œ œ ˙
? b b œœ œ œ . œ ˙ . œ œœœ ... œ œ œ n œœ œœ œ œ ww œ ˙
6

J
(cm) gm (dm)
Ó 3

? b œ Œ Ó
b œ ˙˙ .. Œ w # ˙˙ ‰ 3 n œœ ˙ ww
˙˙ .. w œ œ ˙
œ
G
¶ ¢-£ §-∞ ø¶ d(¢§)
e
cm D G ...
œ ( )
œœ .. œ n œ œ
œ œ œ Œ œ œ. j
? b # œœœ œ. œnœ œ
11

jœ œ ?
b œ œ . œ œ œ ˙˙˙ ..
& œœ ‰œœ œ J &
. œœ œ
3
gm
w œ dm
? b b œ œ œ # wœ . œ ˙ œ œœœœ n www
3
ww
J œ œ w w
œ œ
œ ¶
3
ø¶
D
D g (=) e d (¢§)

>ww >w >ww ˙˙ ˙ ˙ ˙

16

bb Œ w n ww w ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙
& # ˙˙ ..
˙. p
Bb
# œ œœ >w > -
? bb n w # œ œœ Œ Ó w œ. ŒÓ Œ j
n www
&
œ œ. œ
A d C B
b poco marc.

Example 17. Wagner, from Act III, Scene 2 of TannhŠuser, open-

ing. The two main tonalities of this section are G minor and B§§
major. Along the way, there are brief tonicizations of C minor
and D minor. Pivot chords are circled.
72 ¥ Musical Insights

Such a system helps the analyst immediately see how a chord pro-
gression is functioning within a key, which has been the strength of
roman numeral analysis. At the same time, with highly chromatic music,
one is not encumbered by secondary functions, which is what can happen
with roman numeral analysis. One can immediately see where a key
begins to be established, and making such decisions develops the ear as
well as the eye. In example 18, the C minor chord of m. 8 has a dual pur-
pose: Þrst, it connects to the previous C major chord as two chords with
the same root, but a change in color; second, it becomes the subdominant
of a new tonic, G Minor, as it progresses to the dominant, D major, and on
to G minor. The analyst can hear the C minor chord, then, as a pivot
chord, and the new tonality begins to be established on that chord (as it
includes the lowered sixth scale degree), being conÞrmed by the inclusion
of the leading tone in the next chord. By putting the beginning of the G
minor on the C minor chord, the analyst is taking into account a sophisti-
cated level of hearing, that of retrospective listening, where earlier sound-
ing chords are re-informed to take on new meaning.
Finally, the notation of inversions and non-harmonic tones must be
addressed. Although one of the beauties of the macro analysis system is
that the analyst need not be encumbered by the labeling of inversions of
chords, still there are places where the analyst may wish to label inver-
sions for a variety of reasons. Noting the beauty of a chromatic bass line,
labeling passages of fauxbourdon (successive £ß chords), or identifying
particularly interesting chord relationships are three instances where
inversion notation are useful. I advocate a hybrid system that combines
voice leading and inversions in the notation. It should be stressed, how-
ever, that such notations are necessary only when the voice leading or
inversion of the chord plays a vital role in the music at that point. It does
not need to be used constantly.
Inversions are put in parenthesis: (¤ ) or (#) for Þrst inversion, (@) or
($) for second inversion, and (%) for third inversion. Diminished and half
diminished sevenths need not be labeled for inversions. A dominant sev-
enth is always listed with a Ò7,Ó and the inversion in parenthesis. This
way, it is immediately apparent that it is a dominant seventh chordÑno
need to decipher the inversion notation. An alternative to using the tradi-
tional Þgured-bass symbols for inversions is to write the bass note in
pedal-tone notation:

Inversions
E§
G where G is the bass note.
 Expanded Macro Analysis ¥ 73

The identiÞcation of the inversion makes it possible to see at a glance

what position the chord is in without having to constantly refer to the
bass line.
Voice-leading, especially with nonharmonic tones and their resolu-
tions, are not put in parenthesis, but are listed as they relate to the chord
in root position, regardless of the chordÕs actual inversion. This is not the
same as Þgured bass notation, but as a hybrid it combines aspects of Þg-
ured bass notation and chord inversion notation without having to deal
with the complexities of both in their purest form. A 4Ð3 suspension is
always labeled such, regardless of the chord position.
For example, to show a ÒD dominant seventhÓ with an A in the
bass (second inversion), and a melodic movement above of a suspended 4
going to 3, here is the notation:

Nonharmonic Tones

D7 chord and type

($) position of chord

4Ð3 signiÞcant non-harmonic melodic movement

Alternative

D7 4Ð3

Part Three: Interpreting the data gained by expanded

linking symbols.
In music of the late romantic composers, Wagner for example, it
would not be uncommon to see linking symbols between every chord of a
section. This is in keeping with WagnerÕs concept of Òendless melody,Ó
and the continuity of the harmony further supports that concept. After
the analyst has Þgured out the chords and how they relate, he or she can
move on to reÞning and interpreting the data that is collected.
The reÞning process is that of identifying broad harmonic gestures
and differentiating between such gestures and mere prolongation or
nested harmonies. In the next example, linking symbols inside and
above broader linking symbols indicate nested harmonies. It is also easy
to see the prolongation of B§ in mm. 1Ð2 and 5Ð6 and the broad third rela-
tionship between E§ and C, mm. 7Ð8.
74 ¥ Musical Insights

T
dolce
j Tœ
bb c ˙ œœ .. œ œœ œ œ œ ˙ Ó
. œ
˙ œœ .. œ
& ˙˙ œ . Jœ œ œ ˙ œ
œ œ œ œ œ œœ œ ˙˙œ
œ . ˙˙ J
œ œ œ
Bb
ŒœŒœ Œ œœ Œ œ Œ œœ Œ œœ Œ œœ Œ œœ Œ œ
? b b c ˙ œœœ œœ œ œœ œ œ œ œœ œœ ˙ œœ ˙ œœ
˙ ˙ ˙ ˙ œ ˙ ˙
˙ ˙ ˙ ˙ œ ˙ ˙ ˙ ˙
b ¶
B F g§-∞ b (§) b d Bb
E( B
b F¶
B )F

b œœ œ œ j j j
. œœ . œ
6

b œ ˙ Œ œ ˙ œ
œ œ ˙
& œ œ œ œ ˙ œœœ . œœ # ˙˙ œœ œ œ˙
œ œœ œ œœ œ n œœ œ œ. œ
# œ b n œœ
n œ gm
? b Œ œœœ Œ œœœ Œ œœœ œ b œ ˙Œ œœ b œ œœ œŒ # œœœ œ œœœ
b ˙ œœ œ œœ œœ œ œ n œ
˙ ˙ œ b œ ˙˙ b ˙ œ œ œ œ nœ
˙ ˙ b (§)
gm
§-∞ B
b (§) E
b d chr.b C cm
sempre legato
D g b
˜¶
( )

j
11
b œ n˙ œ. œ ˙ œ . œ œœ b œœ b œ œ
& b œœ œ b œ n œ ˙ # œ Œ n ˙ œ œŒ . œœ œ ˙ œ . œ œ b œb b œœA n œœ
œ b œœ n œœ ˙ œœ # œ œœ Œ œœ œ J œ
ΠΠj bbm
nœ bœ œ œ œ œ ˙
? b œœ œ œœ œ œ œ ‰ n œ Œ œ œ œ œ œ b œ œA œœ n œ
b
œ œœ œœœ œœ œ œ œ œ bœ nœ
œ (§) ¶ ˜ (§) ¶ œ œ œ b
a g¢ D ¶ b F b
b b ˜
eb b C e
cm cm
chr.
F b §
j N
˙ œ. œ
b ? ˙˙ ˙˙
16

& wb b
w p
B

.
? b b œ œœ œ ˙ ˙.
œ
œ œ.
œ b
F B

Example 18. Wagner, from Act V of Rienzi. Measures 1Ð2 and 5Ð6
can be heard as a prolongation of the B§ chord. It can be argued
that the chord on the third quarter of m. 3 is really a B§ chord with
an accented passing tone in the soprano. However, the deliberate
bass line motion from E§ to D, then to B§ adds credence to hearing
this chord as a separate sonority, D minor.
 Expanded Macro Analysis ¥ 75

In further interpreting the data, the analyst can determine relative

strength and weakness of harmonic motion in the piece. La Rue speaks of
three levels of musical activityÑstrong directional motion, local activity,
and stasis or stability.10 A piece of music attains a sense of movement and
shape through the varying rates of activity in each of the basic parameters
of music: sound (including texture and timbre), harmony, melody,
rhythm and growth.11 An example of how these three levels are reßected
in harmony is as follows: the circle progression and cadence signify
strong directional motion; local activity may be signiÞed by the presence
of sequence, or of fauxbourdon, or colorful chord relationships by thirds,
etc.; stasis or stability in harmony is usually represented by prolongation
of the tonic.
The Þnal two examples are lengthier ones, showing the whole sys-
tem in action. The Þrst one, example 19, is interesting because it has
strings of retrogressions, chromatic third relationships, modal shifts and
root movement by seconds, in addition to circle progressions. The analy-
sis makes it possible to hear and see the strong harmonic movement
when the music Òshifts gearsÓ into circle progressions.

j œœœœ œœœœ œœœœ œœ œœ œœ œœ# n n œœ ..œœ œœœ # n œœ œœ œ œœ

b œ œ nœ. œ ˙ œ. j œœ œœ œœ œœ n œœ ..œœ œ n œœ œ œœ œœ
œœ nœœœb œ .. œœ ˙˙ œœ .. œœœ œœœ .. œ œ ‰ J
j
&b œ
œ
nœ J .œ œ J
ƒ Bb (dm) œœ
œœ œ b œœ .. j ˙˙ œœ .. œœ œ .. œœ œœ œ
(am)
? b œ œœ b œœ n.. œœ ˙ œ . Jœ œœ . J ‰ j œœ œœ œœ j œ
œœ œœ œœ
œ n œ ..œ œ n œ œ œœœ œ
#œ
b œ œœ œ # n n œœœ ..œœœ œ n œ œ œ
œœ œœ
œ b(§) E d
˙ . B g d( ) A¶
. j ˙ œ .. œj œj œ . j animatoœ
b ˙˙˙ .. ‰ œœ œœ œœ œœ œœ œœ n œœ b n œœ .. œœa tempo
7 dolce express. e poco riten.

&b œ œ œ œ œ œ œ n œ . œ ˙˙ œœ . œœ œœ .. œœœ œœœ ≈ œ œ

œ
J
p Bb f
˙˙ .. ‰ œœ œœ œœ œœ œœœ œœ œ b œœœ .. j ˙˙ œœ .. j œœ .. œj‰œ œ œ
? b ˙˙ .. J
b Œ
œ œ œœ b œ .. n œœ ˙ œ . œ œ . œœ œœ œ ≈‰
œ œ
œ œv b
d
v B
b F cm gm E b G¶ e ˜¶ Bb (¢§)
chr.
F¶ B

Example 19. Wagner, Introduction to Act II, The Flying Dutch-

man.

10. Ibid., pp. 12Ð14.

11. Ibid., Chapter 1.
76 ¥ Musical Insights

b ˙˙˙ œ œœ
n œœ œœ n œœœ œœœ b œœ œœœ ... œ œœ
b ˙˙ ˙ n œœ œœœ œœœ # ˙˙˙ b œœ . J œ ≈ œœ œ
12
œœ n œ œ
& b ˙˙ œœ ˙
(fm) b
œ bœ œ œœ œœ ˙ B
œœ
? b œ œœ œ œœ n œœœ œœ œœ # ˙˙ œœ œ
n œœœ œœœ b œœœœ ˙˙ ˙ œœ œ ≈ ‰
b œ œ ˙ œœ œ ˙ œ
B
b bb( )CM chr. A
b
g F B E( b (§) ) F ¢ - £
b ˙˙˙ œ b œ œœ œ œ œ √3 3
chr.
n œœ
16
bb ˙˙˙ ˙ n œœ œœœ œœœ # œœœ œœœ n œœœ œœœ b œœœ œœ œ œ œ œ œœ œ œ œ œ œ
& ˙ œœ œ œ nœ Jœœœœœ
b
œœ œ b œœœ œ œ ˙˙˙
(fm) B
œ œœ œ œœ œœ
? b œ
b œ œ n œœœ œœœ œœ # œœ œœ
œœ n œœœœ œœ b œœœ œœ
œœ
˙ œœ Œ
œ œ
b b(b CM A g b b§ ¶
F B E B (¢) F ¢
b - £ Bb
B ) chr. (
chr. )

Example 19, continued.

Example 20 is amazing for some false, illusionary chord relation-

ships: in m. 1, the chromatic third relationship between the Þrst two
chords, A§ and C§ (respelled as B), is replicated by the motion between the
third and fourth chords, B moving to B§(¤ ). This replication occurs because
of the bass line move of a minor third and because of the half-step linear
descent between FÄ and F. In reality, the relationship is root movement by
half step. In each measure, a new pitch is tonicized via its leading-tone
diminished seventh, and strong circle progressions do not exist here. The
pitches tonicized form an augmented triadÑA§, E and C. It is also inter-
esting to note that just a few measures after this, the harmony moves into
broad, long circle progressions with very strong directional harmonic
motion. The harmonic contrast adds to the drama of this portion of the
opera.
 Expanded Macro Analysis ¥ 77

√
œ b œ œ œ 9 œ œ n œ# œ œ œ œ œ b œ n œ œ œ œ œ n œ# œ œ œn œ œ œ œ
b œœœ # œ œ œ n œb œ œ
& nœ
Ab ƒ
œœ #œ nœ n # œœœ
?b œb # n œœ b œ n
bœ n n œœ #œ
(C b) b (§) #˜¶
Ab chr. B chr. B)
d
(

2 (
√)
#œœ œ œ œnœ œ œbœ œ œ
& œ#œ œ œ bœ œbœnœ œ œ bœ œnœ bœ œ œ nœnœ œ œ bœnœ œ œ œ

#œ
E
? œœ bœ b n œœœ ?
& b b œœ b b b œœœœ nœ
n œ b (§) ˜¶
E
chr.
E a ˜¶ b
( )

nœ œ œ œ œ bœ bœ œ œ œœœœœ œ bœ œ œ œ œ
3
œœœ œ œbœœ œ #œœœ œ nœbœœ œ
&
dim. - - - - -
C
? n œœ œ œœ bœ
œ b bb œœœ #œ
bn œœ
œ
œ b (§) ˜¶ ˜¶
C chr. E D e = g
( chr. )
œb œ œ œ œœ œ œb œ œ œ
b œ œ œ œ # œ œ# œ œ œ œ n œ œn œb œ œ œ n œ # œ œ œn œ œ œ œ # # # #
4

& œ
b- nœ - #œ
A
œ
-
# œ- -
b n œœ
-
n n œœ
- - E
? b b œœ # œ n œ #œ ####
bœ nœ
Ab chr.
b
B(C ) B
b (§) d
#˜¶ (E)
( chr. )

Example 20. Wagner, Magic-Fire Scene from Die WalkŸre.

78 ¥ Musical Insights

Conclusion
The addition of other linking symbols to the basic circle under-slur
enables the analyst to Þnd out much more about the harmonic style of the
romantic composers in particular. It was in the area of harmony that these
composers made some of their greatest creative contributions. Eventu-
ally, the symbols themselves will aid one in his or her aural perception of
the music, as relationships between chords are immediately perceived.
With a Þnished macro analysis that includes these expanded linking sym-
bols, the analyst is able to effectively scan a piece when searching for spe-
ciÞc chord relationships.
Furthermore, the integration of these symbols into a proÞle of har-
monic ebb and ßow is an exercise that reaps great rewards for the musi-
cian. Such a system can clarify rates of harmonic motion within a piece,
and can help the performer determine how harmony contributes to the
overall sense of movement and shape. In this way, the performer can be
ushered even deeper into the drama of the music as it unfolds, because he
or she is able to see the big picture. Such macro analysis gives the per-
former the understanding to be able to make interpretive decisions that
will allow others to perceive the harmonic shape of a piece, and to get
caught up in the drama of it themselves.

Bibliography
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Jean Philippe Rameau. Treatise on Harmony. Translated from French by
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