Author Topic: Favorite 19th century extended harmony  (Read 630 times)

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bwv 1080

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Favorite 19th century extended harmony
« on: June 19, 2018, 05:14:26 AM »
Favorite uses of extended harmony (7th chords other than dominant, 9th, 11th or 13th chords) in 19th century music?

Maj7 chords in coda of Schumann's Arabeske

minor 11th chord opening of Brahms op 119 no 1

bwv 1080

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Re: Favorite 19th century extended harmony
« Reply #1 on: July 09, 2018, 05:17:50 AM »
nothing?

Offline Dax

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Re: Favorite 19th century extended harmony
« Reply #2 on: July 13, 2018, 01:50:29 AM »
Liszt - Ossa Arida

Satie - Le Fils des Etoiles prelude 1

Ives?

Strauss?

Alkan?

bwv 1080

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Re: Favorite 19th century extended harmony
« Reply #3 on: July 13, 2018, 06:37:57 AM »
Liszt - Ossa Arida


Did not know that piece, cool example.  Difficult to describe using conventional tonality

Offline Mahlerian

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Re: Favorite 19th century extended harmony
« Reply #4 on: July 13, 2018, 06:45:51 AM »
All of those displaced harmonies at the beginning of Schumann's Kreisleriana are pretty fascinating, though I suppose theory would treat them as anticipations or suspensions rather than harmonic structures in their own right.

The B-flat minor chord over a ninth that opens the finale of Mahler's Second is rather striking, too.
"l do not consider my music as atonal, but rather as non-tonal. I feel the unity of all keys. Atonal music by modern composers admits of no key at all, no feeling of any definite center." - Arnold Schoenberg

Offline amw

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Re: Favorite 19th century extended harmony
« Reply #5 on: July 18, 2018, 01:46:44 AM »
This was the first one that came to mind

bwv 1080

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Re: Favorite 19th century extended harmony
« Reply #6 on: July 18, 2018, 02:52:01 AM »
This was the first one that came to mind


What piece is that?  Probably would call that harmony a French Augmented 6th