The Romantic Style

ca 1815-1914

Based on the writings of Anna

Butterworth: ‘Stylistic Harmony’
(OUP 1992)
NB To understand the slides herein, you must play though all
the sound examples to hear the principles in action.
The sound of the music will make sense of the rules.
 Contents
1. Introduction
2. Extension of Harmonic Language 1810-1850
a) Diatonic secondary 7ths
3. Altered Chords:
a) as 2ndry dominants
b) augmented triads
c) the Neapolitan 6th (bIIb)
d) augmented 6th chords (French, Italian, German,
Landino)
4. Chords of the 9th, 11th & 13th
5. Unprepared dissonance: the appoggiatura
6. Modulation
 Introduction
The French Revolution of 1789 and the publication of
Goethe’s Werther in 1774 reflected a new spirit of
individualism - as opposed to ‘the court’.
With the Napoleonic wars, nationalism was spreading in
different countries. There was a preoccupation with
the self and the releasing of passions and
emotions previously withheld in the interests of
Classical poise and elegance.

Composers were (to an extent) seen as revered

geniuses (e.g. Liszt), rather than servants of the
aristocracy (e.g. Haydn).
Fusion of the arts was seen as a good
thing, e.g. Wagner’s vision of the
Gesamkunstwerk (all-embracing
artwork of the future). Compositions
could now have programmes (stories)
instead of being ‘absolute’ music.

See separate PDF download for more.

 Extension of the Harmonic
Language
In the Romantic period, more dissonant
chords are used more frequently than in
the Classical period. E.g. Weber and
Mendelssohn use diminished 7ths
chords very often - such chords were
used sparingly by classical composers.

Harmonic language is the expressive tool

of composers.
 1. Diatonic Secondary 7ths
These are often found in sequence as 5ths
progress. E.g., label the chords in the
following extract:
 2. Altered Chords
The chromatic alteration of a chord in a
key was a common procedure in the
19th century. Any chord could be
treated in this way!
7ths could be added, but the chord
would retain its diatonic function, e.g. ii-
V despite any alterations or additions.
E.g. ...
 Altered Chords Exercise:
Identify any altered chords in the extract below.
NB Schubert often went to the key of b6, returning
‘home’ to the tonic via the aug6th.
 TIP

You can download a useful

Chart of Altered Chords

from this week’s download area. :o)
Identify the chords:
Altered Chords as Secondary Dominants

If you alter the 3rd of ii7, you end up with

the (useful) dominant 7th of the
dominant.
Diminished 7ths as 2ndry Dominants
Diminished 7ths can be altered, e.g. viid7. With
a flattened 7th, the root of the chord rises to
the tonic. As such, the diminished 7th can be
said to posses a dominant function.
altered (flattened) = dim7th

Mj
What altered chords are being used here?
 At the piano, fill in these chords with the
altered chords shown.

A Mj: Ab Mj:
 Augmented Triads in Mj & min
In Major keys, you can augment I, IV & V.

In Minor keys, you can augment III (that’s it!).

Label the exciting augmented triads in the
following:
The Neapolitan 6th Chord (b IIB)
Identify the Neapolitan 6th chord in the
following:
In Romantic music, it’s possible to modulate to
the key of the Neapolitan 6th chord:

(This is a gorgeous piece. - Could listen to it all!)

 The Augmented 6th Chord
(mentioned in previous presentations on Classicism)
 3. Chords of the 9th, 11th & 13th
Identify chords of the 9th, 11th & 13th in the following
extracts. In each case, note how their dissonance is
prepared (which voice the dissonance comes from
and how), and then resolved properly.

i.
 3. Chords of the 9th, 11th & 13th
Identify chords of the 9th, 11th & 13th in the following
extracts. In each case, note how their dissonance is
prepared (which voice the dissonance comes from
and how), and then resolved properly.

ii.
 3. Chords of the 9th, 11th & 13th
Identify chords of the 9th, 11th & 13th in the following
extracts. In each case, note how their dissonance is
prepared (which voice the dissonance comes from
and how), and then resolved properly.

iii.
 3. Chords of the 9th, 11th & 13th
Identify chords of the 9th, 11th & 13th in the following
extracts. In each case, note how their dissonance is
prepared (which voice the dissonance comes from
and how), and then resolved properly.

iv.
 4. Un-Prepared Dissonance: The Appoggiatura

The most prominent harmonic feature of 19th-Century

music is the un-prepared dissonance. The decorative
appoggiatura becomes part of the harmony. See how
it is resolved. Spot the appoggiaturas here and note
their effect:
 4. Un-Prepared Dissonance: The Appoggiatura

Spot the appoggiatura chords (un-prepared

dissonances) here and note their effect:
 5. Modulation
Romantic composers explored the effects
of far-reaching modulation; contrasts of
key within a movement, particularly to
un-related tonal centres, are common.

The mini assignment for this week gives

you three examples to explore. :)
FIN