My first "post-theory" homework.

[tee boy]

You have to go with the logic of triads. An Abm chord has a Cb in it. What chord would Ab-B-Eb be? I can't find a name for it. B-Eb is a fourth (yes it is), so it's not a triad based chord.

I would spell the chord G#-B-D#, an enharmonic of Ab-Cb-Eb. This allows you to clearly advertise the chromatic nature of the chord without leaving any room for abiguity, seperating it from the rest phrase which is complete diatonic.

TB

[tee boy]

Surfice to say that while I respect your analysis, I dont agree with it. Enharmonic spelling is a fundamental part of chromaticism, and there is little doubt in my mind that it applies to this case.

Actually, in my last bit of analysis, where I surmise that the Abm is really a G+ 9b, I have to enharmonically change the Cb to a B.

I thought that would make you happy

Victor.

Lol, well, hmmmm, not really!

Now THAT would be confusing things!

TB

[VicDiesel]

I would spell the chord G#-B-D#,

You're kidding. In a key with 3 flats you suddenly go to 4 sharps? That's much more unnatural than a flattened tonic in passing.

Victor.

[tee boy]

BUT THAT is enharmonic spelling!

Thats the point! The chromaticism is sticks out like a saw thumb. There is no room for ambiguity!

Im going to find some examples in the literature for you to have a look at. Its a classic chromatic trick to use enharmonics in this way.

TB

[VicDiesel]

The chromaticism is sticks out like a saw thumb.

Not to me. The Abm chord has two chord notes that are part of the scale. The remaining note is a minor alteration.

That whole chord progression is close to diatonic. No need to bring out the heavy artillery.

Victor.

[Xnah]

I was already lost halfway the 2nd post...

[Caleb]

Well - the theory discussion got a bit over my head - I think.
But all that aside - loved the progression. Very nice.

Regards
Caleb

[Toxikator]

That whole chord progression is close to diatonic. No need to bring out the heavy artillery.

Well, there is a need for the heavy artillery, but to call it a G# instead of an Ab is sort of aiming in the wrong direction

He's ABSOLUTELY correct to classify it as a "chromatic mediant".

For those unfamiliar with the term:

A Chromatic Mediant relationship exists between any two major chords whose roots are a third apart. This not only includes the familiar bIII and bVI borrowed chords, but also a major III and VI chord.

These chords usually occur in root position and after a tonic triad (in major keys) and normally resolve back to tonic, to the dominant, or continue in root movement by successive thirds.

Since the roots here between C and Ab are a 6th apart, it can be classified as a chromatic mediant chord. That would mean an alteration of the tonic. However, a G# is technically not a chromatic mediant when written that way, since in C only 6ths and 3rds (in my example, I used E) can be classified as "mediants".

The only problem with this analysis, functionally, is that it doesn't resolve in the same way that chromatic mediants usually do, but we could simply say it is a nonresolving chord and leave it at that.

the link from which I quoted this, BTW, is a VERY nice primer on chromatic harmony. It covers secondary dominants, the Neapolitan chord, the Italian, French, and German augmented 6ths, and Chromatic mediants.

BTW I would just like to say, "This is the kind of stuff this forum needs!" I was (re)exposed to chromatic mediants (I had forgotten all about them) and now have a clear picture of the kind of usage I can employ them in. everyone has been reasoned and generally awesome.

[tee boy]

Absolutely Toxikator.

The spelling of the chord is subjective, and while I prefer an enharmonic spelling, I can see why others wouldnt. The same can be observed in the literature - composers looking forward to atonality and pantonality may have been more trigger happy with the enharmonic spelling of such chords, where as more traditional composers might have looked for a more 'economical' approach.

Alkan hardly ever used enharmonics to my knowledge. Where as Liszt used them heavily! Its a subjective assessment.

The important point is that the SOUND of the progression is recognised as a chromatic mediant relationship! Thats where the marks as in this question.

Its been a fun thread though! GREAT to see that we can still have a good debate on KVR without it getting silly.

TB

[Toxikator]

Indeed. See, this is the reason why I fight for theory; the posts in the beginning of "who cares, it sounds good" would never have yielded (for me, anyway) the understanding of the progression that a little reference to the Chromatic Mediants did.

of course, this is also odd as they're being used here in the minor mode which is not so common...

[tee boy]

Oh, just to add to the definition of 'chromatic medient'...

I think the term is usually reserved for chords of similar quality that are found a major or minor third from the tonic. So in C minor, you could have Am, Abm (!), Em, Ebm, hence the term chromatic 'mediant'.

But through modulation the progression can continue with the same relationship.

You can also do chromatic mediant modulations, where the a chromatic mediant is a common chord in both the home and remote key (I think this only apply to remote keys, but Im not certain about that without checking).

This is the bread n' butter of modern filmscoring!

TB

[Toxikator]

Okay, so to settle on a definition for Chromatic mediant, we would say:

A chord which is of the same quality as the tonic (major/minor) and whose root is either a major or minor third or sixth of the scale.

Chromatic mediants usually follow the tonic chord and are usually followed by the Tonic, Dominant, or another mediant/submediant.

[tee boy]

Spot on.

Hey, if the original poster adds some of this stuff to his report, he should get a decent mark. Chromatic mediants dont feature in many standard harmony text books. Atleast not in any that I own.

And if he brings in the debate over chord spelling too...

Well, if he gets an 'A' then I reckon the e-Beers are on him!

Damn, if only I had known what the internet could churn out when I was studying...

TB

[Toxikator]

my theory 101 book didn't discuss them, but my theory 102 book did.

"Music: in Theory and practice". Great two-parter. The second book was devoted to chromaticism and form.

Good stuff.

[cheul]

Hi, I'm the original poster.
I first want to thank you all guys for your input.
I'm glad that some liked my homework, though it was a really rough arrangement. I was indeed aiming at Elfman's style, particularly in the vein of Nightmare Before Christmas. I didn't mention it just to see if the reference would show up, so maybe I didn't do too bad.

This first exercise and your response confirmed how useful this forum is, being interactive.
What is really funny is that, seeing no reply yesterday, I went looking further on google. I had the intuition the Cm Abm effect was typically heard in Elfman's writing. That's how I first found about Major Tritone Progression (I posted the link in another thread) but what really triggered my excitation is that quote about the training dispensed by a guy who orchestrated some of Elfman's work :

Next up was Scott's discussion of the mediant chord relationship chord
progression. I am sad to confess that this for me was a real "aha"
moment; a lovely encapsulation of the vibrant shifts of tonality
exploited so often in feature film writing. This harmonization
technique allows you to keep rolling along from key to key with lots
of forward momentum, while not ever having to resolve your chordal
tensions until you decide to exit the train and confirm your
modulation at the time and place of your choice.

http://www.soniccontrol.com/features/article.php?ID=184

Hehe by now you guess how desperate I was to learn everything about those chromatic mediant relationships. So seeing the topic show up in this thread is a blessing.

I started writing a sequel, this time using chromatic mediants to modulate in other keys, going to G minor, then Bb major (briefly) to finish in A major. I'll make an arrangement later when I find time.

I think the next step I'd like to learn is Voice Leading, is it a good idea at that point ?