In the late 19th and early 20th centuries, composers began to explore non-functional harmonies as a way to extend, challenge, and even break away from the traditional tonal principles that had dominated Western music for centuries. Non-functional harmony refers to chord progressions that do not follow the expected patterns of functional tonality, which relies heavily on the dominant-tonic relationship and related diatonic progressions. Instead, composers began to use chords for their color, texture, and expressive potential, often ignoring their traditional roles in harmonic progressions. This shift led to more chromaticism, increased dissonance, and a more fluid approach to harmonic movement.
One of the primary ways composers used non-functional harmony was by employing chromaticism. This involved using notes and chords that were not diatonic to the prevailing key. For example, instead of strictly following the notes of the C major scale, composers began introducing accidentals – sharps and flats – into their harmonies. This resulted in more complex and colorful chord progressions that often defied traditional functional analysis. These chromatic chords, such as augmented triads, diminished seventh chords, and altered dominant chords, could then be used to create a sense of instability and heightened expression, and also as a way to modulate to different tonal areas in an indirect and unexpected fashion.
Another technique composers used was modal interchange, also known as mode mixture or borrowed chords. This involved incorporating chords from a parallel minor or from other modes into a major or minor key context. This allowed composers to introduce colors and flavors that were not traditionally part of the diatonic palette. For example, borrowing chords from the parallel minor can create a darker, more melancholic feel. Using the....
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