Further Scruton Theory

The following is from reading R. Scruton's 1997 'The Aesthetics of Music'.

The following features are widely recognised as central to triadic tonality.

1. Key - A particular kind of organisation around the tonic in which other notes are disposed in relation to it, and the whole system set in the context of other possible keys.
           -  brings melody and harmony into close and constant relation.

2. Diatonic Scale - Each key involves certain designated tones (7 for a major key, 9 for a melodic minor) which distinguishes ascending and descending versions of the scale.

3. Non Designated Tones - Any of the 12 chromatic tones belong to  the key and can be incorporated as an 'accidental' in the harmonic and melodic structure.

4. Role of Designated Tones - Each tone has a character arising from its relation to the tonic.

5. Circle of Fifths - The movement to a scale that most perfectly harmonizes the tonic eg. a fifth may be C-G.

6. Major and Minor

7. System of triads

8. Polyphony

9. Chord Relations - Harmonic progressions eg. I-V-I

10. Cadences - harmonic boundary whether closed or open

11. Independence of bass - Harmonies rest on the bass line and are heard in relation to it.

12. Modulation - The harmonic presentation of a key opens the way to changes in key. To modulate it is necessary not merely to land on a melodic tone that belongs to another key but to land on the chords of that key,

13. Tonal Centre - Harmonic field in relation to the tonic

14. Structure.


Once again, all of the above play a great role in the conception and manipulation of a musical piece.  Having a fundamental understanding of the structure of a musical phrase opens doors to possible methods of manipulation and further enhancing the musical piece as a whole.