Musical Transfiguration

Musical Transfiguration
TRANSFORMATIONAL ASPECTS OF THE COMPOSITIONAL STYLE OF JOHN
WILLIAMS IN THE ANTAGONIST’S CUES OF THE EARLY HARRY POTTER FILMS
by Matthew Nace [250547326] | MUSIC-9520B-001: Transformational Theory | April 13, 2016
for Dr. Catherine Nolan, Don Wright Faculty of Music, University of Western Ontario
I. INTRODUCTION
Perhaps no composer of the last fifty years has been so instrumental in defining the recognisable “Hollywood
Sound” as John Williams. From Star Wars, through Indiana Jones and E.T., to Jurassic Park, he has scored many of
the highest-profile films of recent decades, and has set the model for the kind of music expected of such films,
particularly in the genre of escapist action-adventure epics. Among the more recent successes in this genre has been
the Harry Potter film franchise. John Williams composed the soundtrack for the first three of the eight films, and
while each of the three remaining composers for the franchise created additional themes and cues – sometimes
replacing some of the cues created by Williams – Williams’ signature style continued to have its impact felt right
through to the end of the series.
Because of the ubiquity and popularity of Williams’ music, it is no surprise that his music has also been amongst
the most thoroughly studied music of Hollywood. Certain aspects of his musical vocabulary have been studied
particularly closely, notably by Frank Lehman, 1 including his treatment of the motives and cues representing the
primary antagonists of the films that he has scored, which follows a tradition reaching at least as far back as Richard
Wagner’s Ring Cycle. This paper will examine another such cue, from the Harry Potter franchise, representing the
franchise’s primary antagonist, Tom Riddle (known also as the Dark Lord, Voldemort, and “He who must not be
named”). The process will be to first examine the piece in search of those elements whose presence we might
anticipate (based on the existing studies of his work), and then to perform further analysis to find additional
interesting characteristics that contribute to the representation of evil in this cue.
As a matter of transparency, a brief disclaimer is in order: the music to be analysed is not the cue as it appears
at any given moment within the film, but rather an arrangement 2 that can be taken as representative of the cue in its
various forms. The sheet music compilation refers to this arrangement as Voldemort; however, Jamie Webster, in her
1
Frank Lehman, “Reading Tonality Through Film: Transformational Hermeneutics and the Music of Hollywood”
(PhD dissertation, Harvard University, 2012).
2
John Williams, “Voldemort”, in Harry Potter: Sheet Music from the Complete Film Series, arranger not specified (Van
Nuys, CA: Alfred Music Publishing Co., Inc.), 39-41.
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dissertation on the music of the Harry Potter franchise, 3 identifies at least three distinct motives found in this
arrangement as representative of “Mystery and the Rise of Evil”; 4 these cues are identified as “Something’s Odd”
(Example 1 below), “Evil Rising” (Example 2), and “Voldemort” (Example 3).5 Webster describes these cues,
collectively, as follows:
Example 1 "Something's Odd"
“Something’s Odd” is the first motive in the Voldemort arrangement. Note that the C-sharps in the melody are
displaced from the following augmented triads (wherein it appears in the tenor). My transcriptions vary slightly
from Webster’s, to agree with the sheet music that I will be analysing; compared to the said sheet music, I have
enharmonically respelled the D-flat in the third measure from the given C-sharp to better reflect the apparent triad
that I have labelled.
3
Jamie Webster, “The Music of Harry Potter: Continuity and Change in the First Five Films” (PhD dissertation,
University of Oregon, 2009).
4
ibid., 441.
5
ibid., 423, 426, and 427, respectively.
6
ibid., 422.
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Example 2 "Evil Rising"
“Evil Rising” is the second motive present in the Voldemort arrangement. Note that I have identified the diminished
triad on the second beat of the second measure as E-sharp to imply the usual #vio7 that would typically precede a
dominant chord (which is perhaps implied but omitted here) before the return to i; however, as we shall see, much
of the music to be analysed does not submit well to traditional Roman numeral analysis, and this diminished triad,
and indeed, much of the harmony throughout, should probably not be considered functional in the traditional
sense. For this same reason, although I shall consistently try to select the most traditionally meaningful names for
ambiguous chords, all apparent chords, including those that are transitory, shall be labelled, and no consideration
shall generally be made for inversions.
Example 3 Voldemort
“Voldemort” is the final and eponymous motive in the Voldemort arrangement. Here, again, I have respelled some
chords from the sheet music to reflect the apparent chords. Note also that the half-diminished chords are both
lacking thirds, and therefore might equally viably be interpreted as dominant seventh chords with lowered fifths;
however, minor thirds dominate this arrangement and should probably be inferred here, if indeed it is at all
meaningful to infer traditional chords on these transient sonorities.
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This decision to analyse this arrangement is justified by the following observations: (1) it is inordinately difficult
to gain access to actual scores of film music;7 (2) the focus of the analysis in this paper will be the motives, more than
the arrangement; and (3) film music cues do not always have a definitive form8 (motives are repeated, sometimes
frequently, throughout the film series, with developmental changes accruing).
II. TRANSFORMATIONAL METHODOLOGY
Before proceeding with the analysis, it must first be determined the nature of the transformations to be
employed in the analysis, based on the nature of the music itself. Williams’ music is approximately tonal in the basic
respects: there is a key centre of g-minor that is maintained quite consistently throughout the arrangement, and the
vast majority of the chords are major and minor triads, especially in metrically strong positions, with a substantial
number of other tonally traditional chords (e.g., augmented triads, diminished and seventh chords, etc.) largely
relegated to metrically weak positions, and only a handful of sonorities of dubious tonal identity, also in metrically
weak positions.
On the other hand, as Webster has noted, it is heavily chromatic. This chromaticism comes from the fact that
chords used, despite being of qualities traditionally used in tonal music, are almost invariably not drawn from the key
signature of g-minor, and the phrase model contains no functional dominants until very near to the end of the
arrangement (a kind of lose recapitulation in which the “Something’s Odd” motive and the “Voldemort” motive are
reharmonized, presumably for precisely that reason: to add functional dominants, followed by a concluding cadence).
Clearly, a neo-Riemannian approach would have substantial benefits – except, of course, that neo-Riemannian theory
has difficulty with dissonant chords, and the methodology will need to be adapted somewhat. The familiar case of
the hexatonic pole, an absolute progression9 that in traditional neo-Riemannian theory is designated LPL,10 sometimes
abbreviated H, shall serve as an example to elucidate these adjustments.
7
Lehman 2012a, 14 f.n. 1.
8
ibid.
9
For a detailed discussion of absolute progressions in the film scores of John Williams, see:
Tom Schneller, “Modal Interchange and Semantic Resonance in Themes by John Williams”, Journal of Film Music 6.1
(2013): 49-74.
10
Note that, unlike many compound neo-Riemannian operators, like Slide, the hexatonic pole is a palindromic
composition of an odd number of contextual inversions, and so it shares most the basic properties of the three
standard neo-Riemannian operators: it is an involution, it is mode-reversing, and pitches move by only a single semi-
tone; the only exception is that it contains no common tones – it is an Extravagent Relation is the sense defined in:
Robert Cook, “Parsimony and Extravagance”, Journal of Music Theory Vol. 49, No. 1 (2005):109-40; esp. 116-7.
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Lehman, in his dissertation, combines the mainstream neo-Riemannian operators with a variant of the
canonical TnI operators. The problem (at least with respect to major and minor triads) with traditional inversion is
that the index of inversion is anchored to the space, rather than the chord; in this notation, the hexatonic pole from
C-major to ab-minor is T3I, but the hexatonic pole from G-major to E-flat-minor is T5I – hence, the operator is not
uniform, in the sense described by Julian Hook11 – that is, it does not behave identically or intuitively on each starting
chord, and the differences between indices does not clearly represent the differences between starting chords (or
between ending chords).
In the case of major and minor triads, an inversional procedure anchored to the chord, and more specifically
to the chord root, is arguably more meaningful than inversion anchored to the space. Lehman substitutes the neo-
Riemannian Parallel contextual inversion for the more traditional I inversion, creating the isomorphic T nP group;12
proving that TnP is isomorphic to TnI is trivial, as P is equivalent to I with a compensatory index added to the index
of transposition (TnP = Tn+xI). The resulting TnP operator measures the distance between chord roots, and either
reverses the mode of the chord or not. In this notation, the hexatonic pole is invariably represented as T8P – this is a
substantial improvement.
Reference has already been made to the concept of uniformity, as described by Hook. It is worth observing at
this point that this TnP formulation is fundamentally equivalent to Hook’s notation for ‘uniform triadic
transformations’: <±, ±n> is equivalent to Tn / TnP.13 It has the advantage, however, of being more familiar or intuitive.
It is also approximately equivalent to the Sn/Wn Schritt/Wechsel group, but again is more familiar.
However, Scott Murphy has drawn attention to another limitation of the neo-Riemannian notation in the
context of film music: neo-Riemannian analysis is designed to handle chord successions consisting of major and
11
Julian Hook, “Uniform Triadic Transformations”, Journal of Music Theory Vol. 46, No. 1/2 (Spring – Autumn, 2002):
57-126.
12
Notice that, in spite of the addition of a neo-Riemannian transformation, which traditionally uses rightward
orthography, I am using leftward orthography here, and will do so consistently throughout this paper, everywhere
where neo-Riemannian operators are combined with non-neo-Riemannian operators (in case of potential confusion,
I will add the symbol ∙ only in cases of leftward orthography); however, compound operations consisting exclusively
of neo-Riemannian operators will still be given in the traditional rightward orthography.
13
Note that Hook’s formulation contains an ordered triple <±, n, m>, where n and m are different indices of
transposition depending on the mode of the beginning triad; in this notation, the hexatonic pole from C-major to A-
flat-minor is <-, 8, 4>; however, since the transformations we shall deal with in this paper are involutions, n and m
are mod 12 complements, and so the notation ±n serves equally well for both n and m, and is simpler.
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minor triads, but without reference to any key-centre; in film music, there often is a key-centre, or at least momentary
points of stability that behave similarly to centres;14 one is tempted to borrow a little Schenkerian terminology, and
think of one chord as a kind of stuffe, against which the other behaves more contrapuntally than harmonically (of
course, this analogy is quite shallow, and should not be taken to imply an ursatz). Under the standard neo-
Riemannian definition of the hexatonic pole as LPL, there is no distinction between the expressions svi –
I and i - SIII. While these expressions certainly have something in common, there is also a substantial
difference in the world of the absolute progression as used in film music, with the affective associations that they
entail.
Murphy proposes an alternative notation to designate progressions in which one chord behaves as a point of
relative stability compared to the other. This notation takes the form MnM, where the first M, as either capital or
miniscule, represents the mode, not of the first chord, but rather, of the tonicised chord, while the case of the second
M represents the mode of the less stable chord. Hence, the expression svi – I is described as M8m, while
i – SIII is described as m4M. The relationship between these is relatively clear: the mode of the chords
is reversed, and the indices are mod12 complements. However, the distinction is also clearly evident. 15
However, the notation does have a few disadvantages – not the least being that it is generally unfamiliar and
unintuitive. In particular, that the first M represents the stable point, and not necessarily the first chord, is extremely
unintuitive. I propose a slightly different notation, which presents the same information, but in a more intuitive or
familiar form. I suggest the notation T±n{P/p/E/e}. This notation is extremely intuitive, given that it resembles T nP,
14
Scott Murphy, “Transformational Theory and the Analysis of Film Music”, in The Oxford Handbook of Film Music
Studies, edited by David Neumeyer (Oxford: Oxford University Press, 2014), 485.
15
This notation also avoids a limitation in neo-Riemannian notation, which does not affect the hexatonic pole, but
does affect the similar Tarnhelm progression (to be defined in the next section), which may be defined as either LP
or PL, depending upon the context, and equivalently, either composite may or may not represent a Tarnhelm,
depending on context. In the new notation, m8m is invariably a Tarnhelm, and although m4m might also be defined
as invariably a Tarnhelm (though it is not the traditional understanding of the progression, it does correspond to the
LP and PL definitions), it represents a distinctly different kind of Tarnhelm with a distinctly different kind of sound
– and ultimately should probably be given a different name (just as IV-I plagal cadences and I-V half cadences contain
the same voice-leading, but are understood differently in context, and are given different labels).
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which, as already described, is an obvious variant of T nI. P, as a representation of the Parallel operator, designates a
mode-reversal, and can be given in either majuscule or miniscule to identify the mode of the more tonicised chord;
the same can done with the E (identity) transformation for those chords that do not cause mode-reversal (though this
may not be necessary is some cases, where the mode of the chords does not substantially influence the meaning of
the progression – certainly it is not necessary for subsequent repetitions of an oscillating progression). Although the
index numbers are mod12, and therefore negative index numbers are not typical, under my proposed system, a
negative index would represent the case where the second chord is the tonicised chord. Hence, I – svi
would be represented as T+8P and svi – I would be represented by T P. This notation has the benefit of
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being extremely easy to read by anyone familiar with TnI and neo-Riemannian operators,16 and also shows that the
forward and reverse forms of the same progressions are obviously linked (the indices are the same absolute number,
ignoring the sign). On the other hand, i – SIII would be described as T +4p, and SIII – i
would be described as T-4p, which is also very intuitive. Notice that positive index numbers should be indicated
distinctly as such; in that way, an index that is missing the positive sign would be understood as neutral with respect
to which chord is more stable or tonicised (or when no claim is being made regarding the stable chord). As a bonus,
the symbol ± can be used to designate an oscillation between the two chords, which is a common feature of chromatic
absolute progressions in film music.17
III. THE TARNHELM
All of this is to provide the necessary background to most effectively define the Tarnhelm progression, which
Lehman describes as one of the most characteristic progressions of John Williams’ film scores, specifically
representative of villains.18 The Tarnhelm progression is an absolute progression that can be described as T±8e [T±8
describes oscillation between a quasi-tonic and another chord whose root is eight semitones above, while e (as
16
In fact, a substantial benefit of this notation is that it is “backwards compatible”; that is to say, if an analysis is done
in this notation, and musician unfamiliar with this new notation (but familiar with the old) reads the analysis while
ignore the unfamiliar elements, that musician’s interpretation of analysis, while less informative, is still correct.
17
For the ubiquity of oscillation, see Lehman 2012a, 32.
18
Lehman 2012a, 135-44.
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opposed to P) denotes that the progression is mode-preserving and, as a miniscule, denotes that both chords are
minor]. Notice that it is quite similar to the hexatonic pole T±8P – it is part of the same hexatonic system (along with
the minor-key leittonwechsel and a major lowered-sixth chromatic mediant, all of which are quite similar),19 and it
even shares the characteristic that it contains both the upper-leading-tone to the dominant scale-degree (associated
with the minor subdominant chord) and the (enharmonically respelled) leading-tone to the tonic (associated with
the dominant chord);20 the only significant difference is that both chords are minor, while the hexatonic pole is mode-
reversing.
21
The locus classicus for this progression is Wagner’s Ring Cycle, in which it is the harmonic leitmotif
representing the eponymous Tarnhelm, a helmet that renders the wearer invisible, as well as granting the ability to
change shape and teleport.22 Although it is merely a tool, its use is ultimately associated with all of the most tragically
fateful actions taken on all sides; although the eponymous ring is to be understood as the central ultra-powerful object
that corrupts absolutely, the tarnhelm is a close second – almost a kind of junior partner to the ring. According to
Lehman, after its use in the Ring Cycle, it spread rapidly through both the art music tradition and the film scoring
tradition.23
The quintessential example of the Tarnhelm progression in film scoring is The Imperial March, from the scores
to the Star Wars film franchise, once again by John Williams; as would be expected, this march represents Darth
19
For the concept of hexatonic systems, from which the hexatonic pole is derived, see:
Richard Cohn, “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triad Progressions”,
Music Analysis Vol. 15, No. 1 (1996): 9-40; esp. 18-30.
20
This characteristic of the hexatonic pole is described in:
Richard Cohn, “Uncanny Resemblances: Tonal Signification in the Freudian Age”, Journal of the American
Musicological Society Vol. 57 No. 2 (Summer 2004): 285-324; esp. 306-8. See also:
Bribitzer-Stull, Matthew, “From Nibelheim to Hollywood: The Associativity of Harmonic Progression”, in The Legacy
of Richard Wagner: Convergences and Dissonances on Æsthetics and Reception, edited by Luca Sala (Lucca: Turnhout,
2012), 157-183. Bribitzer-Stull also notes the following set-theoretical characteristics of the Tarhelm Progression: the
collective pitches form SC 5-21 [01458], which is the same set-class formed by the closely related I-sVI
progression, which has similar but less negative “otherworldly” connotations; it is the only pentachord abstractly
included in the so-called “magic” all-combinatorial E hexachord 6-20 [014589], and its most salient trichord is [014],
also noted for its dark connotations (op. cit. 161 & 163).
21
I have chosen to reserve the use of the term leitmotif for the Wagnerian opera tradition for which it was developed,
and have stuck to the more generic term “motive” for the elements of a modern film score, on the basis of observations
about the appropriateness of the term in:
Stephen Meyer, “ ‘Leitmotif ’: On the Application of a Word to Film Music”, Journal of Film Music 5.1-2 (2012): 101-8.
22
Bribitzer-Stull, 158.
23
Lehman 2012a, 135; Lehman cites the coining and description of the Tarnhelm progression in Bribitzer-Stull 2012.
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Vader, one of the franchise’s primary antagonists. The use of the Tarnhelm progression in the Imperial March is given
as example 4.
Example 4 Imperial March Tarnhelm Motive
The main motive of the Imperial March from John Williams’ scores to the Star Wars film franchise is harmonized
exclusively by an oscillation of the Tarnhelm progression.
Lehman discusses the Tarnhelm interpretation of this theme at considerable length.24 It seems reasonable to
identify the Tarnhelm progression as a critical element of Williams’ style for cues representing primary antagonists,
and it likewise seems reasonable to look for it within the Voldemort arrangement from the Harry Potter score.
Bribitzer-Stull notes several occasions when the Tarnhelm is used in the second and third films, 25 but makes no note
of any use in the first film, or the elements of the Voldemort arrangement. However, before looking for it, it is worth
scrutinising the assumption that the guiding principle behind the Williams’ composition of the Imperial March is, in
fact, the Tarnhelm Progression. Ordinarily, in analysis, it is fallacious to challenge an analysis on the basis of the
composer’s intentions; however, when attempting to identify elements of a composer’s style, it can be well worth
questioning the composers intention to use the Tarnhelm progression, lest in doing so we misattribute a different
intention. For instance, double leading-tones of the svi chord might support an alternate interpretation as a
kind of displaced dominant (Lehman gives the notation DOM’∙T1 and T11∙DOM).26 However, there is an even more
convincing explanation.
24
Lehman 2012a, 137-40. Lehman also notes that Murphy and Bribitzer-Stull have likewise identified the Imperial
March as the quintessential modern example of the Tarnhelm.
25
Bribitzer-Stull 2012, 168.
26
ibid., 138. Note that the transformation DOM implies that the first chord behaves as the dominant of the second,
resolving back to its tonic; hence, DOM’ implies a tonic progressing to its dominant; due to the important functional
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The hexatonic pole, which is similar to the Tarnhelm progression, can once again serve as an example, or more
accurately, as a counterexample, to elucidate the concern. The hexatonic pole is a good example of an absolute
progression that can reasonably be assumed to be the guiding principle behind a compatible selection of chords,
whether or not the composer is aware of the literature surrounding the use of the progression, as there are very few
other ways in which this progression might come about. The Tarnhelm progression, on the other hand, differs in
respect that turns out to be very significant: it is mode-preserving (both chords are minor); this means that the
Tarnhelm progression can just as easily be produced via the technique of chromatic planing. It should, of course, be
remembered that, regardless of how it is produced, an absolute progression is an absolute progression, and the
associations produced by that absolute progression still come along for the ride; but even so, if it were instead to have
been produced through planing, this observation would be more insightful than simply the use of the absolute
progression per se. Thus, it is worth taking a moment to see whether or not planing would be a more appropriate
analysis.
As it turns out, it may very well be a superior analysis. Minor triads represent approximately ninety percent of
all the chords (counted by chord changes; the percentage is even higher if counted by duration), even though none
are diatonic to the key of G-minor (except, obviously, the G-minor triad itself). The only exception to monochromatic
minor chords is the occasional E-flat-major triad, which is, in fact, diatonic to the key of G-minor, and is simply a
chromatic alteration (intensification?) of the ubiquitous E-flat-minor triads that have already been presented. (See
example 5).
Example 5 Minor Triad Planing in the Imperial March
implications of these terms, I will use this type of transformational label only when the appropriate function is actually
implied, and will stick to TnP or neo-Riemannian labels where no function is implied.
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Nearly all the chords are minor. The E-flat-major chords (circled in red) are chromatic alterations of the previously
presented E-flat-minor chords. The E-flat-minor chord over a C in the bass (circled in blue) could be interpreted
as a half-diminished seventh chord, but given that the figure is only a slight variation of the presiding motive, this
label seems more meaningful, making it just another example of the ubiquitous minor triads (with an
underseventh). The C-sharp-minor triads (in green) are an example of the Minor Tritone Progression (discussed
in Section IV below).
Interestingly, the E-flat-major turns out to be significant in more ways than this: the E-flat-major triad is also
outlined by the primary melodic motive – that is, the melody outlines the leittonwechsel of the tonic harmony, which
is approximately symmetric around the first chord. This transformation, traditionally designated L, can also be
designated (in the minor key) as T±8p, demonstrating, yet again, a close relationship to the Tarnhelm and the
hexatonic pole.27 As will be seen, this relationship will again come into play in the analysis of the Voldemort
arrangement. More immediately, however, it remains to support the interpretation that the Imperial March was
composed by planing a minor triad along its L transformation.
In fact, this is not the only time that Williams generates a theme from a similar transformational process. For
instance, Lehman elsewhere describes the Rebel Fanfare, also from the Star Wars franchise, which he describes as
being ultimately derived from another absolute progression that is ubiquitous to Williams’ style: the so-called
27
It is interesting to note that the hexatonic pole is simply a complete mode-reversal of the minor-mode leittonwechsel
– that is, perform a leittonwechsel on a minor triad, then reverse the modes of both triads.
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“Cowboy Half-Cadence” sVII - V that Williams had previously used in the main theme for the film (see
Example 6).28
Example 6 Rebel Fanfare Derived from Star Wars Main Theme
This figure is an approximate reproduction of Example 19 of Lehman 2013 (see f.n. 28), showing how the Rebel
Fanfare is an expansion of the “Cowboy Half-Cadence” from the end of the Star Wars Main Theme. However, it is
equally convincing to see it as a major triad planed to harmonize a melody that outlines a diminished triad.
But is this really the best explanation for this passage? Once again, the passage consists entirely of a single type
of chord quality – in this case, major triads – planed to harmonize a melody that outlines a standard tonal chord type
– here, a diminished triad that is literally symmetric around the first triad. What is particularly interesting about this
observation is that it means that the motive representing the Rebellion is a kind of major-mode antithesis to the
minor mode Imperial March that represents their arch-enemy. This shows an even deeper debt to Wagner than has
thus far been indicated, because Wagner does something rather similar. According to Lehman, “[David] Lewin’s
insight is that portions of both motifs’ [i.e., the Tarnhelm and Valhalla, which represents the Gods, and by extension,
the forces of good – that is, the antithesis of what is represented by the Tarnhelm] harmonic substance are equivalent
when inversional equivalence of major and minor is taken into account.” 29
28
Frank Lehman, “Hollywood Cadences: Music and the Structure of Cinematic Expectation”, Music Theory Online
Vol. 19 No. 4 (2013): 4.13.
29
Lehman 2012a, 171, citing:
David Lewin, “Some Notes on Analyzing Wagner: The Ring and Parsifal”, 19th Century Music 16.1 (1992): 49-58.
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Example 7 Comparison of the Imperial March and the Rebel Fanfare
The Imperial March is harmonized almost exclusively by minor chords, and the melody outlines a major triad
approximately symmetrical around the first pitch; its antithesis, the Rebel Fanfare, is harmonized exclusively by
major triads, and the melody outlines a diminished triad exactly symmetrical around the first pitch; even the
contour is related; note that the B-flat-major triad in the Rebel Fanfare is a passing tone harmonized by the same
planing.
This similarity in the music is particularly interesting, given that the similarity of the plots of the two epic cycles is
also such a ubiquitous observation as to have become a virtual pop-culture cliché, as a can be readily verified by a
quick web-search.
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Example 8 Hedwig's Theme, Section III
Hedwig’s Theme is the principal theme of the Harry Potter film franchise. Note that when chromatic planing is
explained as neighbour tones and appogiaturas, the rest of the theme is relatively tonal, though the only non-minor
chord is the final dominant (even the lowered supertonic, implying a Neapolitan, is harmonized as a minor triad –
since this transformation [T±1e] will recur, I shall refer to it by the slightly inaccurate but convenient term
“Neapolitan Minor”).
Williams’ use of this planing technique is not limited to his scoring for the Star Wars franchise. Indeed, the
same technique is clearly evident in the Harry Potter scores’ best known cue, Hedwig’s Theme, especially in the portion
of the theme that Webster identifies as “Section III”.30 In the case of Hedwig’s Theme, it is far less clear that a harmony
is being outlined by the melody; rather, the changing harmonies reflect neighbour-tone motion and appogiaturas;
nevertheless, all of these motions are supported by planed minor triads.
30
See Webster 2009, 514-5 for segmentation of Hedwig’s Theme.
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It should be observed at this point that we are observing this partial similarity of the observations made about
the Star Wars score, not to the Voldemort arrangement (representing evil), but to the principal theme of the film,
where no such agreement was necessarily to be expected – and indeed, once the chromatic planing is explained away,
the rest of the cue is surprisingly tonal (as demonstrated in the multilevel analysis of Example 8), as we would expect
of a main theme. Clearly, this kind of triadic planing is a larger element of Williams’ overall technique.
IV. TRITONE PROGRESSIONS AND THE LYDIAN S4

Another pair of progressions that are noted elements of William’s compositional technique is the use of the
Lydian mode31 and the so-called “Major Tritone” progression (any two major triads that are a tritone apart). 32 Neither
of these elements is directly tied to the associations that we should expect to find in the Voldemort arrangement;
however, they share a common element that is more broadly intrinsic to Williams’ style, which certainly occurs
throughout the Harry Potter soundtrack, and might well be expected to make its influence felt in some shape or form
in the Voldemort arrangement: the frequent use of the S4 scale degree; less widely cited is the “Minor Tritone”
progression,33 which also shares this characteristic.
The Major Tritone progression takes the form T±6E. Scott Murphy argues quite persuasively that its primary
association is with “outer space and/or images of celestial objects”, 34 or at the very least, with science fiction;35 he
proposes that the “distance” between the chords themselves is reflected in the vastness of the setting being
represented,36 which might imply that this progression might also usefully be applied to other extremely vast (but
ultimately terrestrial) vistas.
31
Lehman 2012a, p. 14, fn. 2 and passim.
32
Scott Murphy, “The Major Tritone Progression in Recent Hollywood Science Fiction Films”, Music Theory Online
Vol. 12 No. 2 (2006): 7.
33
Schneller 2013, 50.
34
ibid., 2 and passim.
35
As implied by the title of his article (see f.n. 32 above).
36
Murphy 2006, 17.
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Murphy begins his discussion of the Major Tritone progression in the now familiar way: with the soundtrack
to Star Wars. In this case, T±6E occurs in a cue shortly following the main title scroll, 37 which Lehman also describes,
and identifies as “Escape Pod Drop” from Imperial Attack.38 Murphy notes that Williams’ score to Star Wars as helping
“to restore the orchestra as the primary performing ensemble for science-fiction and adventure scores”’;39 it is perhaps
possible that the association with outer space was less firmly instilled in Williams than in those who followed him
(whose associations were influenced by his work). There is something slightly ominous about the scene in question,
and it is possible that this progression might also invoke something of the ominous for Williams.
According to Lehman, the Lydian progression implies, among other things, “the extraordinary and
otherworldly”.40 This often takes on an aspect of amazement and wonder, but can also take on darker hues. 41
Williams’ use of this effect is ubiquitous. 42 The characteristic element of the Lydian mode is the S4 scale degree,
as it is the only element of the scale not shared with the basic major scale. As such, we might suppose that these
darker hues related to the extraordinary and otherworldly might be intensified by maintaining the S4 within the
context of a darker mode (such as an overall minor tonality).
This is a reasonably apt description of the Minor Tritone progression, T ±6e, which is a minor-mode analogue to
the Major Tritone progression; Schneller describes it thus:
37
ibid., 7.
38
Lehman 2012a, 130-3.
39
Murphy,
40
Lehman 2012a, 31; Lehman cites:
Mervyn Cooke, A History of Film Music (Cambridge: Cambridge University Press, 2008), 227-33.
41
Lehman 2012a, 32; here, Lehman cites:
Janet Halfyard, “Music Afoot: Supernatural Horror-Comedies and the Diabolus in musica”, in Music in the Horror
Film: Listening to Fear, edited by Neil Lerner (New York: Routledge, 2010): 206-23 [21-37].
42
loc. cit. f.n. 23 supra.
NACE 16
Example 9 The Ark Theme from Indiana Jones: Raiders of the Lost Ark
The Ark Theme from Indiana Jones: Raiders of the Lost Ark begins with two measures of an oscillating Minor Tritone
Progression [blue], which (due to the repeat) make up half of the excerpt. Not surprisingly, the remainder of the
excerpt contains three Tarnhelm Progressions [red] (two of which are from the dominant, rather than the tonic;
an absolute progression is defined compared to the more tonicised chord, and not necessarily a true tonic), two
circle of fifth progressions, and a number of minor-third root relationships. In addition, all triads in this excerpt
are minor triads, planed so that roots of consecutive triads largely outline traditional triads; the roots of these larger
triads also generally share the same relationships found between surface-level triads, including the single
descending minor second.
Clearly, the use of the S4 scale degree is an important element of John Williams’ scoring style, regardless
of the emotional affect intended by the passage, and more specifically includes the minor tritone progression to
43
Schneller 2013, 2; Schneller makes the following citations:
†
Murphy 2014, 488;
‡
Frank Lehman, “Music Theory Through the Lens of Film”, The Journal of Film Music 5 Nos. 1-2: 179-98.
NACE 17
represent mortal threats and dangers; clearly, we should expect to find some reflection of this element of Williams’
affective vocabulary in the Voldemort arrangement.
V. WILLIAMS’ SIGNATURE IN VOLDEMORT
Having now identified the most important elements of Williams’ compositional style that would be expected
to appear in the Voldemort arrangement (i.e., the Tarnhelm Progression, the use of the S4 scale degree, especially
as the Minor Tritone Progression, and the use of chromatic planing, especially of minor triads), we are now prepared
to analyse the arrangement for evidence of Williams’ musical fingerprints.
A clean copy of the complete arrangement is attached to this paper as an appendix; due to the need to develop
additional analytical syntax to represent these analyses on the score, graphical analysis will be postponed to a later
point in this paper.
The first eight measures of the arrangement are based on the “Something’s Odd” motive (presented as example
1 on page 2 above). The first thing that is immediately obvious is that this motive is not pure planing of minor triads,
and that the Tarnhelm progression is not used in this motive. This may not be entirely surprising; given the title of
the motive as “Something’s Odd”, this motive, which functions as a kind of introduction to the arrangement, behaves
rather like foreshadowing, and the direct use of a motive representing evil and a primary antagonist might be a bit
much.
On the other hand, the Minor Tritone Progression, as a representative of dark magic, would make perfect sense
here. In its most prototypical form, it is absent, but already on the second beat of the arrangement, we have a C-sharp
in the melody, which is the S4 scale degree that is the Minor Tritone Progression’s most salient feature, suggesting
that we should perhaps look a little closer. The first chord is a G-minor triad, meaning that the next required chord
would be C-sharp-minor; instead, we get (based on spelling and voicing) an F-augmented triad. However, augmented
triads are, of course, symmetrical, and since the arrangement as a whole is not particularly respectful of chord
inversions, this chord can be just as easily identified as C-sharp-augmented; this is a tritone progression, at least, even
if it is not exactly the one we were expecting. Additionally, it is also interesting to note that an augmented triad is
NACE 18
only a semitone away from a minor triad – which means that it is only a semitone away from the minor triad planing
we were looking for.
The second half of the motive behaves in very much the same fashion, except that virtually all the chords are
expanded to augmented triads; while the first phrase was based around G-minor, the second phrase is dominated by
D-flat-augmented, which could be interpreted as a D-minor triad expanded by lowering the tonic by a semitone;
under this description, the G-sharp in the following C-sharp-augmented triad would constitute a S4 scale degree
by comparison.
By comparison, the “Evil Rising” motive (presented as example 2 on page 3 above) is shorter, just a single four-
measure period (beginning measure 11), but it is easier to deal with. The first measure consists of an alternation
between G-minor and E-flat-major – not quite the Tarnhelm we are waiting for, but close. Also, the decorative chords
in between, which serve to harmonize an escape tone, are A-dominant-seventh chords (without their fifths), which
again carries the S4 scale degree, and is reasonably close to, but not quite, a Minor Tritone Progression. The
second measure is not particularly interesting either, unless we count the diminished triads as approximately minor
for the purposes of chromatic planing (they both share a minor third, but this is a stretch).
The third measure is effectively a repeat of the first. More importantly, however, the fourth measure of this
motive, which serves as the full cadence of the period, consists of an E-flat-minor triad resolving to a G-minor triad –
at last, a clear and indisputable Tarnhelm Progression; from this point, the Tarnhelms, while not as ubiquitous as
might have been expected, begin to turn up with substantially greater frequency. Also of note is the A-diminished
triad that decorates the E-flat-minor triad; here, the A root is a clear S4 relative to the E-flat, and notwithstanding
the diminished fifth of the triad, is once again a fair approximation of the Minor Tritone Progression.
The overall harmonic plan of this motive is | i | vii - i | i | svi - i |. This contains
an interesting element not yet seen as an element of Williams’ style, but which will recur in this arrangement: the use
NACE 19
of the minor triad (rather than a diminished triad) on the leading tone as a substantial harmony, behaving as a kind
of weak dominant. It alternates with the minor tonic, so it is a fair candidate for the description T±11e.44
With the “Voldemort” motive proper, we begin to see much of what we expected. It shares a similar overall
harmonic design to the “Evil Rising” motive: | i - - - sii | i - vii - i | i
- - - sii | i - svi - i |. In both motives, the basic design is a measure of minor

tonic, a measure controlled by a leading-tone minor triad, another measure of tonic, and the final measure cadencing
on the Tarnhelm progression. This motive, however, also includes the Neapolitan Minor previously seen in the Ark
Theme of Raiders of the Lost Ark and in Section III of Hedwig’s Theme from Harry Potter; this progression is T± 1e, and
serves as a balance for the T±11e of the leading-tone minor.
No evidence of the minor tritone progression this time, though. There are plenty of C-sharps ( S4), but this
time, they are the result of planed minor triads, which are ubiquitous even among the passing tones (all of which are
instances of T1 and T11), certainly for the antecedent phrase, and also to a lesser extent in the consequent phrase, in
which a few of the passing tones are replaced by less easily classifiable chords (but the C-sharp remains common).
Immediately following the presentation of the primary theme of “Voldemort”, a two-measure secondary theme
is presented that will serve for developmental material (Example 10). This theme is characterised by semiquaver
triplets (which had previously been seen as simple connective material in the bassline of “Evil Rising” and the primary
theme of “Voldemort”). Other than being the source of development, the secondary theme itself is not particularly
interesting, but it does contain a rather substantial and interesting Tarnhelm progression; this Tarnhelm is an
illustrative case because it operates on the subdominant (i.e., iv – sii rather than i – svi),
44
This progression also joins with the Neapolitan Minor and the hexatonic pole as the three Extravagant Relations
(see Cook 2005, loc. cit. f.n. 10 supra), all of which appear as significant relationships in the Voldemort arrangement,
as will be seen.
NACE 20
yet is still clearly a Tarnhelm based on its chord qualities and root distance, and it still used to evoke the same affective
associations.45
Example 10 Theme II of Voldemort
This second theme serves as the source of development for the remainder of the arrangement; it contains a
substantial Tarnhelm progression prolonging a pitch-level other than the tonic (in this case, a plagal subdominant).
“Voldemort” then returns to the primary theme for one more phrase that begins parallel to the original
antecedent, but cadences differently from either of the previous two iterations: this da capo cadences from E-flat-
Italian-sixth to G-minor. This is quite similar to the Tarnhelm Progression, in that the penult begins on the lowered
sixth (i.e., root motion is by T8); however, the penult is not a minor triad; it is, in fact, an augmented sixth chord (not
only in terms of quality, but also in terms of position relative to the tonic). As an augmented sixth chord, it is
somewhat unusual that it does not resolve to the dominant, but rather to the tonic; however, augmented sixth chords
frequently resolve through the tonic to the dominant, and this is very much in the spirit of neo-Riemannian theory:
chords are defined by immediate motion between subsequent chords (governed by voice-leading), rather than long-
term motion governed by function. (It could also be described as implying a dominant that is ultimately skipped).
It is, of course, little more than an extended leittonwechsel,46 and it is possible to identify the chord as a
dominant seventh chord rather than an augmented sixth chord (we have thus far not been shy about enharmonic
reinterpretations compared to the given score). However, leaving it as an Italian sixth chord draws attention to one
45
This was previously seen in the Ark theme from Indiana Jones: Raiders of the Lost Ark – see example 9.
46
The use of a leitonwechsel as a variant on a previously presented Tarnhelm as the end of a theme approaches was
previously seen in the Imperial March (highlighted in red in Example 5 above).
NACE 21
important fact for our analysis: it contains a S4. This chord blends elements of both the Tarnhelm and the tritones
that we have been tracking as elements of Williams’ style for antagonists. It hardly needs to be said that the earlier
portion of the phrase (which parallels the antecedent) still displays the planing, Minor Leading Tone and Neapolitan
Minor progressions that I have proposed as additional elements of Williams’ style.
The next seven measures represent a brief development, based primarily upon the “Voldemort” motives. It
contains one Tarnhelm, several near-Tarnhelms, and a reasonable prominence of S4, as well as additional
examples of the same Italian sixth progression just described.
Following this, there is a kind of recapitulation, with another presentation of the “Something’s Odd” motive;
however, the pitch-level of the melody is a minor third lower (beginning on the tonic, rather than the mediant), with
an accompanying reharmonization. This time, the chord alternation with the tonic G-minor is D-augmented – only
one semitone away from the E-flat-minor chord needed to produce the Tarnhelm progression, but rooted at a true
dominant, which is to be expected as we approach the final cadence of the arrangement.
A partial restatement of the “Voldemort” motive follows, eliding (via another Tarnhelm) into a four measure
extended final cadence that contains virtually every characteristic discussed over the last few pages: a Tarnhelm, a
Minor Leading-Tone, lots of S4s, an Italian sixth, and even a Hexatonic Pole, along with the one and only true
dominant seventh chord in the arrangement (which does, in fact, resolve correctly as an authentic cadence).
Section V Summary: The Voldemort arrangement does, indeed, contain the previously identified elements of
Williams’ style (viz., the Tarnhelm and approximations on the Minor Tritone Progression, perhaps better defined as
the ubiquity of S4 in tonally uncharacteristic forms), in progressively denser concentrations as the arrangement
progresses towards a characteristically evil climax. It also contains some degree of the minor triad planing that I have
identified in Williams’ other work, especially the use of the Minor Leading-Tone triad and the Neapolitan Minor triad,
as well as the developmental reharmonization of a Tarnhelm into a more traditional leitonwechsel.
NACE 22
VI. OTHER ANALYTICAL TECHNIQUES
Although we have developed a whole new notation for identifying absolute progressions, there is no doubt that
the fundamental methodology is an extension of a neo-Riemannian philosophy, and it shares some of the fundamental
limitations of neo-Riemannian theory. For instance, the methodology discussed thus far is limited to major and minor
triads. It does not accommodate augmented or diminished triads, nor any form of seventh chord. This is because of
a fundamental assumption built into most forms of transformational theory, and made explicit in David Lewin’s
manifesto of Transformational Theory, Generalized Musical Intervals and Transformations. 47 Lewin gives the
following definition:
What this effectively says is that a transformation (and also, the more restrictive operation) changes an object
into another object within the same family (sc., of the same kind); neo-Riemannian operators are transformations
(and indeed, operations) of this kind because they operate on the group of all twenty-four equal-tempered major and
minor triads – the elements of set class 3-11 (037) – and produces the same group of twenty-four equal-tempered major
and minor triads. In this context, augmented and diminished triads cannot be achieved in neo-Riemannian theory
because they are elements of a different set class – hence, any transformation upon the group constituted by (037)
that would produce an augmented triad [set class 3-12 (048)] or a diminished triad [set class 3-10 (036)] – or, for that
matter, seventh chords – would violate the condition of group closure. What is needed in order to allow a
transformation between major/minor triads and augmented/diminished triads is to widen the original family S (from
Lewin’s definition) to include (037), (036), and (048).
A. Klumpenhouer Networks
One of the more common methods for relating sets of differing set-classes is through Klumpnhouer Networks
(henceforth K-Nets). In a K-Net analysis, a set is divided into two subsets; the notes within each subset are
interrelated by transposition, while the two subsets are related to each other by a pair of inversions. The point of the
47
Lewin, David. Generalized Musical Intervals and Transformations. (New Haven: Yale University Press, 1987).
48
ibid., 36.
NACE 23
analysis is to identify an isography – which generally means that the transposition labels are the same and the
inversion labels are related to each other in the same way (that is to say, if the two inversions in the first set are In and
Im, then the two inversions in the second set are In+C and Im+C, where C is common to both). Then, the transformation
labelling the isography is <TC>. An alternative, roughly equivalent definition, is that a K-Net is a dual transposition
of a split set (i.e., the two sets are transposed by distinct and potentially differing indices). 49
K-Nets can be a very useful way to relate otherwise unrelated sets; however, it has not been typical to use K-
Nets to analyse tonal or near-tonal music. The reason for this is not difficult to suppose. Both major and minor triads
contain a perfect fifth; suppose that we select the perfect fifth as one subset (in which the two notes are related by
T7); then the chordal third would be the remaining subset, linked by the pair of inversions. If we move from a major
triad to another major triad, then both the perfect fifth and the chordal third will transpose by the same distance, and
the relationship will be the same. Since the index of inversion is equivalent to the sum of the two pitches involved in
the transformation, the index of transposition for the two pitches is summed (which means, effectively, that the index
of transposition is doubled). A similar relationship holds for inversion, as is summarised below.
Figure 1 Correspondence on TnI to <Tn>
Same Mode: Tn = <T2n> Major-Minor: TnP = <T2n-1> Minor-Major: TnP = <T2n+1>
Transformations between consonant triads of the same type are doubled to reach the isographic label; those of
opposite kinds double and then increase or decrease by one, depending on direction.
Clearly, then, selecting the perfect fifth as the common interval for a K-Net analysis is superfluous; it is
effectively equivalent to a TnI label, except that it is less precise. A similar argument can be made for the neo-
Riemannian operators, corresponding to the idea of selecting either the minor third or the major third to preserve,
while transposing the uninvolved pitch. These labels effectively describe the number of semitones shifted by the
single note that moves, as is summarised below.
Figure 2 Correspondence of K-Net Isographies to neo-Riemannian Operators
P L R
Minor to Major <T1> <T1> <T10>
Major to Minor <T11> <T11> <T2>
49
O’Donnell, Shaugn, “Klumpenhouer Networks, Isography, and the Molecular Metaphor”, Intégral 12 (1998): 53-80.
NACE 24
K-Net isographies equivalent to neo-Riemannian operators effectively describe the number of semitones moved by
the single moving pitch.
Once again, the K-Net analysis is both superfluous and less detailed than the neo-Riemannian analysis. In
generally, and certainly for trichords, a K-Net isography selects a single subset as a benchmark, and disregards the
transposition of that subset, then measures the relative transposition of the second set compared to its original
relationship to that benchmark – it is thus a kind of measure of voice-leading parsimony; it will tell us nothing about
major and minor triads that a neo-Riemannian transformation, combined with a transposition, will not tell us. Hence,
a K-Net analysis is of little value in a piece that uses exclusively major and minor triads.
However, the Voldemort arrangement uses set-classes other than (037). It is worth considering whether or not
the K-Net analysis would reveal anything new. I have therefore subjected the arrangement to a K-Net analysis; a
representative portion of that analysis is given of in Figure 3.
The complete analysis is not provided because it failed to reveal any useful patterns beyond those already
revealed by the analysis already described, and it is, of course, these patterns that are the purpose of a K-Net analysis.
However, this does not mean that the K-Net analysis was entirely unrevealing. Indeed, the very fact that it is possible
to perform a “complete” K-Net analysis is itself revealing. Not just any two sets will form a K-Net isography; therefore,
the fact that every single pair of adjacent chords in the Voldemort arrangement can form an isography is an important
observation. To begin with, the most obvious (if slightly banal) observation is that the entire arrangement is
exclusively a three-voice texture; although there are no small number of seventh chords, they are all incomplete; the
same goes for the few sets that do not clearly correspond to traditional common-practice chords.
More interestingly, it speaks to certain tendencies of Williams’ style, not so much in terms of what he chooses
to do, but rather, in terms of what he chooses not to do. Although Michael Buchler notes that most trichord set-
classes are able to form isographies with most other trichord set-classes,50 one important exception is the combination
of augmented and diminished triads; no isography is possible between augmented triads and diminished triads,
because they do not share a single interval in common. Although Williams makes substantial use of both types of
sonorities, he never uses them back to back. Similarly, although he uses a few unconventional chords, he also does
not use them back to back. In the same way, although the seventh chords are incomplete, the missing notes do not
50
Buchler, Michael, “Reconsidering Klumpenhouwer Networks”, Music Theory Online Vol. 13, No. 2 (2007); par. 36.
NACE 25
prevent the selection of a common interval class upon which to base an isography. And in spite of the amount of
dissonance Williams uses, he never uses any dissonant chord that does not contain at least one common abstract
interval with the previous and following chords (which, in this case, means that he never uses chords dominated by
tritones or semitone clusters). In short, all of Williams’ chords share common abstract intervals with the surrounding
chords.
B. Augmented and Diminished Triads in Neo-Riemannian Theory
Another approach would be to extend neo-Riemannian transformations to accommodate the other set-classes.
Although it would be quite simple to proclaim, “Let there be a transformation from a major triad to an augmented
triad!”, for most methods of doing so, we would not see that it was good. In traditional Roman numeral analysis,
labelling chords is barely the first step; true analysis begins after the chords have already been labeled. Likewise, in
Transformational analysis, the mere labelling of transformations does not, of itself, constitute a valuable analysis; the
more valuable analysis is the identification of patterns or allusions guiding the selection of transformations. It follows,
then, that for a newly defined transformation to be of value, it should be capable of participating in the same kinds of
patterns.
Two of the three neo-Riemannian operators, the parallel and the leittonwechsel, share the basic characteristic
that it is possible to transform from a major triad to a minor triad with only a single semitone change (parallel by
mode-reversing the chordal third, leittonwechsel by exchanging the root of a major triad for the fifth of a minor triad).
The same can be said of converting either major or minor triads into either augmented triads or diminished triads. A
major triad is transformed into an augmented triad by raising the chordal fifth, and the minor triad is transformed
into an augmented triad by lowering the root; similarly, the major triad is transformed into a diminished triad by
raising the root, and the minor triad is transformed into a diminished triad by lowering the fifth. As a consequence,
it is possible to step from a major triad to a minor triad by passing through an augmented or diminished triad en
route, by retaining the third, and altering the root and the fifth one at a time; both of these are essentially equivalent
to Lewin’s SLIDE transformation, with the modality (augmented or diminished) of the intermediate step determined
by which chord tone (root or fifth) is altered first. With respect to the augmented triad, this observation is clearly
NACE 26
apparent in the Cube Dance figure presented by Douthett and Steinbach,51 which links each augmented triad to three
major and three minor triads (three in each of two adjoining hexatonic systems).
Figure 3 Cube Dance
Reproduced from Douthett and Steinbach (1998), Figure 9 (p. 254), with annotations added [blue] identifying the
hexatonic systems.
In order to proceed with an analysis, we need to do two things: (a) we need to define the transformations that
will take us from major and minor chords to augmented and diminished chords in a way that is consistent with the
behaviour of the other neo-Riemannian operators (ideally in terms of the parsimony described above); and (b) we
need to redefine the existing neo-Riemannian operators so that they can operate upon augmented and diminished
51
Douthett, Jack, and Peter Steinbach, “Parsimonious Graphs: A Study in Parsimony, Contextual Transformations,
and Modes of Limited Transposition”, Journal of Music Theory 42.2 (1998): 241-63.
It is not clear how this diagram should be cited. Douthett and Steinbach credit its name to Carol Krumhansl “at the
1993 meeting of the SUNY-Buffalo Working Group,” (Douthett and Steinbach 1998, 262, f.n. 11), but they do not credit
its conception, nor is it clear who should be credited with the first published description. It is also described by
Richard Cohn a few pages later in the same journal:
Richard Cohn, “Square Dances with Cubes”, Journal of Music Theory 42.2 (1998): 283-296.
NACE 27
chords in a way that is analogous to the way that they operate on major and minor triads and yet is consistent with
the existing definitions.
There are multiple ways to define and conceptualise the three standard neo-Riemannian operators that all
produce effectively the same result. If we focus on function, then R transforms a major triad to into its relative minor
and a minor triad into its relative major. If we focus on voice-leading, then R preserves the lower third of a major
triad and shifts the fifth up by a tone, while it preserves the upper third of a minor triad and shifts the root down by
a tone. If we take the contextual inversion approach, then R causes a triad to invert such that the major third maps
onto itself.
However, to make these transformations compatible with augmented and diminished chords, they must be
redefined exclusively with reference to the characteristics shared by all. The characteristics common to major, minor,
augmented, and diminished triads are: (a) they contain only three tones, arranged in thirds; and (b) the thirds that
make up the chords are exclusively major and minor thirds. Although there are several possible ways to define the
neo-Riemannian operators on these terms, the simplest and most intuitive is along the lines defined by Hook as
uniform triadic transformations. For Hook, the neo-Riemannian operators can be defined as <-, ±n> such that
P = <-, ±0>, L = <-, ±4>, and R = <-, ±9>. To extend these operators to apply to augmented and diminished triads, we
need to specify the following properties: (1) augmented triads are approximately major (by virtue of the major third
between root and third), and so will take the positive transposition, as major triads do; (2) diminished triads are
approximately minor (by virtue of the minor third between root and third), and so will take the negative transposition,
as minor triads do; and (3) mode reversal means to switch all major thirds to minor thirds, and all minor thirds to
major thirds, while keeping the root static.
This definition, of course, has no impact on the application of the neo-Riemannian operators to major and
minor triads, and creates an equivalent set that looks very similar for augmented and diminished triads: root motions
are equivalent, they contain mode-reversal between them (without overlapping with major and minor triads), and
they are all involutions; it is likewise possible to generate all twenty-four possible augmented and diminished triads
through repeated application of the RL transformations in a cycle. The one difference is that they are not
parsimonious (parsimony in the sense of a single semitone shift between chords is not possible between augmented
and diminished triads), but they do create the most efficient types of voice-leading possible between these types of
chords.
NACE 28
All that remains is to define transformations to move from major and minor to augmented and diminished,
and vice-versa. The simplest solution here is a half-mode-reversal; that is to say, we reverse the mode of one third,
but not the other. We will define the transformation α (alpha) to mean that the upper third (compared to the root,
not the voicing) is reversed while the lower third is preserved, and β (beta) to mean that the lower third (sim.) is
reversed. Thus, applying both α and β in sequence would result in a complete mode reversal as found in the traditional
neo-Riemannian operators. These operators behave in equivalent but opposite ways on each type of
major/augmented and minor/diminished triads, so that it becomes possible to move from any triad type to any other
triad type (ignoring root motion)52 in a single transformations. Table 1 summarises the actions of each transformation
on each type of triad:
Table 1 Effects of Redefined Neo-Riemannian Operators on All Triad Types
C+ C c co
P co c C C+
L eo e A≤ A≤+
R ao a E≤ E≤+
α C C+ co c
β c c≥o C+ C≤
Combining α and β to either a major or minor triad, regardless of order (sc.,regardless of whether we pass
through an augmented triad or a diminished triad), produces the SLIDE transformation (sometimes denoted S).
However, since the augmented triad is symmetrical, and since neo-Riemannian theory takes no account of roots,
through the concept of double-emploi, we can transform into an augmented triad, then redefine the root, and
transform out in a different direction (this can be notated simply as γ for first inversion, and γ’ for second inversion,
52
It is, of course, possible to combine these operators with a transposition level, as in the tradition neo-Riemannian
operators, to create pairs of half-mode-reversing transformations that combine to be equivalent to each of P, L, and
R, but there is little point creating six transformations when two will suffice.
NACE 29
if they need to be notated at all),53 resulting in two other possible outcomes: the Nebenverwandt (N) and the
equivalent of the Relative transformation (αγ’β[C] = γ’β[C+] = β[A≤+] = a = R[C] ■). This latter observation is quite
useful, as it gives us a convenient way to represent α and β on the Tonnetz, while simultaneously solving an existing
critique of the Tonnetz: that motion along two axes (P and L) are parsimonious, but motion along the third (R) is not.
The solution is to add infinitely long strips along the R axis that represents the augmented triad, such that performing
the R transformation involves passing through the augmented strip first; I say infinitely long strips because of the
symmetry of the augmented triad, which makes it possible for one to step into the augmented strip from one adjacent
triangle, and step out of it in any other adjacent triangle, no matter how distant, while still counting only two steps
(as far as parsimony is concerned). Figure 4 shows this this extended Tonnetz.
Figure 4 Extended Tonnetz
This extended version of the Tonnetz shows the augmented triads a strips dividing triads from their Relative
transformations. These strips behave as though infinitely long, such that one can enter an augmented an
augmented strip from near the bottom of the Tonnetz and come out of it from near the top just as easily as entering
it and leaving it at the same level (as with a Relative transformation) and count it as the same distance in terms of
voice-leading parsimony. This is effectively a kind of equivalent representation to the Cube Dance diagram,
unfolded and laid out as a net; as such each coloured diagonal row represents one of the hexatonic systems (labelled
above, according to the traditional cardinal directions).
Passing through the diminished triad does not display this property. Although the diminished triad is
symmetrical within itself, it does not evenly divide the entire octave, and so the root is distinct (unlike the diminished
53
I am using the letter γ (gamma) to represent rotation, rather than the more traditional R, because the use of R
conflicts with the usage of R for the Relative transformation.
NACE 30
seventh chord – we will deal with seventh chords shortly). As such, there is always one clear root of a diminished
triad, and so applying α and β consecutively always results in the same SLIDE transformation. For simplicity, for the
purposes of tracing a path on the Tonnetz as a spatial network, we can represent this diminished chord as overlapping
with the node across which the SLIDE transformation proceeds – the node representing the pitch that is held common
between the two chords (the chordal third). Figure 5 shows the extended Tonnetz with the labels removed, which
gives a clearer view of this Tonnetz.
Figure 5 Simplified Extended Tonnetz
This depiction of the Tonnetz is simplified by having the labels removed; in addition, the nodes where chords meet
represent diminished triads. This diagram allows for a clean spatial network upon which a path can be traced that
incorporates augmented and diminished triads along with the major and minor triads.
C. Seventh Chords
Having solved the challenge of incorporating augmented and diminished triads into the analysis in a way that
is sufficiently consistent as to be able to generate pattern-based insight, we now turn to the problem of incorporating
seventh chords into the analytical system (with the same provision). The solution to this problem is not so
convenient; unlike augmented and diminished triads, with same the same set cardinality as major and minor triads,
seventh chords have a greater cardinality. How do we transform a trichord into a tetrachord in a way that is
analytically insightful when combined with the neo-Riemannian operators and related transformations that will form
the bulk of the analysis?
NACE 31
There have been a variety of attempts to extend the techniques of neo-Riemannian analysis (and related
systems) to accommodate seventh chords by Adrian Childs,54 Edward Gollin,55 Hook,56 and Douthett and Steinbach;57
however, the limitation of these is that they generally deal with relationships between seventh chords, without
approaching the problem of how to get from a triad to a seventh chord. A few authors have approached the problem,
usually as stop-gap measures in the context of papers dealing with other topics, but these solutions have not been
entirely convincing, and have not caught on as any kind of standard methodology. For instance, Lehman simply deals
with them as “near transformations”, and labels them *f (where f represents the transformation being approximated,
which is usually reckoned by truncating the seventh chord into a triad).58
Hook deals with the transition from triads to seventh chords through his “inclusion” transformation
(symbolized by ). This transformation maps any member of set-class (037) onto the unique member of set-class
(0258) that contains it59 – in simpler terms, a major triad is mapped onto a dominant seventh chord with the same
root, and a minor triad is mapped onto the half-diminished seventh chord that shares a dualist root (i.e., adds an
under-seventh to the minor triad). In both cases, from a dualist perspective, the impact is simply to add a minor
seventh to the existing triad.
A draw-back to this solution is the arbitrary decision to limit transformation from triads to seventh chords so
that they always move to members of (0258). Minor seventh chords are arguably more common and useful, so it is
curious to prefer the half-diminished variety – though his choice may be related to the fact that this set is a minimal
perturbation of the symmetrical diminished seventh chord, just as (037) is a minimal perturbation of the symmetrical
augmented triad, to which Cohn attributes their high degree of voice-leading smoothness.60
54
Childs, Adrian, “Moving Beyond Neo-Riemannian Triads: Exploration a Transformational Model for Seventh
Chords”, Journal of Music Theory 42.2 (1998): 181-93.
55
Gollin, Edward, “Some Aspects of Three-Dimensional Tonnetze”, Journal of Music Theory 42.2 (1998): 195-206.
56
Hook 2002, esp. 116-8; he revisits the same analysis from a slightly different direction in:
Julian Hook, “Cross-Type Transformations and the Path Consistency Condition”, Music Theory Spectrum 29 (2007):
1-3; his notation varies somewhat in the latter article.
57
Douthett and Steinbach 1998, esp. 255-6.
58
Lehman 2012a, ix.
59
Hook 2002, 117-8; Guy Capuzzo follows Hook’s lead in his article of neo-Riemannian analysis of pop music:
Capuzzo, Guy, “Neo-Riemannian Theory and the Analysis of Pop-Rock Music”, Music Theory Spectrum Vol. 26, No. 2
(2004): 177-200; 191-2.
60
Cohn, Richard, Audacious Euphony: Chromaticism and the Triad’s Second Nature. Oxford: Oxford University
Press, 33-37.
NACE 32
Hook’s example does, however, provide a useful clue toward a better definition. Hook is analysing the so-called
omnibus progression. This progression harmonizes a descending chromatic scale in groups of three chords for which
two voices are obliquely preserved and the remaining voice moves chromatically upwards (i.e., contrary motion). This
produces a single triad followed by two dominant seventh chords; the cycle then repeats a minor third lower (see
Figure 6).
Figure 6 The Omnibus Progression
Adapted from Hook 2002, Figure 12. The truncated triad of each seventh chord is related to the adjacent seventh
chord by leittonwechsel; the seventh chords are then generated from these triads by the inclusion operation. Notice
that the two F-seventh chords on either side of the A-minor are produce by chromatic voice exchange.
What is most interesting about this progression may not be the leittonwechseln and inclusion operations that
Hook is drawing attention to, but rather the chromatic voice exchange that occurs from a seventh chord, through a
minor triad, to the next seventh chord, which is of the same type, but moves from root position to third inversion;
this voice exchange moves through the leading tone (for which the leittonwechsel is named), but it also displays a
critical observation: it is not merely a trichord, but rather a four-note multiset with three pitch-classes, one of which
is doubled. The voice exchange through a shared passing tone is one of the time-honoured techniques of tonal theory,
and one of its most obvious characteristics is that two voices in harmony with each other at both the beginning and
end of the exchange temporarily come together to a unison (sc., they are temporarily not harmonizing each other).
In the omnibus progression above, it is through this process that a measure of harmony is lost and then regained –
that is, the cardinality of the set-classes is first decreased, then increased again. We shall return to this point.
Another possible solution for transforming through sets of differing cardinalities is proposed by Clifton
Callender (though his transformations are more broadly applicable to other problems in voice-leading) in the form of
NACE 33
SPLIT and FUSE transformations.61 The idea here is that a single note can be split into two, with one a semitone above
the original, and the other a semitone below, while a pair of notes a whole-tone apart can be fused into a single note
halfway between the two. Callender demonstrates his concept in pitch space, rather than pitch-class space, so his
splitting and fusing always occur from a second to a unison, rather than a tenth or sixth to an octave, but extending
the concept into pitch-class space and applying these two transformations to the omnibus progression of Figure 6,
the root and seventh of the root-position seventh chord can be FUSEd to the leittonwechsel triad, the fifth of which
is then SPLIT in the opposite direction to achieve the third inversion seventh chord (and the completion of the voice
exchange). Once again, a possible interpretation of the SPLIT operation is that we are not so much creating a new
note as we are taking two previously existing notes that were locked in unison and separating them out into distinct
streams (and vice-versa for FUSE).
Both of these methods imply a more general solution to the seventh chord problem, which comes from carefully
examining neo-Riemannian analysis in its origins and applications, and observing what is not required in order for a
neo-Riemannian analysis to be valid. First, we must note that there has never been a stipulation that a passage consist
of a pure, three-part texture of complete triads with no doublings; subsequently, we must observe that although voice-
leading [approximate] parsimony is a property of the neo-Riemannian operators in the abstract sense (and it tends to
have been the mechanism by which passages benefitting from neo-Riemannian analysis have arisen), it has never
been a strict requirement that the chord progressions so analysed actually be realised parsimoniously; a corollary of
these two observations is that there is no obligation to lead a doubled tone in the same way in both voices. As a
simple example, it is entirely normative to have a four-part texture in which the three upper voices move
parsimoniously, while the bass line doubles the root of each triad (and consequently does not move in the same way
as the same pitch in the upper voices, nor does it move parsimoniously). This is demonstrated in Figure 4.
Figure 7 A Simplified but Normative Neo-Riemannian Passage
61
Callender, Clifton, “Voice-Leading Parsimony in the Music of Alexander Scriabin”, Journal of Music Theory Vol. 42,
No. 2 (1998): 219-33; esp. 224-226.
NACE 34
This passage is a portion of the LR cycle. It is completely normative in its realisation: the majority of the voice-
leading is [approximately] parsimonious (particularly the upper three voices), but the bass line consists of a
doubling of the chord roots; it does not move the same way as the voices that it doubles, and it is non-parsimonious.
It is only a small step beyond these observations to recognise that any pitch in the chord, and perhaps all the
pitches, could be assumed to be doubled, and that there is no reason why any one pair of doubled pitches ought to
move in the same way. What we have, instead, is two (or, in principle, even an infinite number of) identical triads,
locked together – as with the pitches that Callender splits and fuses – and we simply chose to separate these triads
and apply to them two different triadic transformations. For instance, to create the omnibus progression of Figure 3,
we begin with a C-minor triad, and split it into two copies; with one, we perform a leittonwechsel (to produce A-flat-
major), and with the other, we perform an α transformation (to produce a C-diminished triad); the composite of these
𝛼
two triads is an A-flat-dominant seventh triad. We can represent this transformation thus: [ ].
𝐿
This approach also provides us with a methodology for moving between seventh chords using the traditional
neo-Riemannian operators (it is important that we should use these traditional operators, as it is in this way that we
will be able to draw significant insights about transformations, irrespective of set-class cardinality). To accomplish
this, we simply recognise that a seventh chord is merely a pair of triads that overlap by two pitches. The
transformations in question, then, are merely the transformations that map the two triads of the first chord onto the
two triads of the second chord. Note that this need not mean mapping the upper triad onto the upper triad and the
lower triad onto the lower; there is, in principle, no reason why the two triads shouldn’t switch places. In examining
the nature of voice-leading, Joseph Strauss argues in favour of a concept that he calls total voice-leading62 - a measure
of all the possible intervals between each note of the first sonority and each note of the second sonority, expressed as
62
Strauss, Joseph, “Total Voice Leading”, Music Theory Online Vol. 20, No. 2 (2014).
NACE 35
a multiset of intervals. Since neo-Riemannian transformations are effectively voice-leading constructs, we can
reasonably apply the same procedure for labeling the multiple transformations between seventh chords: provide
transformations from each component triad to each component triad, using a matrix notation. For instance, moving
from ii& to V&, the upper triad of ii& moves to the upper triad of V& via RPRα and the bottom moves to
the bottom via LRP; additionally, the top moves to the bottom via LRLR and the bottom to the top via PRα. We can
𝑅𝑃𝑅𝛼 𝐿𝑅𝐿𝑅
thus represent the transformation as [ ], where the transformations take the following arrangement:
𝐿𝑅𝑃 𝑃𝑅𝛼
𝑡𝑜𝑝 𝑡𝑜 𝑡𝑜𝑝 𝑡𝑜𝑝 𝑡𝑜 𝑏𝑜𝑡𝑡𝑜𝑚
[ ]. In this notation, the first three transformations of the omnibus progression are
𝑏𝑜𝑡𝑡𝑜𝑚 𝑡𝑜 𝑏𝑜𝑡𝑡𝑜𝑚 𝑏𝑜𝑡𝑡𝑜𝑚 𝑡𝑜 𝑡𝑜𝑝
given in Figure 5.
Figure 8 The Omnibus Progression in Matrix Notation

𝜶 𝑷𝑹 𝜷𝑹𝑳 𝜶
[ ] [ ] [ ]
𝑳 𝑳𝑷 𝜷 𝑳
cm ----------- Ab7 ----------- F7 ----------- am
This is one possible interpretation of the omnibus progression in matrix notation; notice that the
progression both begins and ends with the same transformation, and that the middle matrix provides
two possible interpretations of the transformation between the two seventh chords, either one of which
(or potentially both) may prove insightful, depending on the context.
Notice that although this method was developed for use with neo-Riemannian transformations, there is no
particular reason why it ought to be restricted to them. An authentic cadence of V& - I could easily be described
𝛽𝑇
in this form as [ 2 ].
𝐷𝑂𝑀
VII. THE ANALYSIS
With the architecture in place, it is now possible to perform a complete analysis of the Voldemort arrangement.
This analysis will be primarily graphical in nature, and will be divided into seven sections. Each section will be drawn
on an extended Tonnetz, as a special network that shows exclusively neo-Riemannian transformations; a few liberties
are taken with respect to augmented triads in the same family in order to make the analysis easier to read. Heavy
dashed lines lead from one instance of a chord to another instance of the chord elsewhere in the network (i.e., the
identity transformation). Below the Tonnetz, the analysis is re-interpreted as an event network. In general, each
NACE 36
measure will begin a new line (though in a few cases, two measures are placed on one line for space reasons); chords
that appear off the main line are embellishing chords; heavy dashed lines are again identity transformations, and light
dashed lines represent other relationships between important chords (relationships that are otherwise obscured by
the embellishing chords).
In general, neo-Riemannian transformations will be used when the relationship is close; for larger
transformations, TnP relationships will be used; T nP labels will also be used for the absolute progressions discussed
earlier in this paper; and DOM and SUB transformations are used only where the functions implied by them appear
to have any meaning. Transformation labels are colour-coded to help identify related transformations. In particular,
Tarnhelm progressions (and progressions similar to Tarnhelm progressions, especially those whose off-tonic chord
begins on the correct root) are shown in red; progressions emphasising the S4 (especially tritone root
relationships) are shown in cyan; minor leading tone progressions and Neapolitan minor progressions are given in
magenta; and identity transformations and rotations of augmented triads are given in green.
[This space intentionally left blank]
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VIII. CONCLUSIONS
Although it is difficult to draw conclusions from this rather fragmentary piece, these analyses have shown that
the characteristics that we have been tracking – the Tarnhelm, the S4 of the tritone progressions, the minor
leading-tone, and the Neapolitan minor progressions (and approximations thereof) – permeate the Voldemort
arrangement; this becomes even more apparent given the newly acquired ability to track related progressions with
augmented and diminished chords, as well as tracking both the lower and (more importantly) the upper portions of
seventh chords.
Another interesting detail that becomes apparent from the analyses on the extended Tonnetz is that,
throughout this arrangement at least, Williams seems to favour certain hexatonic systems: obviously, he most
strongly favours the Eastern system (in which the tonic is found); as we progress clockwise around the systems,
Williams uses each new system less than the previous, scarcely drawing chords from the Northern system at all;
Williams seems to avoid moving counter-clockwise (upstream, as it were) around the systems, an observation not
predicted prior to this analysis. Although this is only a single arrangement, and it would certainly be necessary to
look for these new features – the minor leading-tone progression, the Neapolitan minor progression, minor triad
planing, and a certain polarity with respect to the hexatonic systems – in other scores; however, I feel that I can
reasonably suggest these as potential elements of Williams’ style for Antagonists themes.
NACE 45
IX. BIBLIOGRAPHY
Bribitzer-Stull, Matthew. “From Nibelheim to Hollywood: The Associativity of Harmonic Progression”. In The Legacy
of Richard Wagner: Convergences and Dissonances on Æsthetics and Reception. Edited by Luca Sala (Lucca:
Turnhout, 2012): 157-183.
Buchler, Michael. “Reconsidering Klumpenhouwer Networks”. Music Theory Online 13.2 (2007).
Callender, Clifton. “Voice-Leading Parsimony in the Music of Alexander Scriabin”. Journal of Music Theory 42.2 (1998):
219-33.
Capuzzo, Guy. “Neo-Riemannian Theory and the Analysis of Pop-Rock Music”. Music Theory Spectrum 26.2 (2004):
177-200.
Childs, Adrian. “Moving Beyond Neo-Riemannian Triads: Exploration a Transformational Model for Seventh Chords”.
Journal of Music Theory 42.2 (1998): 181-93.
Cohn, Richard. “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triad
Progressions”. Music Analysis 15.1 (1996): 9-40.
-----------------. “Square Dances with Cubes”. Journal of Music Theory 42.2 (1998): 283-296.
-----------------. “Uncanny Resemblances: Tonal Signification in the Freudian Age”. Journal of the American
Musicological Society 57.2 (2004): 285-324.
-----------------. Audacious Euphony: Chromaticism and the Triad’s Second Nature. Oxford: Oxford University Press,
2012.
Cook, Robert. “Parsimony and Extravagance”. Journal of Music Theory 49.1 (2005):109-40.
Cooke, Mervyn. A History of Film Music (Cambridge: Cambridge University Press, 2008).
Douthett, Jack, and Peter Steinbach. “Parsimonious Graphs: A Study in Parsimony, Contextual Transformations, and
Modes of Limited Transposition”. Journal of Music Theory 42.2 (1998): 241-63.
Gollin, Edward. “Some Aspects of Three-Dimensional Tonnetze”. Journal of Music Theory 42.2 (1998): 195-206.
Halfyard, Janet. “Music Afoot: Supernatural Horror-Comedies and the Diabolus in musica”. In Music in the Horror
Film: Listening to Fear. Edited by Neil Lerner (New York: Routledge, 2010): 206-23.
Hook, Julian. “Uniform Triadic Transformations”. Journal of Music Theory 46.1 (2002): 57-126.
---------------. “Cross-Type Transformations and the Path Consistency Condition”. Music Theory Spectrum 29 (2007):
1-39.
Lehman, Frank. “Reading Tonality Through Film: Transformational Hermeneutics and the Music of Hollywood” (PhD
dissertation, Harvard University, 2012a).
------------------. “Music Theory Through the Lens of Film”. The Journal of Film Music 5.1-2 (2012b): 179-98.
------------------. “Hollywood Cadences: Music and the Structure of Cinematic Expectation”. Music Theory Online 19.4
(2013).
Lewin, David. Generalized Musical Intervals and Transformations. New Haven: Yale University Press, 1987.
NACE 46
----------------. “Some Notes on Analyzing Wagner: The Ring and Parsifal”. 19th Century Music 16.1 (1992): 49-58.
Meyer, Stephen. “ ‘Leitmotif ’: On the Application of a Word to Film Music”. Journal of Film Music 5.1-2 (2012): 101-8.
Murphy, Scott. “The Major Tritone Progression in Recent Hollywood Science Fiction Films”, Music Theory Online
Vol. 12 No. 2 (2006).
-----------------. “Transformational Theory and the Analysis of Film Music”. In The Oxford Handbook of Film Music
Studies. Edited by David Neumeyer (Oxford: Oxford University Press, 2014): 471-99.
O’Donnell, Shaugn. “Klumpenhouer Networks, Isography, and the Molecular Metaphor”. Intégral 12 (1998): 53-80.
Schneller, Tom. “Modal Interchange and Semantic Resonance in Themes by John Williams”. Journal of Film Music 6.1
(2013): 49-74.
Strauss, Joseph, “Total Voice Leading”, Music Theory Online 20.2 (2014).
Webster, Jamie. “The Music of Harry Potter: Continuity and Change in the First Five Films” (PhD dissertation,
University of Oregon, 2009).
Williams, John. “Voldemort”. In Harry Potter: Sheet Music from the Complete Film Series. Arranger not specified (Van
Nuys, CA: Alfred Music Publishing Co., Inc.): 39-41.
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Musical Transfiguration

TRANSFORMATIONAL ASPECTS OF THE COMPOSITIONAL STYLE OF JOHN

WILLIAMS IN THE ANTAGONIST’S CUES OF THE EARLY HARRY POTTER FILMS

by Matthew Nace [250547326] | MUSIC-9520B-001: Transformational Theory | April 13, 2016

through to the end of the series.

interesting characteristics that contribute to the representation of evil in this cue.

Example 1 "Something's Odd"

Example 2 "Evil Rising"

frequently, throughout the film series, with developmental changes accruing).

II. TRANSFORMATIONAL METHODOLOGY

abbreviated H, shall serve as an example to elucidate these adjustments.

between ending chords).

absolute progressions in film music.17

III. THE TARNHELM

Example 4 Imperial March Tarnhelm Motive

Example 5 Minor Triad Planing in the Imperial March

composed by planing a minor triad along its L transformation.

Example 6 Rebel Fanfare Derived from Star Wars Main Theme

when inversional equivalence of major and minor is taken into account.” 29

Example 7 Comparison of the Imperial March and the Rebel Fanfare

Example 8 Hedwig's Theme, Section III

nevertheless, all of these motions are supported by planed minor triads.

IV. TRITONE PROGRESSIONS AND THE LYDIAN S4

ultimately terrestrial) vistas.

the Major Tritone progression; Schneller describes it thus:

affective vocabulary in the Voldemort arrangement.

V. WILLIAMS’ SIGNATURE IN VOLDEMORT

to analyse the arrangement for evidence of Williams’ musical fingerprints.

point in this paper.

we were looking for.

harmonic design to the “Evil Rising” motive: | i - - - sii | i - vii - i | i

- - - sii | i - svi - i |. In both motives, the basic design is a measure of minor

serves as a balance for the T±11e of the leading-tone minor.

Example 10 Theme II of Voldemort

Minor progressions that I have proposed as additional elements of Williams’ style.

dominant, which is to be expected as we approach the final cadence of the arrangement.

as well as the developmental reharmonization of a Tarnhelm into a more traditional leitonwechsel.

VI. OTHER ANALYTICAL TECHNIQUES

Lewin’s definition) to include (037), (036), and (048).

of transposition is doubled). A similar relationship holds for inversion, as is summarised below.

Figure 1 Correspondence on TnI to <Tn>

Same Mode: Tn = <T2n> Major-Minor: TnP = <T2n-1> Minor-Major: TnP = <T2n+1>

single note that moves, as is summarised below.

Figure 2 Correspondence of K-Net Isographies to neo-Riemannian Operators

Minor to Major <T1> <T1> <T10>

Major to Minor <T11> <T11> <T2>

representative portion of that analysis is given of in Figure 3.

B. Augmented and Diminished Triads in Neo-Riemannian Theory

Figure 3 Cube Dance

the existing definitions.

major thirds, while keeping the root static.

on each type of triad:

Table 1 Effects of Redefined Neo-Riemannian Operators on All Triad Types

Figure 4 Extended Tonnetz

gives a clearer view of this Tonnetz.

Figure 5 Simplified Extended Tonnetz

the bulk of the analysis?

which is usually reckoned by truncating the seventh chord into a triad).58

seventh to the existing triad.

Figure 6 The Omnibus Progression

streams (and vice-versa for FUSE).

Figure 7 A Simplified but Normative Neo-Riemannian Passage

Figure 8 The Omnibus Progression in Matrix Notation