Abstract
Harmon ization of popular songs in Brazil has, for quite som e time, been considered worthy of the attention of both music theorists and musicologists. Theaccompanimentsattract attention due to their varied and sometimes original character. The peculiarit ies of the harmonizat ion of popular Brazilian songs may not always be immediately co mprehensible, nor correspond exact ly to conventions found in analyses of the tradit ional concert repertoire. The chief reference treatises and manuals adopted in music schools can certainly provide satisfactory explanations, when appropriately used. Yet many specialists consider problematic some concepts and definitions that should facilitate the task of analysing popular songs.The Manual of Harmony by Igor VladimirovichSpossobin, 1955 ed ition, is the textbook adopted for harmony classes in the undergraduate program at the Universidade Federal do Estado do Rio de Janeiro - Un irio. Considered one of the most complete on the topic,it is also used at the Tchaikovsky Conservatory in Moscow. The 2007 edit ion is also used for reference.Nevertheless, it is wo rth mentioning that the book has not been used intensively for the analysis of popular songs. The Manual covers 60 topics, some of which are useful in explaining harmonic language frequently present in popular songs. Concepts such as inclination, the major-minor system, augmented sixth chords, Neapolitan harmon ies, ellipse, dimin ished-seventh chords and chords with non-chord tones, can be used to explain many of the harmoniesheard in Brazilian popular songs.
Highlights
Music theorists and musicologists in Brazil have been turning their attention to the harmonizat ion of popular songs for decades, because of its variable and sometimes original uses.The harmonic peculiarities of Brazilian popular songs necessitate clarification since they do not correspond exactly to the time-honoured conventions of the tradit ional repertoire
Brazilian popular song refers as much to the object of study as to the production of tunes sung in Po rtuguese
In Walter Piston’s Harmony[10] he exp lains modal interchange along with the idea that the minor mode runs parallel to the major
Summary
Music theorists and musicologists in Brazil have been turning their attention to the harmonizat ion of popular songs for decades, because of its variable and sometimes original uses.The harmonic peculiarities of Brazilian popular songs necessitate clarification since they do not correspond exactly to the time-honoured conventions of the tradit ional repertoire. The best-known instructional manuals adopted by music institutions provide acceptable explanations. These books contain concepts and definitions ready to use in exercises, but up to now have seemed difficu lt for some experts, and have not been used intensively for the analysis of popular songs. The undergraduate music program at the Un ivers idade Federal do Estado Rio de Janeiro – Un irio, has adopted the Manual for Harmony by Igor VladimirovichSpossobin as its textbook fo r the field. The book has been adopted at the Moscow Conservatory. The Manual covers 60 topics, some of wh ich are usefu l inexp lain ingh armon ic langu age of
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