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segments of the music to the previous ones. Each new harmonic sequence is often related to the previous through the melodic line. The music often ends suddenly without any musical preparation, even in the middle of a phrase. Sometimes the music descends to a "point of rest" in which the note below the tonal center gets extended to allow an ending. Tonal variety and melodic unification is often achieved by repeating similar phrases on different steps of a
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54:," is an important melodic and harmonic progression where melodic material shifts between a whole tone above and a whole tone below the tonal center. This shift can occur to both neighboring notes, in either direction, and from any point of departure. The steps above and below the tonic are often called contrasting steps. A new harmonic segment is created which then changes the
188:. The internal organization of this music demands occasional shifts between levels unless the music is based on a consistent drone. The tonality level often shifts several times making it very hard to find a piece of African folk music without tonality levels. Most often between three and five tonality levels can be found within a composition. Levels can also be found in
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211:. The harmonic practices between these cultures are so similar that urban African composers often incorporate western root progression into their local harmonic practices. As this combination traveled to America, it helped create new genres such as jazz, big band, and blues. In the twentieth century, chords give way to levels in the
206:
Eventually, levels and other musical traits found their way into
American jazz harmony and blues tonality through spirituals. Levels can be compared to a traditional root progression in western music with a tonic - subdominant - dominant relationship. Levels give way to familiar classical chords and
175:
Levels are commonly found in
African folk music. It is believed that they originally arose out of this culture. They are often combined with unresolved harmonic progression that gives music a feeling of perpetual motion without any noticeable cadence. Runs and sequences often link new harmonic
230:
A level, or "tonal step," often coincides with cross-rhythms in the melody and entries in vocal melody. A new tonality level and harmonic shift is often very vague and hard to identify in a vocal texture. However, it is much easier to identify in thick instrumentation.
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tunes such as "Donald MacGillavry" (notes: A to G in bar 4 below). Shifting is more emphatic than chord changes (chords: Am-G), but not as emphatic as
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427:
Kubik, Gerhard (1964). "Harp Music of the Azande and
Related Peoples in the Central African Republic: (Part 1 - Horizontal Harp Playing)".
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rather than neighboring tones. This can be directly tied to the tonality levels found in
African folk music discussed earlier.
128:. The fifth is next in importance, and consecutive fifths are most often emphasized. The third is less important and often
650:
89:(such as in the song "Donald MacGillavry") may be built off this foundation. A "change" in levels is called a
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321:"Composition Techniques in Kiganda Xylophone Music: With an Introduction into Some Kiganda Musical Concepts"
28:
643:
245:
376:
Blacking, John (1959). "Problems of Pitch, Pattern, and
Harmony in the Ocarina Music of the Venda".
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The foundation (root) is the most important note and accompanying chords are almost always built in
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Blacking, John (1970). "Tonal
Organization in the Music of Two Venda Initiation Schools".
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mode. Semitonal and hemitonal root progressions can also be found. Tonality levels or "
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403:
Kubik, Gerhard (1992). "Embaire
Xylophone Music of Samusiri Babalanda (Uganda 1968)".
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Kubik, Gerhard (Spring–Fall 2005). "The
African Matrix in Jazz Harmonic Practices".
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Origins of the
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Kruger, Jaco (Fall 1989). "Rediscovering the Venda Ground-Bow".
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Kubik, Gerhard. "LIKEMBE TUNINGS OF KUFUNA KANDONGA (ANGOLA)".
215:, completed with the V-IV-I progression, which spread to all
219:. For instance, In the blues - influenced style, the
184:" are the most important structural feature found in
494:Rycroft, David (1967). "Nguni Vocal Polyphony".
496:Journal of the International Folk Music Council
144:. This characteristic is common in the English
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85:) (such as in the song "Shallow Brown"), or
584:. Jackson: University Press of Mississippi.
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223:, levels occur in shifts from
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58:but not necessarily the key.
569:: 167–222 – via JSTOR.
563:Black Music Research Journal
101:(keys: A minor to G major):
294:. Oxford: Clarendon Press.
61:Each level is based on one
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411:: 57–84 – via JSTOR.
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42:, also "tonality level",
199:, Arab, and in European
120:, last measure each line
33:Shift (string technique)
580:Kubik, Gerhard (1999).
319:Kubik, Gerhard (1969).
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108:"Donald MacGillavry"
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582:Africa and the Blues
288:van der Merwe, Peter
27:For other uses, see
136:, or changing from
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405:The World of Music
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221:boogie-woogie bass
186:African folk music
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241:Phrase modulation
207:chord changes in
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467:(1): 1–56.
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544:|url=
502:: 88–103.
252:References
178:pentatonic
529:"Africa".
81:, triad (
77:-melodic
789:Category
535:cite web
356:: 70–88.
290:(1989).
235:See also
75:harmonic
56:tonality
795:Harmony
687:Dastgah
158:cadence
134:neutral
87:seventh
71:melodic
754:Pathet
744:Mugham
626:851766
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481:850292
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194:Celtic
170:phrase
164:, and
764:Radif
759:Qupai
749:Muqam
722:Level
702:Maqam
697:Makam
692:Echos
622:JSTOR
512:JSTOR
477:JSTOR
213:blues
190:Asian
142:minor
138:major
91:shift
83:fifth
79:third
63:pitch
40:level
29:Level
769:Raga
548:help
296:ISBN
152:'s "
130:blue
114:Play
69:. A
67:note
50:'s "
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