Riemannian theory

"Riemannian theory" in general refers to the musical

theories of German theorist Hugo Riemann (1849–1919).
His theoretical writings cover many topics, including
musical logic,[1] notation,[2] harmony,[3] melody,[4]
phraseology,[5] the history of music theory,[6] etc. More
particularly, the term Riemannian theory often refers to his
theory of harmony, characterized mainly by its dualism and
by a concept of harmonic functions.

Illustration of Riemann's 'dualist' system: minor as upside

down major. Half-steps are indicated by slur marks, other
notes are separated by whole steps. The descending minor
Contents scale shown has the same order of half steps and whole
Dualism steps as the ascending major scale.

Transformations
See also
Sources

Dualism
Riemann's "dualist" system for relating triads was adapted from earlier 19th-century harmonic theorists. The term "dualism" refers to
the emphasis on the inversional relationship between major and minor, with minor triads being considered "upside down" versions of
major triads; this "harmonic dualism" (harmonic polarity) is what produces the change-in-direction described above. See also the
related term Utonality.[7]

Transformations
In the 1880s, Riemann proposed a system of transformations that related triads directly to each other. Riemann's system had two
classes of transformations: 'Schritt' and 'Wechsel'. [7] A Schritt transposed one triad into another, moving it a certain number of scale
steps. For example, the 'Quintschritt' (literally "Fifth-step" in German) transposed a triad by a perfect fifth, transforming C Major into
G major (up) or F major (down). A Wechsel inverted a triad according to the Riemann's theory of dualism, mapping a major triad to a
minor triad. For example, Seitenwechsel ("die Seiten wechseln" translates as "to change ends") mapped a triad on to its parallel minor
or major, transforming C major to C minor and vice versa. [7] Riemann's theory of transformations formed the basis for Neo-
Riemannian theory, which expanded the idea of transformations beyond the basic tonal triads that Riemann was mostly concerned
with.

See also
Schenkerian analysis

Sources
1. Musikalische Logik. Hauptzüge der physiologischen und psychologischen Begründung unseres Musik-systems
,
Leipzig, 1873.
 2. Studien zur Geschichte der Notenschrift, Leipzig, 1878; Die Entwickelung unserer Notenschrift, Leipzig, 1881;
Notenschrift und Notendruck, Leipzig, 1896.
3. Skizze einer neuen Methode der Harmonielehre, Leipzig, 1880; Handbuch der Harmonielehre, Leipzig, 1887;
Vereinfachte Harmonielehre, London/New York, 1893.
4. Neue Schule der Melodik, Hamburg, 1883.
5. Katechismus der Phrasierung, Leipzig, 1890, 2d editionVademecum der Phrasierung, 1900, 8th edition as
Handbuch der Phrasierung.
6. Geschichte der Musiktheorie im IX.-XIX. Jahrhundert
, Berlin, 1898.
7. Klumpenhouwer, Henry, Some Remarks on the Use of Riemann T
ransformations, Music Theory Online 0.9 (1994)

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