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 scale shown has the same order of half steps and
Contents whole steps as the ascending major scale.

Dualism
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]

Some people today (such as Jacob Collier) refer to the theory of dualism as the theory of
"negative harmony".

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 "Five-step" in a mixture of Latin and 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 exchange
sides") 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
Undertone series

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 edition Vademecum der Phrasierung, 1900, 8th
edition as Handbuch der Phrasierung.
. Geschichte der Musiktheorie im IX.-XIX. Jahrhundert, Berlin, 1898.
7. Klumpenhouwer, Henry, Some Remarks on the Use of Riemann Transformations, Music Theory
Online 0.9 (1994)

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