(2) The full history of tonal behavior in rock music is barely to be sketched in this essay, but perhaps we may lay the groundwork for what directions such an encyclopedic project might explore. Whereas several other writers have discussed harmonic issues in rock music, they have either focused upon a particular piece or style and not attempted a global perspective, or attempted such a view but come up short of a useful approach. Techniques), but in this essay we will focus solely on matters of tonal structure, in hopes of addressing in a brief space an underlying context for the wide variety of systems that exist. Part II explores the harmonic and functional ambiguity in the complex song, “Laura.” Part III considers the enharmonic complexities of “Vienna” through the lens of the opening bar’s augmented triad I also consider comparative examples of augmented triads in “Zanzibar” and “Where’s the Orchestra.” Owing to Joel’s vast exposure to the common-practice canon, I fuse perspectives from nineteenth-century as well as contemporary theories of pop/rock harmony. Part I of the essay explores enharmonicism in “Honesty,” the first of several B♭ major songs that reinterpret mixture scale degrees (♭ and ♭) along its route I also consider how Joel introduces mixture in his opening descending bass lines. In particular, I spotlight Joel’s exploration of “enharmonic duplicity,” in which chromaticism reflects the complexity of human nature through enharmonic transformations. The current essay investigates Joel’s chromatic excursions in his contemplative songs, many of which infuse modal mixture chromaticism against a prevailing major key backdrop.
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