Omnibus progression

The omnibus progression (or wedge progression) is a series of musical chords characterized by chromatic lines moving in opposite directions. ^[1] It was first described by nineteenth-century Viennese music theorists. ^[2] It has been described as "one of music's great wonders". ^[3]

The name was coined by Bernhard Ziehn. The basic device is a popular compositional exercise used by teachers like Wolfgang Amadeus Mozart, who assigned it to Thomas Attwood. ^{[1] : 6–7} Nadia Boulanger also taught with it. ^{[4] : 290} The pattern facilitates modulation to any key and can be halted at any point. It is also known as a "wedge progression", due to its appearance. ^{[5] [6] : 161}

The progression developed atop the descending chromatic bass line which was a common feature in Baroque forms like the passacaglia and lament arias. The chromatic notes pose several harmonization problems. The omnibus progression codifies the Baroque harmonic solutions for this bass line. ^{[7] : 251}

The upper voice moves in the opposite direction from the dominant note up to the tonic. The middle voices prolong the dominant tonality. ^{[7] : 258}

The basic omnibus progression can be found in Franz Schubert's Piano Sonata in A minor, D 845. As the composer transitions from the opening movement's first theme to its second, he begins on a G chord in first inversion. The B in the bass line meanders chromatically down to an F♯ in Schubert's version of the progression: ^[8]

Omnibus progression in Franz Schubert's ''Piano Sonata in A Minor, D 845'', Moderato.

^[9]

In its fullest form, the bass descends the entire octave. It may also include chromatic ascending tetrachords in the other parts.

Omnibus progression in Carl Philipp Emanuel Bach's ''Rondo in A minor'' (mm. 136-156).

A full octave descent in an omnibus progression is evident in Carl Philipp Emanuel Bach's Rondo, No. 3 in A Minor W56/5. It demonstrates the contrapuntal approach to the progression, which prioritizes voice leading. Focusing too much on a harmonic solution can lead to an incoherent sequence of chords, which is why the omnibus progression made such an attractive composition assignment. ^[11]

Richard Wagner made extensive use of the progression as he stretched tonality in Tristan und Isolde . He also used it extensively as a characterization for Kundry in Parsifal . Russian composers were also prone to use the device. Pyotr Ilyich Tchaikovsky uses it in many of his compositions. When the Christmas tree in The Nutcracker grows to a gigantic size, Tchaikovsky uses a wedge progression to move the music from E minor to B♭. ^[5]

References

1. Yellin, Victor Fell. The Omnibus Idea . Warren, Michigan: Harmonie Park Press, 1998.
2. Laitz, Steven G. The Complete Musician . New York: Oxford University Press, 2016. 710ff.
3. Zajaczkowski, Henry. Tchaikovsky’s Music Style . Ann Arbor: UMI Research Press, 1987. 65.
4. Schubert, Peter. "'A New Epoch of Polyphonic Style': Schoenberg on Chords and Lines." Music Analysis, vol. 12, no. 3, 1993. 289-319 .
5. Gauldin, Robert. "The Theory and Practice of Chromatic Wedge Progressions in Romantic Music." Music Theory Spectrum , vol. 26, no. 1. (Spring 2004), pp. 1–22.
6. Rice, John. "The Morte: A Galant Schema as Emblem of Lament and Compositional Building-Block." Eighteenth-Century Music, vol. 12, 2015. pp. 157–181.
7. Telesco, Paula. "Enharmonicism and the Omnibus Progression in Classical-Era Music." Music Theory Spectrum , vol. 20, no. 2. (Autumn 1998), pp. 242–279.
8. Kostka, Stefan, and Dorothy Payne. Tonal Harmony . New York: McGraw-Hill, 2013. 444–6.
9. Schubert, Franz. Sonate (in A moll) für das Pianoforte . Franz Schubert's Werke, Serie X, No.9. Leipzig: Breitkopf & Härtel, 1888. 2(110).
10. Bach, Carl Philipp Emanuel. Rondo in A minor, H.262 . Breslau: F.E.C. Leuckart, n.d.[1864]. 38.
11. Cutler, Timothy. Bending the Rules of Music Theory: Lessons from Great Composers. Taylor & Francis, 2019. 285f.

External links

• Omnibus-type Progressions Featuring Voice Exchanges, Internet Music Theory Database.