Abstract
Traditional tonal harmony theory, centered on the T-S-D-T functional model, struggles to account for chromatic and coloristic phenomena from the late Romantic period onward. While Neo-Riemannian theory addresses smooth voice leading, its scope remains restricted to triads. This paper proposes a theoretical framework centered on common-tone connection, establishing parametric criteria applicable to all chord types. Building upon triadic prototypes, the framework naturally extends to four-note chords (seventh chords), identifying the T-type (Transferring) connection—characterized by three common tones and function shift (where the same pitch class transforms its harmonic role, e.g., root → third → fifth → seventh)—as a distinctive mechanism unavailable in triadic space.
The paper further introduces the "Thread-Bead" dialectical model, elaborated as a three-tier structure of main thread, sub-thread, and implicit thread: common tones function as "threads" that string together coloristically diverse chords ("beads"), achieving unity-in-variation; the rupture of main-thread common tones generates structural contrast, while sub-thread networks sustain coherence through functional transfer. Through integration with pedal point and Schenkerian prolongation concepts, the common-tone principle is demonstrated across three hierarchical levels—microscopic connection, mesoscopic persistence, and macroscopic structure.
The framework's validity is verified through revised case studies of Schubert's Impromptu in G♭ major, D.899 No.3, revealing a stepwise sub-thread transfer (E♭ → A♭) that prepares the dominant rather than effecting abrupt contrast, and Debussy's Prélude à l'après-midi d'un faune. Finally, the paper demonstrates practical pathways for style generation through material constraints and connection rules, with applications to Minimalist, Nordic, Pentatonic, and Impressionist-Jazz idioms.
