Chapter 8 'Triads in First Inversion'
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1 hapter 8 'Triads in First Inversion' o Learning Ojectives. y the end of hapter 8, students ill e ale to: > Understand the use of first inversion triads as a means of activating melodic motion in the ass voice. > Descrie and execute additional voice leading procedures as they apply to the proper handling of first inversion triads. > Identify and voice first inversion triads from their figured ass symols. > Demonstrate the use of first inversion triads in compositional exercises hile executing correct voice leading procedures and chordal doulings. > Perform harmonic analyses on passages of music that employ first inversion triads. o Define the folloing hapter 8 terms:.mhhe.com/kostka7e anon: A contrapuntal procedure in hich the instruments or voices perform identical rhythms and contours, ith later-sounding parts eing offset y one or more eats. Doulings for 1st Inversion Triads: find info on TeacherWe Fugue:: A piece in hich each voice states a short theme (the suject) in turn, after hich it is tossed aout among the voices, fragmented, and developed. Imitative ounterpoint: ounterpoint in hich similar melodic material is passed from part to part. 1-1 Species ounterpoint: ounterpoint in hich to parts move ith identical rhythm Neighor Motion: Motion proceeding from a given tone up or don one step folloed y a return to the first tone. Parallel Sixth hords:: A succession of triads in first inversion. Round: A canon that is perpetual - there is no notated ending for the ensemle. Sixth hord: A triad in first inversion. Slash hord: A chord hose ass note is indicated (and the inversion inferred) y the addition of a slash and the letter of the ass after the root note letter. Suject: The short theme that is used as the primary musical material in a fugue. 1st hapter 8 Homeork assignment: Read hapter 8 text pages omplete pages in Exercise Workook. Listen to Workook Examples at esite. Print out hapter 8 terms at Wesite. NOTE: cover all material through Example 8-1, or page 8 of this Study Guide.
2 Score hapter 8 Study Guide ano Example 8-1 disk 1: track q= DM: I I ii 7 I Example 8-2 Haydn, Piano Sonata no. 33, III Disk 1: Track 1 Listen for Soprano/ass ounterpoint in EX 8-2 > In music, counterpoint is the relationship eteen voices that are harmonically interdependent (polyphony) yet independent in rhythm and contour. > ounterpoint is "the comining of relatively independent musical lines" DM: I 6 I 65 I ii 6 7 I ass Arpeggiation: one ay that 1st inversion chords originate is through ass arpeggiation. Look at D to F# in m1 of EX 8-2 aove, and A to G movement in the ass line of EX 8-3 elo (its also easier to play!) Example 8-3 Haydn Piano Sonata no. 3, Mvt I Disk 1: Track q=100 r r r r n AM: I 6 I Textural Reduction.. n Inversions can arise from a more conjunct arpeggiated ass line, hich is naturally easier to play...
3 hapter 8 Study Guide 3 18 Example 8- Haydn Piano Sonata no. 5, Mvt I Disk 1: Track 15 q=80.. n. n n M: I 6 5 I 23 Textural Reduction n Look at the next page to explore the three main reasons hy triads are used in first inversion.
4 Use of First Inversion Triads: We use first inversions for three main reasons: 1. To improve the contour of the ass line 2. To provide a greater variety of pitches in the ass line. 3.. To lessen the eight of and I chords that do not serve as the goals of harmonic motion Example 8-5 ach, Schmucke dich, o liee Seele disk 1: track 16 q» 1. FM: I vi 6 I 6 7 I Example 8-6 I I 3. Why e avoid First Inversion vi (I) chords in Tonal Harmony: 1. One First Inversion triad that should NOT e freely sustituted for the root position is vi 6 (I 6 ) 2. Memorize this rule: DON'T follo the chord ith the vi 6 (I 6 ). 3.. Why does the vi 6 sound like a mistake in EX 8-6 q» M: I I vi ii 6 vi 6 35 Example 8-7 q» º hapter 8 Study Guide M: I vi 6 ii I I 6 vi 6 iii I 6 I No OK OK or No
5 Why e don't use Root Position diminished chords: During the ommon Practice Period, etter knon as the Tonal Era,composers considered any diminished chord in Root Position to e dissonant, ecause of the o 5 eteen the Root and Fifth, see elo. To get around this, they used First Inversion... Please use the vii o or vii o7, (or ii o /ii o7) in First Inversion, it orks great as a passing chord! Root Position First Inversion Second Inversion F# A Inversions in Lead Sheets: Have you ever seen a lead sheet Occassionally on the AP Test e'll encounter one. Jazz ands use lead sheets, and ass players read off them. They tend to emphasize the root of chords unless the chords are in inversions. Inversions are indicated on lead sheets ith Slash hords. such as /E. --- an anyone explain hat /E indicates ---- an anyone explain hat the Slash hords in Example 8-8 indicate -----The 'essential' ass line is emphasized in EX 8-8, elo: 1 o5 A M6 M6 F# m3 m3 + F# A Example 8-8 Evans and Mann, "No Moon at All" Disk 1: Track 16 h=86 D m F > ƒ A/ # j # # > D 7/ > hapter 8 Study Guide 5 G/ n > 6 7/ F/A 7 A 7 j n D m 9 E75 A7#5 A > >
6 hapter 8 Study Guide 6 Parellel Sixth chords: During the ommon Practice Period, composers liked to use a hole series of First Inversion triads (Sixth hords), especially in sequences. Keep in mind: 1. In Harmonic Sequences chords don't alays function in normal fashion 2. In a sequence of Parallel Sixth hords they service as Passing hords, connecting some chord at the eginning of the passage to some chord at the end. 3. In EX 8-9 the parallel motion connects the root position I chord in m. ith another root position I chord in m. 7. sn. 50 Example 8-9 Haydn Symphony no. 10, Mvt I Disk 1: Track 17 h=86 Ó ln. I 50 ln. II.. la.. Ó c... sn. 55 DM: I (I vii o ) I 65 I ( 6 Note the 'anchor' chords at eginning and end of the passing sixth pattern Ó ln. I 55. j ln. II.. j la. c. Note: the ass line ill not alays e strictly descending steps or ascending steps... could e a mixture of the to... I 6 iii 6 ii 6 I 6 viio 6 ) I I 6. Ó
7 59 Ø 68 Textural Reduction h» f.. I 65 I I Example 8-10: to avoid //5th's, put the Root of each chord in the melody (outer voice). h» DM: (I 6 iii 6 ii 6 I 6 vii o6 ) (I 6 iii 6 ii 6 I 6 vii o6 ) Part Writing First Inversion Triads: 1. In a contrapuntal texture (texture consisting of relatively independent lines) the douling to use is the one that results from the est voice leading. 2. In a homophonic texture (one that is primarily chordal or consists of a melody ith chordal accompaniment), the douling selected should e the one that provides the desired sonority (SMOOTH oice-leading!) 3. In any texture, it is usually est NOT to doule the leading tone q» ºº Example st Inversion doulings Inner voice Inner voice Soprano and Inner oices a doules soprano doules ass c ass douled d are douled Example 8-12 or or or douled Leading Tone more common a No c good FM: I 6 I I 6 I I 6 I hapter 8 Study Guide 7...
8 hapter 8 Study Guide 8 Note: First Inversion Triads in oth 3 voices are usually complete Example 8-13: ith 3 part-riting, try to voice Root, Third, Fifth T 1 88 q»ª M: I 6 ii 6 or I Example 8-1 Schuert, ardengesang Disk 1: Track 17 T 2.. ln. I ln. II 9 M: I I 6 I 6 I vii o6 I6 ii 6 I 6 I ii 6 Soprano-ass ounterpoint: 1. With the use of First Inversion chords, ass lines can e much more interesting 2. ounterpoint (can e defined as "the comining of relatively independent music lines" 3. The ord independent means that each line in a contrapuntal texture ill ideally have its on unique contour and rhythm. Of those to, the most important is contour.. EX 8-15 is NOT counterpoint: 100 Example 8-15 Haydn, Symphony no. 8, Mvt I (violins only) Disk 1: Track # # q.=72 Neither 'rhythm' or 'contour' are unique anon, rounds, 'imitative counterpoint': 1. EX 8-16 shos an example of 'imitative counterpoint'. Even though oth parts have identical notes rhythm, they are offset y one measure. 2. This contrapuntal form is knon as a anon. 3. Rounds such as "Ro, Ro, Ro Your oat", or EX 8-16 make use of a special type of counterpoint called Imitative ounterpoint. Example 8-16 Haydn, String Qrt op. 76, #2, Mvt III Disk 1: Track 18 q=100. Ó #. #.... #. #
9 hapter 8 Study Guide Species ounterpoint: oth parts move ith the same RHYTHM. Relative independence is achieved ith different ONTOUR. 108 Example 8-17 ach, Ermuntre dich, mein schacher Geist Disk 1: Track 19 # # 3 3 q=80. Motion: p c c c s s. J J EX 8-17 is 1:1 (one-to-one), or first species, ounterpoint More interesting ounterpoint is achieved y alloing more Rhythm variety. Notice that O motion is preferred. 11. Example 8-18 ach, Ermuntre dich, mein schacher Geist Disk 1: Track 19 Motion: p c c o c o s o s. 119 Example 8-19 eethoven, Rondo op. 51, no. 1 Disk 1: Track 20 q=80.. T. J 123 J Ó J. 126 Textural Reduction
10 T 1 T 2 sn. ln. I ln. II la. c hapter 8 Study Guide 10
11 T 1 T 2 sn. ln. I ln. II la. c hapter 8 Study Guide 11
12 T 1 T 2 sn. ln. I ln. II la. c hapter 8 Study Guide 12
13 T 1 T 2 sn. ln. I ln. II la. c hapter 8 Study Guide 13
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