Chapter 10 Study Notes, found on Weebly:

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1 Chapter 10 Study Notes, found on Weely: Authentic Cadence: A tonic triad preceded y some form of dominant-function harmony (V or viio) at a cadential point Cadence: The harmonic goal; specifically, a harmonic progression that provides complete or partial resolution of a larger progression Conclusive Cadence: Cadences that conclude with a tonic harmony, including authentic and plagal cadences Contrasting Period: A period in which the eginnings of the antecedent and consequent are not similar (This term can also apply to doule periods) Deceptive Cadence (DC): A cadence that results when the ear expects a V-I authentic cadence ut hears V- instead The "" is usually a sumediant triad, ut there are other possiilities Doule Period: A multi-phrase unit similar to a period, except that each half of the structure consists of two phrases rather than ust one (the second pair typically has a stronger cadence than the first) Elision: A procedure y which the last note of one phrase also serves as the first note of the next phrase Form: The way a composition is structured to create a meaningful musical experience Half Cadence (HC): A common type of unstale or "progressive" cadence The HC ends with a V chord, which can e preceded y any other chord Imperfect Authentic Cadence (IAC): Any authentic cadence that is not a PAC due to the use of viio instead of V or V7, the inversion of the dominant or tonic harmony, and/or the arrival on something other than the tonic scale degree over the I chord Motive: The smallest identifiale musical idea; it can consist of a pitch pattern, a rhythmic pattern, or oth Parallel Period: A period in which the antecedent and consequent oth egin with similar or identical material, even if that material is emellished (This term can also apply to doule periods) Perfect Authentic Cadence (PAC): Consists of a V-I (or V7-I) progression, with oth the V and I in root position and in the melody over the I chord Period: A multi-phrase unit that typically consists of two phrases in an antecedent consequent (or question-answer) relationship, that relationship eing estalished y means of a stronger cadence at the end of the second phrase Phrase: A relatively independent musical idea terminated y a cadence Phrase Group: A multi-phrase unit that consists of several phrases that seem to elong together structurally even though they do not form a period or doule period (typically when the final cadence is not the strongest one) Phrygian Half Cadence: A specialname given to the iv -V HC in minor The namerefers to a cadence found in the period of modal polyphony (efore 100) ut does not imply that the music is actually in the Phrygian mode Plagal Cadence (PC): Typically involves a IV-I progression at a cadential point, often added on as a kind of tag following a PAC Progressive Cadences: Cadences that do not conclude with a tonic harmony, including deceptive and half cadences Repeated Phrase: Two adoining phrases that are identical, with the possile exception of emellishing or ornamental differences Sentence: A structural unit characterized y the immediate repetition or variation of a musical idea followed y a motion toward a cadence Suphrase: A distinct portion of a phrase that it is not a phrase either ecause it is not terminated y a cadence or ecause it seems too short to e relatively independent Three-Phrase Period: Consists of three different phrases-two antecedents and a consequent or one antecedent and two consequents (as determined y the cadences)

2 Chapter 10 Study Notes, found on Weely: Cadences: read pages in Edition 7, and pages in Edition Memorize: a CADENCE is a progression of two or more chords at the end of a phrase or period used to create a feeling of complete (conclusive) or partial (inconclusive) resolution Learning Target: there are several types of CADENCES: 1 The PERFECT ATHENTIC CADENCE (PAC) consists of the progression V-I (i) or V7-I (i), with oth chords in root position and the keynote of the tonic chord in the soprano Example 10-1: PAC's in the keys of C Maor c minor CM: G C G C cm: G Cm G Cm q=100 5 CM: V I V I cm (LT=B n ) V i V i 2 The 'classic' IMPERFECT ATHENTIC CADENCE (IAC) consists of the progression V-I (i) or V7-I (i), with oth chords in root position, and the rd or 5th appearing in the soprano of the tonic chord Study Example 10-2, elow: Example 10-2: 'Classic' IACs in the keys of C Maor c minor CM: G C G C cm: G Cm G Cm CM: V I V I cm: V i V i The 'inverted' IMPERFECT ATHENTIC CADENCE (IAC) consists of the progression V-I (i) or V7-I (i), with one chord in 1st inversion, and the root, rd or 5th appearing in the soprano of the tonic chord Study Example 10-, elow: 9 Example 10-: 'Inverted' IACs in the keys of C Maor c minor CM: G C G C cm: G Cm G Cm CM: V I V I cm: V i V i n n n n n n

3 1 Example 10-: 'Leading-Tone' IACs in the keys of C Maor c minor The 'leading-tone' IMPERFECT ATHENTIC CADENCE (IAC) consists of the progression viio-i (i) or viio5-i (i), and the root, rd or 5th appearing in the soprano of the tonic chord Study Example 10-, elow: CM: viio I viio I cm: viio i viio i LT=B n CM: Bo/D C Bo7/D C cm: Bo/D Cm Bo7/D Cm n n 17 Example 10-5: 'HC's' in the keys of C Maor c minor CM: I V IV ---- V ii V cm: i V iv ---- V ii o V 5 The HALFCADENCE (HC): any chord moves to V(7), usually consists of the progressions I(i)--V(7), or IV(iv)--V(7), or ii(iio)--v(7) Study Example 10-5, elow: CM: C G F G Dm G cm: Cm G Fm -----G D o G n n n 2 Example 10-: Phrygian Half Cadence happens only in minor keys This example is in c minor The PHRYGIAN HALF CADENCE (PHC) happens only in minor keys and consists of the progression iv--v Study Example 10-, elow: cm: i VI iv V cm: V i iv V Cm A Fm/A G G/B n Cm Fm/A G n n n

4 The DECEPTIVE (DC) consists of the progression V--vi (Maor) or V--VI (minor), with BOTH chords in root position The DC requires careful part-writing procedures! Study Example 10-7, elow: Example 10-7: 'Deceptive' cadences in the keys of C Maor c minor CM: C Dm G Am cm: Cm Do G A CM: I ii V vi cm: i iio V VI o 5 - P5 The PLAGAL (PC) usually involves a IV(iv)--I(i) progression Although plagal cadences are usually final sounding, they are not as important in tonal music as the authentic cadence In fact, a plagal cadence is usually added on as a kind of tag following a PAC A familiar example of this is the "Amen" sung at the end of hymns, as in Example Study Example 10-, elow: Example 10-: 'Plagal' cadences in the keys of C Maor c minor CM: C Am F C cm: Cm A Fm Cm CM: I vi IV I cm: i VI iv I n 5 Listening Activity: 1 M or m 2 how many phrases cadence types scale degree 1st 5 soprano Example 10-9: Bach chorale 1 "Ans meines Herzens Grunde" q = 9 1 PAC HC

5 Example 10-10: Bach, Well-Tempered Clavier, Book II, Prelude 10 q=52 em: LT= D F > 2 2 N Example 10-11: Bach, Well-Tempered Clavier, Book II, Prelude 12 q=0 n Example 10-12: Schumann, Nachtlied, op 9, no 1 q = 9 Ó PAC V A: V I CM: V I V I Example 10-1: Bach, Berfiehl du deine Wege q= IAC 'Leading-Tone' IAC IAC IAC i 5 71 CM: vii o I Listening Activity: 1 M or m 2 how many phrases cadence types scale degree 1st 5 soprano Example 10-1: Haydn, Piano Sonata no, II q=100 DC DM: V 7 vi I V HC

6 1 Go to Chapter 10 Text and listen to EX 10- through 10- Example 10-15: Haydn, Piano Sonata no, r II q=10 R gm: i V (HC) Ÿ HC Example 10-1: Schumann, "Folk Song," op, no 9 q= dm: q=10 Example 10-17: Dykes, "Holy, Holy, Holy!" n n 'Phrygian HC' V7 VI iv iv V (Phyrgian HC) EM: V7 I (PAC) IV I (PC) Listening Activity: 1 M or m 2 how many phrases cadence types scale degree 1st 5 soprano Example 10-1: Bach Chorale 0 "Ich freue mich in dir" q= ww w w w w w w 111 Listening Activity: 1 M or m 2 how many phrases cadence types scale degree 1st 5 soprano Example 10-1: Bach Chorale 71 "Ich ruf' zu dir, Herr esu Christ" q=0 n a N n

7 Chapter 10 Study Notes - musical phrases [1 of ] 7 Learning Target: what is a phrase A phrase is a small unit of melody expressing a muscial thought that ends in a cadence A phrase is usually or measures in length (although occasionally it is 2 measures or even an odd numer of measures) Because a phrase ends in a cadence, it has oth melodic and harmonic value We identify the melodic content with a lower-case letter, and the harmonic component y identifying the (valid) cadence A phrase can end on a conclusive (strong) cadence or an inconclusive (weak) cadence The overlapping of phrases is referred to as "elision" See Example 10-1 on page 17 Class Listening Activity: (students will identify 1 M or m 2 how many phrases cadence types) : Listen to Example 10-10, elow Can you identify the phrase(s) and cadence(s) Example 10-20: Beethoven 'Romance' q=5 GM: n r n 12 1 Example 10-20: Beethoven 'Romance' GM: a HC - - -' a' secondary dominant function r n vii o /V ' n V PAC V I

8 Chapter 10 Study Notes - musical phrases, continued [2 of ] Learning Target Review: a phrase has oth melodic thought and harmonic value It has harmonic value ecause it always ends in a (valid) cadence Learning Target: often a melody consists of 2 phrases that complement each other in a weak--strong cadential relationship The 1st half of the melody consists of a phrase that ends on a non-conclusive cadence (usually HC), and the 2nd half of the melody ends on a conclusive cadence (usually PAC) Learning Target: Because the melodies' 1st phrase relies on the melodies' 2nd phrase to complete the musical passage, we have a special term for this relationship: 'antecedent-consequent' relationship Learning Target: We call the melody's 1st phrase the antecedenct (question) and the melody's 2nd phrase the consequent (answer) Have you ever heard the term 'question answer' phrase Learning Target: Because the melody contains 2 phrases we call this melody-type a PERIOD, specifically a '2-phrase period', in antecedent-consequent relationship Learning Target: Learn how to analyze a score and make a formal diagram of this period type Listening Activity: 1 M or m 2 how many phrases cadence types scale degree 1st 5 soprano EXAMPLE 10-21: Example of Antecedent/Consequent Phrase Relationships 1 12 Mary Had a Little Lam q=10 phrase a (antecedent) f p I I V I V7 phrase a' (consequent) I I V I You must make a formal diagram for each 'Period' type in Chapter 10 You must include these elements in ALL formal diagrams for Chapter 10: A wide and long racket for each phrase that includes measure numers, cadence types, phrase letters, and antecedent/consequent relationship, if any A wide and long racket for each period that stretches across the page and covers no more than phrases underneath it You must lael the type of period EXAMPLE 10-22: 'Formal Diagram' of a "2-phrase Parallel Period" Parallel Period phrase a phrase a' antecedent consequent m1 m m HC PAC Period: A multi-phrase unit that typically consists of two phrases in an antecedent consequent (or question-answer) relationship, that relationship eing estalished y means of a stronger cadence at the end of the second phrase Parallel Period: A period in which the antecedent and consequent oth egin with similar or identical material, even if that material is emellished (This term can also apply to doule periods) rit rit HC w PAC

9 Listening Activity: 1 M or m 2 how many phrases cadence types scale degree 1st 5 soprano 5 make diagram Example 10-2: Mozart Rondo (Allegro) q= p f I I I V I I I V I HC PAC 9 10 Listening Activity: 1 M or m 2 how many phrases cadence types scale degree 1st 5 soprano 5 make diagram Example 10-2: Auld Lang Syne q=100 C 7 F D m G m C F D m G m C 7 HC 1 F D m G m C F B C 7 F w PAC w

10 10 Chapter 10 Study Notes - Motives, Su-Phrases Phrases [ of ] Learning Target: what is a motive A motive is the smallest identifiale musical idea A motive can consist of a pitch pattern, a rhythmic pattern, or oth, as you can see in Example 10-2, elow Memorize: it is est to use motive to refer only to those musical ideas that are 'developed' (worked out or used in different ways) in a composition For example: Beethoven's 5th: EXAMPLE 10-2: Motives A B C w 2 w 2 pitch motive rhythm motive pitch/rhythm motive EX C, aove, is an example of the world's most famous motive, the opening notes of Beethoven's 5th Symphony Beethoven used this motive to unify almost all movements of his Symphony Before we examine Example 10-2, elow, let's review the definition of a 'PHRASE': Phrase: A relatively independent musical idea terminated y a cadence 17 2 EXAMPLE 10-2: Beethoven, Symphony no, op, I phrase a HC suphrase suphrase A su-phrase is a distinct portion of a phrase, ut it is NOT a phrase either ecause it is not terminated y a cadence or ecause it seems too short to e relatively independent A su-phrase is a melodic event, while a phrase is oth a melodic and harmonic event (since it ends in a cadence) Example 10-2, aove, is an example of a complete phrase, and the distinct su-sections of the phrase called su-phrases 1 Why is this important Because if you can't identify an identifiale cadence-type at the end of a melodic event, then it is NOT a phrase, ut proaly a suphrase or motive q= EXAMPLE 10-25: Mozart, Piano Sonata in AM, K 1, Mvt I

11 Learning Target: how are phrases identified (page 11 in text, Example 10-10) There is suectivity involved in identifying phrases Listen to and study Example 10-2, elow KEEP example on the overhead proector and answer the following: Listening Activity: 1 M or m 2 how many phrases cadence types scale degree 1st 5 soprano 5 modulation make diagram 11 EXAMPLE 10-2: Haydn, Piano Sonata no 15, II h=52 r

12 12 HIDE this example on the overhead proector and answer the following: Listening Activity: play thru mm 22 (*) 1 M or m 2 how many phrases cadence types scale degree 1st 5 soprano 5 modulation make diagram q=10 2 EXAMPLE 10-27: Mozart, An die Freude, K n n n 25 N

13 Chapter 10 Study Notes - Period Forms 1 (pg 1 in ed ) Learning Target: what is a period A period typically consists of two phrases in an antecedent-consequent (or question-answer) relationship Rememer that relationship is shown y means of a stronger cadence at the end of the second phrase Learning Target: you must know how to DIAGRAM the most commonly encountered patterns: period ig racket for period phrase 1 phrase 2 rackets for each phrase HC PAC or IAC phrase 1 period phrase 2 Look for a STRONGER cadence at the end of the second phrase! You MST identify the cadence type at the end of the each phrase! IAC PAC Learning Target: y definition the phrase endings in a period MST e different Why Learning Target: if oth phrases are identical, the result is NOT a period, ut a REPEATED PHRASE Learning Target: we use the term PARALLEL PERIOD if oth phrases egin with similar or identical material, even if that material is emellished Listening Activity: listen to Example 10-25, elow Can you identify the phrase(s) and cadence(s) Question: is the eginning of each phrase MORE similar or LESS similar Questions: separatee piece of paper: 1 M or m 2 how many phrases cadence types Period type 5 diagram 2 29 EXAMPLE 10-25: Mozart, Piano Sonata in AM, K 1, Mvt I q= AM:

14 1 Chapter 10 Study Notes - Parallel Period Forms (pg 15 in ed ) Learning Target: what is a 'Parallel Period' how is it analyzed diagrammed in a 'parallel period' oth phrases egin with SIMILAR material Note: the eginnings of each phrase don't have to e totally identical, ust more similar than dissimilar! Learning Target: FIRST, we'll learn how to ANALYZE a 'Parallel Period'! Step 1: listen to the selection (or play or sing the melody) and try to determine if the phrases are or measures long Rememer that a phrase must END in a cadence, and since a PERIOD must have 2 phrases, each phrase must end with a cadence Step 2: analyze the last 2 chords of each phrase to determine if it's an allowale cadence Step : lael phrases with lower-case letters (start with 'a') Step : if 'phrase two' has a SIMILAR eginning to 'phrase one' then lael 'phrase two' as a' ('a' prime) Why a' and not a Because y DEFINITION, a 'parallel period' will have DIFFERENT cadences; namely a weak-strong relationship Learning Target: EXAMINE Example 10-25, elow, to learn more aout analyzing a score! EXAMPLE 10-25: Mozart, Piano Sonata in AM, K 1, Mvt I a q= lael the period type AM: a' parallel period I V (HC) I --- V I (PAC) V phrase a phrase a' ig racket for period type You MST identify the cadence type at the end of the each phrase! HC Look for a STRONGER cadence at the end of the second phrase! PAC rackets for each phrase,laeled with letter-name

15 Listening Activity: listen to Example 10-2, elow Can you identify the phrase(s) and cadence(s) Question: is the eginning of each phrase MORE similar or LESS similar Questions: separatee piece of paper: 1 M or m 2 how many phrases cadence types Period type 5 diagram 15 2 q = 9 EXAMPLE 10-2: Gershwin, "I Loves You Porgy" FM7 FM7 B M7 B M7 f C 7/G C 7/G F A m7 D 9 G m7 G m7 N C 7 C 7 F w 290 Chapter 10 Study Notes - Contrasting Period Forms (pg 1-17 in ed ) Learning Target: what is a 'Contrasting Period' how is it analyzed diagrammed in a 'contrasting period' oth phrases egin with DISSIMILAR material Note: the eginnings of each phrase need to e more dissimilar than similar! 295 q=72 EXAMPLE 10-27: Mozart, "Voi, che sapete," from The Marriage of Figaro Teoria, Example of 'Contrasting Period':

16 1 EXAMPLE 10-2: Bach, "Wer nur den lieen Gott labt walten" (Adagio) 05 e=0 N n 09 EXAMPLE 10-29: Beethoven, Sonata op 1 II e= 2 n n 12 2 n 17

17 22 q=12 EXAMPLE 10-0: Beethoven, Bagatelle op 119, No C C EXAMPLE 10-1: Beethoven, Piano Sonata, op 1, no 2 (Elision) n n w A PAC w 0 9

18 1 Chapter 10 Study Notes - Three-phrase Period Forms (pg 17-1 in ed ) Learning Target: what is a 'Three-phrase Period' how is it analyzed diagrammed A 'three-phrase period' has three different phrases, usually two antecedents and one consequent (although one antecedent and two consequents do exist), determined y the cadences Example in the textook (page 17, edition ), consists of two antecedents and one consequent ecause the first two phrases end with half cadences (Listen) 5 EXAMPLE 10-: Rossini, The Barer of Seville (three-phrase period) h= GM: Contrasting three-phrase period phrase a phrase a' phrase antecedent antecedent consequent m m m12 HC IAC PAC NOTE: question-question-answer is the most common 'three-phrase' period

19 Chapter 10 Study Notes - Doule Period Forms (pg in ed ) 19 Learning Target: what are 'Doule Period' types how are they analyzed diagrammed A 'doule period' consists of four phrases in two pairs, the cadence at the end of the second pair eing stronger than the cadence at the end of the first pair A 'repeated period' is NOT the same as a doule period ecause a doule period requires contrasting cadences Doule periods are called 'parallel' or 'contrasting' ased on whether the MELODIC material that egins the two halves of the doule period is more similar or less similar Study Example 10-1 in the textook (page 19, edition ), as an example of a 'parallel doule period' (Listen) 72 EXAMPLE 10-5: Beethoven, Piano Sonata op 2, I (parallel doule period) e=7 n A 79 n n n A n

20 20 Chapter 10 Study Notes - Doule Period Forms (pg in ed ) Learning Target: what is a 'Contrasting Doule Period' type how is it analyzed diagrammed A 'doule period' consists of four phrases in two pairs, the cadence at the end of the second pair eing stronger than the cadence at the end of the first pair A 'repeated period' is NOT the same as a doule period ecause a doule period requires contrasting cadences Doule periods are called 'parallel' or 'contrasting' ased on whether the MELODIC material that egins the two halves of the doule period is more similar or less similar Study Example 10-1 in the textook (page 19, edition ), as an example of a 'parallel doule period' (Listen) EXAMPLE 10-: Beethoven, Minuet in G (contrasting doule period) q= n n

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