CHAPTER 4 Chords TOPCS Harmony Chord Trad Tertan Root Maor Trad Mnor Trad Dmnshed Trad Augmented Trad Prmary Trads Trad Poston Root Poston Frst nverson Seond nverson Seventh Chords Organum Fgured Bass Roman Numerals Smple Poston Thrd nverson Realzaton Maro Analyss Crle Progresson Leadng-Tone Progresson Lead Sheet or Fake Sheet MPORTANT CONCEPTS Harmony Chord n the prevous hapter, pars of pthes ere assgned spef names for dentfaton purposes The phenomenon of tones soundng smultaneously frequently nludes groupngs of three, four, or more pthes As th ntervals, dentfaton names are assgned to larger tone groupngs th spef symols Harmony s the musal result of tones soundng together Whereas melody mples the lnear or horzontal aspet of mus, harmony refers to the vertal dmenson of mus A hord s a harmon unt th at least three dfferent tones soundng smultaneously The term nludes all possle suh sonortes Fgure 41 Trad Trad Root Strtly speakng, a trad s any three-tone hord Hoever, sne estern European mus of the seventeenth through the nneteenth entures s tertan (hords ontanng a superposton of harmon thrds), the term has ome to e lmted to a three-note hord ult n superposed thrds The term root refers to the note on hh a trad s ult C maor trad refers to a maor trad hose root s C The root s the pth from hh a trad s generated 7
Four types of trads are n ommon use They are dentfed y the qualty names maor, mnor, dmnshed, and augmented Maor Trad A maor trad onssts of a maor thrd and a perfet ffth Fgure 42 M + P5 = Maor Trad M + P5 = Maor Trad Mnor Trad A mnor trad onssts of a mnor thrd and a perfet ffth Fgure 4 m + P5 = Mnor Trad m + P5 = Mnor Trad Dmnshed Trad A dmnshed trad onssts of a mnor thrd and a dmnshed ffth Fgure 44 m + d5 = Dmnshed Trad m + d5 = Dmnshed Trad Augmented Trad An augmented trad onssts of a maor thrd and an augmented ffth Fgure 45 n n M + A5 = Augmented Trad M + A5 = Augmented Trad Fgure 4 demonstrates ho eah of the four types of trads an e onstruted Eah trad nludes a root, a thrd, and a ffth 74 PART A The Fundamentals of Mus
Fgure 4 n Augmented Maor Mnor Dmnshed n n n Augmented Maor Mnor Dmnshed Trad Stalty Trad Names A trad that s a omnaton of the strongest ntervals s the most stale The perfet ffth s y far the strongest nterval, and ths aounts for the superor stalty of the maor and mnor trads Strongest and most stale Strong and qute stale Weak and unstale Weak and unstale Maor trad Mnor trad Dmnshed trad Augmented trad You an onstrut a trad on any of the sale degrees The trad has the same funton name as the ndvdual pth Both the pth C and the C maor trad are the ton n Fgure 47 Fgure 47 Ton Superton Medant Sudomnant Domnant Sumedant Leadng Tone Ton Prmary Trads The trads ult on the ton, sudomnant, and domnant are often referred to as the prmary trads eause of ther strong relatonshp to eah other The ton stands n the enter of the tonal system, th the domnant a perfet ffth aove and the sudomnant a perfet ffth elo Fgure 48 5th 5th Ton Domnant Sudomnant Trad Poston Root Poston Trad poston dentfes the note of the hord that appears as the loest-soundng pth of the harmony Any of the three notes of the trad an appear as the loest-soundng pth No matter hat the arrangement of the thrd and ffth fators, the trad s n root poston f the root of the trad s the loest-soundng pth All the trads n Fgure 49 are n root poston CHAPTER 4 Chords 75
7 PART A The Fundamentals of Mus Fgure 49 1 1 1 1 1 1 1 1 An nverson of a trad ours hen the root s not the loest-soundng pth Fgure 410 1 Root Poston nverson 1 Root Poston 5 nverson No matter hat the arrangement of the root and ffth fators, the trad s n f rs t nvers o n f the thrd fator s the loest-soundng pth Fgure 411 No matter hat the arrangement of the root and thrd fators, the trad s n seond nverson f the ffth fator s the loest-soundng pth Fgure 412 5 5 5 5 5 5 5 5 Trad nverson Trad nverson Frst nverson Frst nverson Seond nverson Seond nverson
Other Tertan Chords Trads y no means exhaust the possle tertan sonortes We an ontnue addng thrds to tertan hords, resultng n seventh hords, nnth hords, eleventh hords, and thrteenth hords (dsussed n detal n the latter hapters of ths volume and n volume 2) Fgure 41 Trad Seventh Chord Nnth Chord Eleventh Chord Thrteenth Chord Seventh Chords Although trads are the fous of ths hapter, you ll also enounter seventh hords hen analyzng mus A seventh hord s formed y addng another thrd aove the ffth of a trad The seventh hord ult on the domnant s the most ommon seventh hord n tonal mus (see Fgure 414) Fgure 414 Seventh Chords Domnant Seventh Chord n C maor Hstory Emergng durng the thrteenth entury from a omposton type knon as organum, harmony developed gradually durng the medeval and Renassane perods n the Renassane perod (1450 100) harmony as the result of the omnaton of melod lnes, and the study of harmony as a study of the onsonant and dssonant relatonshps eteen melod lnes Durng the aroque perod (100 1750) the onept of aompanyng a melody th hords as developed The keyoard performer as expeted to mprovse the aompanment from a gven ass lne and a set of symols used to ndate n a general ay the hords to e used The ass lne th ts aompanyng symols s alled a fgured ass, and the nstruments that play from ths part are alled the ontnuo Musans employed the fgured-ass system throughout the aroque perod for keyoard aompanments and keyoard parts for solo songs, solo nstrumental ompostons, and small and large ensemles n 1722 ean-phllpe Rameau rote the Traté de l harmone (Treatse on Harmony), hh desred a theory of harmony n Book One of ths treatse, Rameau dsusses the nverson of hords, a onept that profoundly nfluened later theoretal rtng Many of the prnples presented n ths ook are dret outgroths of Rameau s deas APPLCATONS Musans analyze harmon elements n mus usng sets of symols to dentfy hord types, funton, and relatonshps A hord s onneton to a key enter, or pereved forard moton n a omposton, an often e explaned through harmon analyss To analytal methods, Roman numeral analyss and maro analyss, are presented throughout ths volume as tools for ategorzng tonal harmones and hord relatonshps Symols are not lmted to analyss Composers and arrangers use oth the aroque fgured-ass system and modern-day popular mus symols as shorthand systems to reveal harmon voaulary to performers CHAPTER 4 Chords 77
Roman Numeral Analyss n analyss, Roman numerals are used to dstngush trads ased on sale degrees (Ara numerals th arets are used for sale degrees themselves) Memorze the type of trads that appear on eah tone of the maor sale and the three forms of the mnor sale Captal Roman numerals = Maor trads Examples:,, Loerase Roman numerals = Mnor trads Examples:,, v Loerase Roman numerals th ø = Dmnshed trads Examples: ø, vø Captal Roman numerals th ± = Augmented trads Example: ± Fgure 415 n the maor sale: C maor: M m m M M m v d vø n the natural mnor sale: C mnor: m d ø M m v m v M M n the harmon mnor sale: C mnor: m d ø n A ± m v n M M n d vø n the melod mnor sale: C mnor: m n m n A ± n M n M n d vø n d vø The follong hart s a summary of trad types n the daton sales: Sale Maor Trads on Mnor Trads on Dmnshed Trads on Augmented Trads on Maor,,,, v vø None Natural Mnor,,, v, v ø None Harmon Mnor,, v ø, vø ± Melod Mnor,, vø, vø ± 78 PART A The Fundamentals of Mus
Trad Poston Symols Root-poston trads are ndated th Roman numerals thout addtonal symols Frstnverson trads are ndated th a supersrpt to the rght of the Roman numeral Seond-nverson trads are ndated th a supersrpt 4 to the rght of the Roman numeral When trads are redued to three notes spaed as lose together as possle, e say they are n smple poston Fgure 41 Root Poston 1st nverson 2nd nverson Chords redued to smple poston: C: 4 4 4 Although and 4 aompany Roman numerals to ndate nversons, they are shorthand symols to represent ntervals aove the loest soundng note Fgure 417 llustrates the omplete nterval fgures for trads, along th the arevated symols Fgure 417 Poston Analyss Shong All ntervals Aove the Bass Tone Analyss as Smplfed for Conventonal Use Root Poston Frst nverson Seond nverson 5 C: C: C: C: C: 4 C: 4 CHAPTER 4 Chords 79
Seventh-Chord Poston Symols We ndate root-poston seventh hords y addng a small supersrpt 7 to the rght of the Roman numeral Fgure 418 C: 7 The domnant seventh hord an appear n varous nversons, nludng thrd nverson, as shon n Fgure 419 Fgure 419 Poston Analyss Shong All ntervals Aove the Bass Tone Analyss as Smplfed for Conventonal Use Root Poston Frst nverson Seond nverson Thrd nverson C: 7 5 C: 7 C: 5 C: 5 C: 4 C: 4 2 C: 4 4 2 C: or 2 Fgured Bass Fgured ass onssts of a ass part (sngle lne) th fgures (mostly numers) elo to ndate the type of harmony t s a ontrapuntal, ntervall shorthand method of shong the harmony (along th nonharmon tones) Beause ths method saved tme, musans employed t throughout the aroque perod for keyoard aompanments and keyoard parts for solo songs, solo nstrumental ompostons, and small and large ensemles t also exemplfes the aroque tendeny to emphasze the outer voes (soprano and ass) n ontrast to the Renassane tradton of equal voes (soprano, alto, tenor, and ass) Fgure 420 s an exerpt from a aroque omposton th fgured ass 80 PART A The Fundamentals of Mus
Fgure 420 Cest: Bella Clor (Beautful Chlors), mm 185 188 2 2 Fgure 421 par - - - - te, non tor - na, par - - - Ó 4 ( 5 ) Modern edtons of mus are often prnted th the fgured ass realzed Ths means that the harmony s flled n aordng to the fgures Fgure 421 shos the prevous exerpt th a realzaton of the fgured ass Cest: Bella Clor (Beautful Chlors), mm 185 188, th fgured ass realzed 2 2 2 par - - - - te, non tor - na, par - - - Ó 4 ( 5 ) Ó Ó Ó Ó Fgured-Bass Symols As e have seen, the numers and 4 refer to ntervals aove the ass note, ut they mply others suh as, 8, or an addtonal or 4 to fll out the four voes Fgured-ass numers do not denote spef arrangements; they do not ndate hat note should e plaed n a partular voe (soprano, alto, or tenor) Composers of the aroque perod ould have ndated all ntended notes aove the ass note nludng otaves, thrds, and doulngs here they our ut ths ould have proven urdensome n atual prate they hose only fgures that ould spefally defne a poston (root, frst nverson, or seond nverson) Thus, learly dstngushes frst nverson from root poston (no numers) and seond nverson ( 4) Some standard fgured-ass symols along th ther realzatons are shon n the follong tale and n Fgure 422 Symol Meanng Realzatons None Trad n Root Poston Short for: 5,, 8 5, 5 5, 5, or 8 8 Trad n Frst nverson Short for:,, 8,, or 4 Trad n Seond nverson Short for: 8 4, 4, or 4 4 CHAPTER 4 Chords 81
Fgure 422 Fgured ass as t appears orgnally: 4 Same fgured ass harmonzed n smple poston: 4 4 4 4 4 Same fgured ass harmonzed n four-part harmony: 4 4 4 Same fgured ass th all ntervals ndated: 4 4 8 5 8 4 1 5 1 8 5 When you are onsderng trads, note that any fgured ass that ontans a ut not a 4 means frst nverson Any fgured ass that ontans a and a 4 means seond nverson Sometmes t s neessary to ndate sharps, flats, or naturals aove the ass note These are shon n the follong manner: Symol Meanng,, or n A sharp, flat, or natural alone eneath a ass note ndates a trad n root poston th the thrd nterval aove the ass note sharped, flatted, or naturaled,, or n A sharp, flat, or natural elo a ndates a frst-nverson trad th the thrd nterval aove the ass note sharped, flatted, or naturaled, 4, n, Any sharp, flat, or natural sgn on ether sde of a numer ndates 4 that ths nterval aove the ass note should e sharped, flatted, or naturaled dependng on the symol Rememer that adentals esde numers do not hange the orgnal ntent of the numers themselves, fl,, D, B A slash mark through a numer ndates that ths nterval aove the ass note should e rased a half step t means the same as a sharp sgn esde the numer The plus sgn (D) also has the same meanng f none of these symols are present, assume that you should follo the key sgnature n realzng fgured-ass symols 82 PART A The Fundamentals of Mus
Fgure 42 Fgured ass: 4 2 4 2 4 Fgured ass as realzed: 4 2 4 2 4 Maro Analyss Maro analyss s an analytal proedure that you an employ along th, or nstead of, more onventonal methods of analyss The system s name maro (meanng large) defnes the tehnque s fundamental purpose to reveal large harmon gestures n mus Patterns that are not easly seen n mus eome more vsle through the use of maro analyss Although Roman numeral analyss montors hord-y-hord harmon detals, maro analyss provdes a panoram ve of a omposton s harmon landsape The exerpt n Fgure 424 has een analyzed usng the to tehnques Note the relatonshp eteen the maro analyss symols n the top layer and the Roman numeral analyss elo Both share a smlar use of aptal and loerase letter symols to dentfy hord qualtes, ut maro analyss dentfes hord roots th letters nstead of Roman numerals The maro symols should not e onfused th other letter-ased symols (suh as popular-mus symols) nstead, thnk of them as a shorthand analyss system Maro analyss exposes the harmon duratons and forard moton (th slur symols), hereas the Roman numeral analyss dras attenton to smaller detals suh as hord poston Fgure 424 Rnk: St Luan, mm 1 4 Œ Œ Maro Analyss: A E A D g ø A E A maor: vø The system employs letters to ndate the roots of hords, aompaned y spef symols to dept hord qualty The letter symol ll orrespond th the pth name of the root of the trad Maro analyss symols for trads are rtten as follos: 1 Maor trads are represented y aptal letter names 2 Mnor trads are represented y loerase letter names Dmnshed trads are represented y loerase letter names folloed y the ø symol 4 Augmented trads are represented y aptal letter names folloed y the ± symol CHAPTER 4 Chords 8
Fgure 425 Maor Trads C D E F Mnor Trads d e f Dmnshed Trads ø dø e ø f ø Augmented Trads C± D± E ± F ± The domnant seventh hord s represented y a aptal letter folloed y the supersrpt 7 symol Fgure 42 Domnant Seventh Chords C7 D 7 E 7 F 7 Slur symols are used n maro analyss to lael forard moton n mus To types of slurs are added to the letter-ased symols: 1 The sold slur s attahed to adaent letter symols hose roots a re ether an asendng fourth or a desendng ffth apart n maro analyss, ths type of progresson s knon as a rle progresson 2 The dotted slur s onneted to leadng-tone hords hose roots resolve up a half step Sne the leadng tone s funtonng as a susttute for the domnant n ths type of progresson, the dotted slur ndates the use of a related hord as a susttute n maro analyss, ths type of progresson s knon as a leadng-tone progresson Refer to Chapter 10 for addtonal nformaton aout types of harmon progressons Fgure 427 B E f B f dø E Maro analyss symols are tradtonally postoned elo the sore f used n onunton th Roman numerals, the maro analyss ll oupy the upper level th the Roman 84 PART A The Fundamentals of Mus
numerals postoned elo A summary of maro analyss symols an e found n Appendx B Popular-Mus Symols ust as fgured ass as the shorthand of the eghteenth entury, popular-mus symols are the shorthand of the tenteth entury a system for notatng hords hen the performer s expeted to mprovse the spef detals nstead of rtng out the exat notes on sore paper, popular mus omposers and arrangers ndate the hords to e used for aompanment th hord symols rtten aove the melody lne of the omposton Suh a sore, th the melody and the popular-mus symols, s alled a lead sheet or fake sheet Fgure 428 Coltrane: Mr PC Fast Sng q =252 CM CM GM CM Œ Ó FM CM GM CM Œ A 7 G 7( 5) CM GM CM Œ Ó Popular-mus symols, lke fgured-ass symols, gve the performer nformaton aout the hords requred, ut popular-mus symols usually gve no nformaton aout the ass lne The performer s expeted to mprovse that part The hord ndatons are smple to master and generally refer to root-poston hords Gutar players and keyoard players alke an read and nterpret them The addton of rhythm patterns and arrangements of the hord fators s left to the performers, most of hom are ell traned n the art of mprovsaton Although hord ndatons are gven n root poston, most performers ll voe the hords that s, arrange them for the est voe leadng, hh may mean plang some hords n nverson n some reent popular mus, the ass poston s ndated th a slash folloed y the ass note: C/G means a C maor hord th G n the ass The follong examples llustrate popular-mus hord symols for trads, as ell as some of the hords th added sxths and sevenths that are ommon n azz and popular mus These symols are presented n The Ne Real Book seres (Sher Mus Co) and are adaptatons of the reommendatons made y Carl Brandt and Clnton Roemer n Standardzed Chord Symol Notaton (Roevk Mus Co, 197) Other symols that are sometmes seen n popular mus and azz are shon n Appendx C Popular mus symols for trads are rtten as follos: 1 A maor trad s shon y a aptal letter desgnatng the root 2 A mnor trad s shon y a aptal letter th M added A dmnshed trad s shon y a aptal letter th dm added 4 An augmented trad s shon y a aptal letter th ± added CHAPTER 4 Chords 85
Fgure 429 Maor Trads C F G E Mnor Trads DM GM A M F M Dmnshed Trads B dm F dm C dm B dm Augmented Trads C± B ± F ± A ± A trad th an added tone a maor sxth aove the trad root (ommon n popular mus) s ndated y addng a supersrpt after the letter desgnatng the trad (C ) Fgure 40 C E DM FM Seventh hords appear regularly n popular mus Fgure 41 provdes an example of some of the more ommon seventh hords Fgure 41 G 7 GMA 7 n G7( 5) GM 7 GM 7( 5) G ø 7 Summary Four methods for laelng hords have een presented n ths hapter: Roman numerals, fgured ass, maro analyss symols, and popular-mus symols Eah system has advantages and dsadvantages The Roman numeral system has the advantage that t shos oth the qualty of the hord and ts relatonshp to a daton sale Ths relatonshp s vtal to your understandng of the struture of harmony, and for ths reason the Roman numeral system ll e the prmary system for laelng hords n ths ook The fgured-ass system s useful n learnng voe leadng sne t shos some detals of melod moton; you ll see t n many assgnments The maro analyss system exels at dentfyng oth the root and qualty of a hord hle hghlghtng mportant harmon moton thn a omposton The popular-mus symols are unversally used n azz and popular mus, and an understandng of these symols s vtal for studyng ths mus 8 PART A The Fundamentals of Mus
Assgnment 41 ndate the type of trad shon usng the follong arevatons: M = maor, m = mnor, d = dmnshed, and A = augmented 1 2 4 5 7 8 9 10 11 12 1 14 15 1 17 18 19 20 Assgnment 42 Wrte the requested trad aove eah gven note as shon n the example Alternatve Dretons: Maro Analyss 1 Complete the requested trad aove eah gven note 2 Belo t h e st a f f, r t e t h e let t e r sy m ol t h a t r e p r e s e nt s e a h ho r d a o r d ng t o t h e maro analyss system Maor Trad 1 (Ex) 2 4 5 7 8 9 10 Mnor Trad 11 12 1 14 15 1 17 18 19 20 Dmnshed Trad 21 22 2 24 25 2 27 28 29 0 Augmented Trad 1 2 4 5 7 8 9 40 CHAPTER 4 Chords 87
Assgnment 4 1 Wrte the requested trads as shon y the Roman numerals 2 Be sure to rte the orret adentals to the left of the approprate notes 1 (Ex) 2 4 5 7 D: d: F: v E : C : B: e : 8 9 10 11 12 1 14 D : F : E : : ø g : a : B : 15 1 17 18 19 20 21 d : : vø f : : ± a: v A: g: 22 2 24 25 2 27 28 C: v G: vø A : e: ø : G : v ø a : v Assgnment 44 1 Follong s a seres of maor trads 2 Wr t e t he t h re e m aor keys a nd t he t o m nor keys ( h a r mon for m) n h h e a h t r a d s daton The example s orked orretly for you 1 2 Chord Key Chord Key Chord Key 1 (Ex) n F maor 2 n n n C maor n n n B maor n n n B mnor n n n A mnor n n 88 PART A The Fundamentals of Mus
Assgnment 45 1 Follong s a seres of mnor trads 2 Wr t e t he t h re e m aor keys a nd t he t o m nor keys ( h a r mon for m) n h h e a h t r a d s daton The example s orked orretly for you 1 2 Chord Key Chord Key Chord Key 1 (Ex) n F maor 2 n n n E maor n n v n B maor n n n G mnor n n v n D mnor n n Assgnment 4 1 Follong s a seres of dmnshed trads 2 Wr t e t h e o n e m aor key a nd t h e fou r m nor keys (t o h a r mo n for m a nd t o m elo d form) n hh eah trad s daton The example s orked orretly for you 1 2 Chord Key Chord Key Chord Key 1 (Ex) vø n E maor 2 n n ø n C mnor (harmon) n n vø n E mnor (harmon) n n vø n F mnor (melod) n n vø n E mnor (melod) n n CHAPTER 4 Chords 89
Assgnment 47 1 Follong a re 10 tr ads, n va r ous postons and of va r ous types, a r ranged n four-pa r t harmony (soprano, alto, tenor, and ass) 2 Complete the lanks as requested The example s orked orretly for you 1 (Ex) 2 4 5 7 8 9 10 Analyss Root Poston Type Symol Chord No 1: C 2nd nverson Maor n G maor: 4 Chord No 2: Chord No : Chord No 4: Chord No 5: Chord No : Chord No 7: Chord No 8: Chord No 9: Chord No 10: n F maor: n A maor: n F maor: n B mnor (harmon): n A mnor (natural): n B mnor (harmon): n B mnor (harmon): n G mnor (harmon): n F maor: Assgnment 48 The follong are exerpts from mus lterature 1 dentfy the trads n eah exerpt Certan notes have een rled These are not onsdered part of the trads Brakets have een added to numers, 4, and 5 to dentfy the trads more learly 2 Wr t e t h e Rom a n nu mer a l a n a lyss of e a h hord a nd nd at e t h e p o st on: f n frst nverson, 4 f n seond nverson, and no numers f n root poston Eah hord s numered for onvenene n lass dsussons Alternatve Dretons: Maro Analyss Provde the orret letter symol for eah hord and add slur symols aordng to the nformaton on pages 8 84 90 PART A The Fundamentals of Mus
1 Talls: God Grant We Grae ( Talls s Canon ), mm 5 8 CD Trak 21 4 2 4 2 U G maor: 1 2 4 5 7 8 9 10 11 12 1 14 15 1 2 Crüger: Herr, h hae mssgehandelt ( Lord, have transgressed ), mm 1 9 CD Trak 22 U U G mnor: 1 2 4 5 7 8 9 10 11 12 1 14 15 Mozart: Sonata n C Maor, K 545,, mm CD Trak 2 C maor: 1 2 4 5 7 8 CHAPTER 4 Chords 91
4 Mussorgsky: The Great Gate of Kev from Ptures at an Exhton, mm 1 8 CD Trak 24 Allegro alla reve Maestoso Con grandezza Π= 84 C C f E maor: 1 2 4 5 7 8 9 10 11 12 1 5 Mendelssohn: Songs Wthout Words op 5, no, mm 95 10 CD Trak 25 8 8 Πre - - - sen - - - - - - n n n G mnor: - do 1 2 n n 4 5 dm p 7 8 9 10 11 12 7 1 14 92 PART A The Fundamentals of Mus
Assgnment 49 Follong are several four-part horale phrases harmonzed y S Bah (Certan emellshng tones have een omtted) 1 Under the staves, ndate the fgured-ass symols that ould e used to otan the hords rtten y Bah 2 T h s a ssg n ment s d e sg ne d t o h elp you le a r n fgured-ass symols n seletng hords that requre a varety of symols, some hords have een nluded that are not ntended for analyss at ths tme, so you are asked to supply only fgured-ass symols and not Roman numerals The example llustrates the orret proedure One fgured-ass symol (n no 2) has een suppled for you 1 (Ex) Bah: on Gott ll h nht lassen ( Wll Not Leave God ), BW 418, mm 5 CD Trak 2 5 4 U 2 Bah: Das neugeorne Kndelen ( The Neorn Chld ), BW 122, mm 1 1 CD Trak 27 4 4 5 U n Bah: Seelen-Bräutgam, ( Brdegroom of the Soul ), BW 409, mm 1 2 CD Trak 28 U 4 Bah: Shng dh auf zu denem Gott ( Soar Upard to Thy God ), BW 40, mm 1 2 CD Trak 29 U n 5 Bah: O Lamm Gottes, unshuldg ( O Lam of God, Most Stanless ), BW 401, mm 4 CD Trak 0 U CHAPTER 4 Chords 9
Assgnment 410 Fll n the maro analyss symol elo eah of the gven hords 1 (Ex) 2 4 5 7 8 9 10 F 11 12 1 14 15 1 17 18 19 20 Assgnment 411 Wrte the hords ndated y eah of the popular-mus symols 1 (Ex) A 2 E dm D ± 4 FM 5 B A dm 7 E ± 8 G M 9 D 10 G dm 11 C dm 12 G 1 BM 14 C ± 15 E M 1 D dm 17 F ± 18 C 19 D M 20 A± Assgnment 412 ndate the popular-mus symol for eah of the gven hords 1 (Ex) A 2 4 5 7 8 9 10 11 12 1 14 15 1 17 18 19 20 94 PART A The Fundamentals of Mus
PART B The Strutural Elements of Mus The study of the struture of mus egns th the lassfaton of all aspets of mus nto fve as ategores: sound, harmony, melody, rhythm, and form the strutural elements The sound of the mus s the result of the voes and/or nstruments used, the texture of the mus, and the effets of dynams n mus, texture refers to the ay the melod, rhythm, and harmon materals of a omposton are oven together The study of the harmony of a omposton nludes the harmon patterns and progressons, the tonal mplatons of the harmony, and ho the harmony s sustaned and elaorated The study of the melody of a omposton nludes the promnent melod lnes and ther repetton and varaton, the range and ontour of melod materal, the phrase struture of the melod lnes, the sale ass for melod materals, and the relatonshp and relatve promnene of the varous melod deas that appear together n a ork The study of the rhythm n a omposton nludes the nature of rhythm atvty, the tempo and tempo hanges, the densty of rhythm atvty, and the harmon rhythm or rate of harmon hange throughout a omposton Form refers to the larger shape of the omposton Form n mus s the result of the nteraton of the four strutural elements prevously desred Certan formal patterns reur often enough n Western mus to e gven names (see Chapters 1 17) We ll onsder eah of the as strutural elements n solaton so that you an fous your attenton on eah n turn Hoever, you must alays ear n mnd that these strutural elements seldom funton n solaton n a pee of mus
CHAPTER 5 Cadenes and Nonharmon Tones TOPCS Phrase Harmon Cadene Perfet Authent Cadene mperfet Authent Cadene Half Cadene Phrygan Half Cadene Plagal Cadene Deeptve Cadene Rhythm Cadene Nonharmon Tones Unaented Nonharmon Tones Unaented Passng Tone Unaented Neghorng Tone Esape Tone Antpaton Aented Nonharmon Tones Aented Passng Tone Aented Neghorng Tone Suspenson Retardaton Appoggatura Suessve Passng Tones Changng Tones Doule Neghorng Tones Neghor Group Pedal Tone nverted Pedal Tone MPORTANT CONCEPTS Composers organze hords n spef omnatons to sgnal the onluson of musal passages These ponts of repose are knon as adenes Furthermore, omposers frequently emellsh hords th nonhord pthes knon as nonharmon tones Ths hapter s devoted to these to fundamental elements of musal omposton Phrase A phrase s a sustantal musal thought, hh ends th a musal puntuaton alled a adene Phrases are reated n mus through an nteraton of melody, harmony, and rhythm The frst part of ths hapter onentrates on the harmon and rhythm aspets of phrases; n Chapter e ll take up the melod aspets Harmon Cadene A harmon adene s musal puntuaton that loses a phrase or seton of mus Cadenes dffer onsderaly n musal strength Some sgnfy the end of a omplete musal thought and an e ompared to the perod () Others rng an nomplete dea to a lose ut suggest somethng else to ome These an e ompared to a omma (,) or a semolon (;) Most adenes onlude th ether the or hord The domnant frequently appears as a seventh hord ( 7 ) 97
Fgure 51 A Sarlatt: O essate d pagarm, from Pompeo, mm 5 8 d: 8 8 8 O es - sa - te d pa -gar - m, O la - sa - te - m mo -rr, Cadene Perfet Authent Cadene mperfet Authent Cadene The perfet authent adene s a progresson from to n maor keys and to n mnor keys Both hords must e n root poston n ths adene the ton note must also e the hghest soundng pth n the ton trad From the standpont of fnalty, the perfet authent adene s the strongest adene of all The mperfet authent adene s slghtly eaker than the perfet authent adene A perfet authent adene eomes mperfet hen: 1 The hghest-soundng tone n the ton trad s a tone other than the ton note 2 The vø trad s susttuted for the, makng the adene vø to or vø to One or oth of the hords ( or ) s nverted Examples are: to or to Fgure 52 llustrates oth perfet and mperfet authent adenes Fgure 52 Perfet Authent a mperfet Authent d e mperfet Authent (Rare) f g E : vø Half Cadene f the seond hord of a adene s, t s a half adene Ths permts a large numer of possltes, ut omposers atually employ only a fe to, to, or to aount for the vast maorty of half adenes A half adene from v to n a mnor key s sometmes alled a Phrygan half adene (see Fgure 5d) 98 PART B The Strutural Elements of Mus
Fgure 5 Half Phrygan Half a d n E : : v Plagal Cadene The plagal adene s nearly alays one progresson: to n maor keys, or ts equvalent, v to n mnor keys nfrequently, the progresson to ours as a plagal adene Fgure 54 Plagal a E : Deeptve Cadene f the frst hord s and the seond s not, the adene s deeptve Although there are a large numer of possltes, omposers most often selet v ( n mnor) Fgure 55 llustrates deeptve adenes Fgure 55 Deeptve Deeptve (Rare) a n E : v : 7 E : Rhythm Cadene Phrase endngs often ontan haraterst rhythm patterns that reate a rhythm adene Note n Fgure 5 that the phrase endng an e sensed y tappng the rhythm alone CHAPTER 5 Cadenes and Nonharmon Tones 99
Fgure 5 Bah: Brandenurg Conerto no n G Maor, BW 1048,, mm 1 2 (modfed) C Œ ã C Œ Rhythm adene: Rhythm adenes often end th a longer note than the prevalng note values or are folloed y a rest, hh, n effet, lengthens the fnal note A rhythm adene pattern may reur several tmes throughout a gven omposton (see Fgure 57) Fgure 57 Polsh Folk Song 4 Rhythm adene: Rhythm adene: Rhythm adene: Rhythm adene: Phrases an exst at the rhythm level alone, ndependent of harmony and melody Drum adenes, for example, are lear examples of rhythm phrases Hstory The hstory of harmon adenes s nterestng eause so many early adene types no sound quant and unfulfllng Pror to the aroque perod and the estalshment of funtonal harmony, adenes ere onsdered smply a manpulaton of melod lnes that onverged or dverged to a pont of rest, usually the fnal (the frst degree of a mode) The follong are typal of early adenes Fgure 58 Frenze ( 175) Mahaut (100 77) Doule Leadng-tone Cadene: Bnhos (1400 7) Landn Cadene: Palestrna (1525 94) Plagal Cadene: 100 PART B The Strutural Elements of Mus
The advent of the aroque perod th ts tonalty and funtonal harmony rought aout the famlar adene types Fgure 59 Pahelel (15 170) Purell (159 95) Handel (185 1759) Bah (185 1750) mperfet Authent: d: vø Half: g: v 4 Perfet Authent: g: 4 Deeptve: n n n n C: v The standard adenes (authent, half, plagal, and deeptve) ontnued th lttle hange from the aroque perod throughout the lassal perod Fgure 510 Beethoven (1770 1827) Mozart (175 91) Haydn (172 1809) Saler (1750 1824) mperfet Authent: n Perfet Authent: Deeptve: Half: : f 7 : 4 G: 7 v g: ø Cadene types remaned vrtually unhanged durng the romant perod, ut omposers sometmes deorated ther adenes n a more flord manner n the post-romant and mpressonst perod, some adenes ere smply hghly deorated (and often amouflaged) tradtonal adenes Others resemled a return to the lnear adenes of the prearoque Durng the ontemporary perod, the dea of adene formulae (dstnt types suh as authent, half, et) eame nearly extnt Some omposers of atonal (no tonal enter) mus employed nterpretaton markngs (resendo, loud dynams, et) effetvely to rng ther ompostons to a lose Others, n an effort to avod stereotyped adenes, hose to allo ther ompostons to ome to a halt thout any hnt of adene azz and popular mus frequently nlude tradtonal adenes smlar to those studed n ths text, ut often dsgused th susttutons and deoratons Durng the thrd quarter of the tenteth entury, some reatve azz artsts adapted free-tonal and atonal tehnques to sut ther mprovsatonal styles Free-tonal style permts free use of all 12 tones of the otave ut mantans a tonal enter Atonal mus ontans no tonal enter hatsoever Fgure 511 shos some tradtonal adenes that have een deorated CHAPTER 5 Cadenes and Nonharmon Tones 101
Fgure 511 Deorated Authent: a 11 G: ADD B : 1 9 ADD F: ± 7 Œ ADD n Fgure 511a the domnant () s deorated th an eleventh and the ton ontans an added nterval of a sxth aove the ass note n Fgure 511 the ton hord ontans the ntervals of a sxth and a nnth aove the ass note n Fgure 511 the ton hord ontans a thrteenth (an otave plus a sxth) aove the root Nonharmon Tones Harmon tones should e famlar to you y no They are the hord tones: root, thrd, or ffth Nonharmon tones (nonhord tones) are pthes that sound along th a hord ut are not hord pthes Most nonharmon tones are dssonant and reate ntervals of a seond, fourth, or seventh Dmnshed or augmented ntervals are also onsdered dssonant The dssonane reated y nonharmon tones s alulated aganst the loest-soundng tone of a hord, no matter ho many other voes are present An exepton ours hen the nonharmon tone s postoned n the loest-soundng voe tself (usually ass) Nonharmon tones generally our n a pattern of three pthes: 1 2 Preedng tone Nonharmon tone Follong tone (hord tone) (not a hord tone) (hord tone) A fe nonharmon tones nvolve patterns of more than three pthes and ll e dsussed later n the hapter The varous nonharmon tones are named y the ntervals eteen the preedng tone, the nonharmon tone, and the follong tone Fgure 512 shos the ommon three-tone patterns The nonharmon tone s rled n eah ase Fgure 512 Passng Tone Passng Tone Neghorng Tone Neghorng Tone (step) PT (step) (step) PT (step) (step) NT (step) (step) NT (step) Esape Tone Appoggatura Suspenson Retardaton (step) ET (skp) (skp) APP (step) (ommon) SUS (step) tone (ommon) RE (step) tone Antpaton Antpaton (step) ANT (ommon) tone (step) ANT (ommon) tone 102 PART B The Strutural Elements of Mus
Rhythm Plaement Unaented Nonharmon Tones The most mportant dstnton among the varous nonharmon tones s hether the dssonane ours on the eat (aented) or off the eat (unaented) Dssonanes plaed on the eat are muh stronger and often reate a poerful emotonal mpat, hereas those plaed off the eat generally pass almost unnoted smoothng out melod lnes Some nonharmon tones our n oth aented and unaented ontexts; others appear only as aented or as unaented dssonanes The ommon unaented nonharmon tones are the unaented passng tone, unaented neghorng tone, esape tone, and antpaton Unaented Passng Tone Fgure 51 shos varous unaented passng tones n a four-voe texture Fgures 51a and 51 sho sngle unaented passng tones n desendng and asendng patterns Fgures 51 e sho doule unaented passng tones n a varety of patterns Fgure 51 a PT PT PT d PT PT e PT PT e: Unaented Neghorng Tones Fgure 514 shos varous unaented neghorng tones n a four-voe texture Fgures 514a and 514 sho sngle unaented neghorng tones Fgures 514 and 514d sho doule unaented neghorng tones Fgure 514 a NT NT NT d NT e: Esape Tones Esape tones our only as unaented nonharmon tones Fgure 515 shos the most ommon pattern, n hh a step upard s folloed y a skp donard y a thrd CHAPTER 5 Cadenes and Nonharmon Tones 10
Fgure 515 ET e: v Antpaton Antpatons our only as unaented nonharmon tones Fgure 51 shos to ommon patterns Fgure 51 a ANT ANT e: All four of the unaented nonharmon tones (passng tone, neghorng tone, esape tone, and antpaton) appear n the Handel mnuet exerpt shon n Fgure 517 Fgure 517 Handel: Mnuet n G Mnor, G 242, mm 1 1 ET NT m m PT m ANT ΠΠg: v 7 Aented Nonharmon Tones Aented Passng Tone The ommon aented nonharmon tones are the aented passng tone, aented neghorng tone, suspenson, retardaton, and appoggatura Fgure 518 shos some aented passng tones n a four-voe texture Compare the musal effet of these aented passng tones th the unaented passng tones shon n Fgure 51 104 PART B The Strutural Elements of Mus
Fgure 518 a > PT > PT > PT d > PT > PT e > PT > PT e: Aented Neghorng Tone Fgure 519 shos some aented neghorng tones n a four-voe texture Compare them th the unaented neghorng tones shon n Fgure 514 Fgure 519 a > NT > NT > NT d > NT e: The exerpt y erd n Fgure 520 nludes oth aented passng tones and aented neghorng tones Fgure 520 erd: Tu vedra he amore from l Trovatore, mm 1 5 Ó Tu π Œ Ó F: > NT > NT r r ve - dra hea-mo - ren ter - a ma del mo non fu pù for - te; Œ Ó > PT Œ Ó > NT > NT R Œ Ó R > PT Œ CHAPTER 5 Cadenes and Nonharmon Tones 105
Suspenson The suspenson ours only as an aented nonharmon tone The melod pattern of the suspenson fgure s alays as follos: the preparaton, the suspenson, and the resoluton (Fgure 521) Fgure 521 Preparaton Suspenson Resoluton m Consonant m7 Dssonant m Consonant The suspended tone (the mddle tone of the fgure) s alays dssonant Suspensons are desgnated y the nterval formng the suspended tone and resoluton th the loest soundng voe Three ommon suspenson types are shon n Fgure 522 Fgure 522 a Prep Sus Res Prep Sus Res Prep Sus Res e: 9 v 8 7 ø v 4 n determnng the nterval of suspenson, the otave s usually removed Thus 4 s used nstead of 11 10 The exepton s the 9 8 suspenson Another ommon suspenson s the 2 suspenson Whereas the suspenson fgure s n one of the upper voes n the three suspensons shon n Fgure 522, n the 2 suspenson the suspended tone s n the loer voe Fgure 52 2 suspenson shong suspenson fgure n loer voe M Preparaton M2 Suspenson m Resoluton The other voe (not ontanng the suspenson fgure) may move n almost any ay as long as t provdes the neessary preparaton, suspenson, and resoluton phases for the suspenson fgure 10 PART B The Strutural Elements of Mus
Fgure 524 Suspendng oe: Other oe: M Preparaton M7 Suspenson M Resoluton Rememer that suspensons our only eteen to voes even n four-voe rtng You may gnore the other voes hen onsderng the preparaton, suspenson, and resoluton The follong are suspensons found n a four-voe settng Fgure 525 a Bah: Freu dh sehr, o mene Seele ( Reoe Greatly, O My Soul ), BW 25, mm 12 1 Prep C: Sus Res U 4 Bah: Was Gott tut, das st ohlgetan ( What God Does s Well Done), BW 9a, mm 4 (modfed) Prep G: Sus Res U 4 Consonane-Dssonane: nterval: Con P8 Dss Con P4 M Consonane-Dssonane: nterval: Con P5 Dss P4 Con M Suspensons an our smultaneously n pars, have deorated resolutons, our n hans, or e aompaned y a hangng ass lne Fgure 52 a n pars: SUS SUS Deorated resolutons: SUS SUS e: ø 9 4 8 v 4 2 v 4 2 CHAPTER 5 Cadenes and Nonharmon Tones 107
n hans: SUS SUS SUS SUS d Wth hangng ass lne: SUS 4 9 8 4 9 8 9 F: v Retardaton A retardaton s a nonharmon tone smlar to a suspenson, exept that the resoluton s upard nstead of donard Fgure 527 a RET 7 8 RET 7 8 e: v Appoggatura The appoggatura s a nonharmon tone that s approahed y skp and resolved y step n the opposte dreton t generally ours as an aented nonharmon tone Fgure 528 a e: skp APP step APP skp v step skp APP step ø The Haydn pano sonata exerpt that follos nludes a suspenson, an appoggatura, and a retardaton Although the retardaton n Fgure 529 looks smlar to a grae note, performane prate dtates that the retardaton e performed on eat one not efore the eat 108 PART B The Strutural Elements of Mus
Fgure 529 Haydn: Sonata n A Maor, Ho X:0, : ar 1, mm 14 1 4 SUS APP Ÿ RET A: 4 Aented versus Unaented Nonharmon Tones Compare the to phrases from Bah horales shon n Fgure 50 Fgure 50a ontans only unaented nonharmon tones, hereas 50 has three aented nonharmon tones The nonharmon tones n 50a add rhythm nterest and make the voe leadng smoother, ut the dssonanes n 50 are muh more dramat n effet and add onsderale tenson to the musal settng Fgure 50 a Bah: alet ll h dr geen ( Fareell Gladly Bd Thee ), BW 415, mm 1 2 NT PT PT PT U NT NT PT D: v ø Bah: Lester esu, r snd her ( Blessed esu, At Thy Word ), BW 7, mm 1 2 > PT PT 2 SUS > PT U PT PT G: Nonharmon Tones nvolvng More Than Three Pthes A fe nonharmon tones our n patterns of four or more pthes The most ommon are suessve passng tones, hangng tones, and the pedal tone CHAPTER 5 Cadenes and Nonharmon Tones 109
Suessve Passng Tones To passng tones oasonally fll an nterval of a fourth n suh ases oth the passng tones may e unaented (Fgure 51a) or they may e a omnaton of aented and unaented passng tones (Fgure 51) Fgure 51 a PT > PT PT e: G: Changng Tones Changng tones onsst of to suessve nonharmon tones The frst leads y step from a hord tone, skps to another nonharmon tone, and then leads y step to a hord tone (often the same hord tone) Other terms often used nstead of hangng tones are doule neghorng tones or neghor group n many ays the to hangng tones resemle neghorng tones th a mssng (or perhaps mpled) mddle tone Fgure 52 CT a CT CT CT CT CT mssng e: Pedal Tone A pedal tone (also alled a pedal pont) s a held or repeated note, usually n the loest voe, that alternates eteen onsonane and dssonane th the hord strutures aove t Thus, the dssonanes are reated y the movng hords aove rather than the pedal tone tself When a pedal tone ours aove other voes, t s alled an nverted pedal tone Fgure 5 4 n n 4 Con Dss Con Dss Dss Dss Dss Con Dss Con Con Con 110 PART B The Strutural Elements of Mus
Oserve the suessve passng tones, hangng tones, and pedal tone n the onludng measures of an organ horale prelude y Walther Fgure 54 Walther: Chorale Prelude on Lot Gott, hr Chrsten, allzugleh ( Prase God, Ye Chrstans, All Together ), mm 10 1 PT PT > CT CT CT CT F: v ø Œ Pedal Tone CT CT CT CT PED PED v 4 ø Summary of Nonharmon Tones The follong hart s a summary of nonharmon tones studed n ths hapter PT = Passng Tone NT = Neghorng Tone ET = Esape Tone ANT = Antpaton SUS = Suspenson RE = Retardaton APP = Appoggatura CT = Changng Tones PED = Pedal Tone Type Approah Departure oe Aented or Unaented PT Step Step Any May e ether NT Step Step Any May e ether ET Step Skp Soprano Unaented ANT Prefer step Same tone Usually soprano Unaented SUS Same pth Step don Any Aented RE Same pth Step up Usually soprano Aented APP Skp Step Usually soprano Aented CT NA Any Usually nether note aented PED NA Usually ass Both CHAPTER 5 Cadenes and Nonharmon Tones 111
Assgnment 51 The seond and thrd hords of eah exerse form a adene 1 Analyze eah hord n the lanks provded 2 Wrte the name of the adene type n the lank aove the exerse 1 2 n n 4 5 G: e: C: E : F: 7 8 9 10 E : D: A: : A : Assgnment 52 Follong are nonharmon tones exerpted from mus lterature 1 Crle the nonharmon tone or tones 2 Wrte the name of the type of nonharmon tone n the lank provded 1 2 4 5 _ 7 8 9 10 _ CHAPTER 5 Cadenes and Nonharmon Tones 11
Assgnment 5 The follong s an example from mus lterature 1 Wr te the Roman numeral analyss of eah hord and ndate the poston as follos: f n frst nverson, 4 f n seond nverson, and no numers f n root poston 2 A l l t h e non h a r m o n t o n e s n t h s om p o st on a r e u n a ent e d p a s s ng t o n e s C r le t h e passng tones and rte the arevaton PT neary ndate the type of adene at eah fermata Alternatve Dretons: Maro Analyss 1 Wrte the maro letter symol that represents eah hord 2 nlude slurs herever approprate to dentfy rle progressons ndate the type of adene at eah fermata Bourgeos: Old Hundredth from the Genevan Psalter CD Trak 1 1 2 U G: 4 U Cadene 5 U Cadene 7 8 U Cadene Cadene 114 PART B The Strutural Elements of Mus
Assgnment 54 The follong are examples from Bah horales 1 Wrte the Roman numeral analyss of eah hord and ndate the poston as follos: f n frst nverson, 4 f n seond nverson, and no numers f n root poston 2 C r le a l l non h a r m o n t o n e s a nd r t e t h e a r ev a t o n s r e p r e s e nt ng t h e n a m e n e a r y For onvenene use the follong arevatons: Unaented passng tone = PT 4 suspenson = 4 SUS Unaented neghorng tone = NT The frst hord of eah example s analyzed orretly for you 4 ndate the type of adene at eah fermata 1 Allen Gott n der Höh se Ehr ( Only to God on Hgh Be Glory! ), BW 104, mm 1 2 CD Trak 2 PT PT U A: Cadene 2 Mah s mt mr, Gott, nah dener Güt ( Do th Me as Thy Goodness Prompts Thee ), BW 77, mm 1 2 CD Trak PT PT U D: Cadene CHAPTER 5 Cadenes and Nonharmon Tones 115
Chrstus, der st men Leen ( Chrst s My Lfe ), BW 282, mm 1 4 CD Trak 4 4 4 U G: Cadene 4 Ermuntre dh, men shaher Gest ( Rouse Thyself, My Weak Sprt ), BW 4, mm 20 22 CD Trak 5 4 4 U G: Cadene 5 Nun danket alle Gott ( No Let Us All Thank God ), BW 8, mm 1 2 CD Trak U A: Cadene 11 PART B The Strutural Elements of Mus
Assgnment 55 Follong are four exerpts from mus lterature 1 Analyze eah hord th Roman numerals, also ndatng ts poston Some hords are provded to help you understand the proedure 2 C r le a nd nd a t e t h e t y p e of e a h non h a r m on t on e n ex t t o t h e r le For onve - nene use the follong arevatons: PT = Unaented passng tone > PT = Aented passng tone NT = Unaented neghorng tone > NT = Aented neghorng tone ET = Esape tone SUS = Suspenson and type (9 8, 7, 4, 2 ) ndate the type of adene used at eah phrase endng 4 n numers 1 and 2, the hords hange every quarter note n numers and 4, the hords are raketed one hord per raket 1 Bah: Als esus Chrstus n der Naht ( When esus Chrst n the Nght ), BW 25, mm 1 2 CD Trak 7 U F: v 5 * Cadene * Not explaned n the text yet gnore for the moment 2 Bah: Ah le e uns, Herr esu Chrst ( Ah, Stay Wth Us, Lord esus Chrst ), BW 25, mm 8 10 CD Trak 8 A: v U Cadene CHAPTER 5 Cadenes and Nonharmon Tones 117
Caldara: Alma del ore from La onstanza n amor vne l nganno, mm 2 2 CD Trak 9 4 4 4 Al - ma del o - - - re, spr - to dell al - ma, A: Cadene The follong hnts ll help you omplete the analyss of the exerpt y Corell 1 T he analyss for th ree of the hords s provded T he hord at numer 1 s gven to help you get started The analyss at numers 9 and 12 s also gven 2 The hords at numers and 7 are nomplete Eah requres another note to omplete the trad These are alled mpled harmones, meanng that the mssng note s suggested ut not stated Hnt for hord : the mssng trad note s suggested n hord 5 Whh note of hord 5 ould fll out the trad n hord Hnt for hord 7: the mssng trad tone s suggested n hord 8 Whh note of hord 8 ould fll out the trad n hord 7 The anser to the analyss of the C n hord 7 s found on pages 107 108 4 Corell: Sonata for To olns and olone/arhlute n F Maor, op, no 1, : Allegro, mm 4 7 CD Trak 40 1 2 4 5 7 8 9 10 11 12 F: v 7 Cadene 118 PART B The Strutural Elements of Mus
CHAPTER Melod Organzaton TOPCS Motve Melod Motve Rhythm Motve Sequene Real Sequene Tonal Sequene Modfed Sequene False Sequene Phrase Phrase Memer Perod Anteedent Consequent Parallel Perod Contrastng Perod Three-Phrase Perod Doule Perod Repeated Phrases Dssmlar Phrases Extended Phrase Change of Mode Clmax Tone Asent Desent MPORTANT CONCEPTS The Motve Melod Motve Ths hapter dsusses the organzaton of melod thought and the ays n hh musal unts are omned nto larger and larger setons n muh the same ay as rtten language s made meanngful through the groupng of sentenes and paragraphs, melody s grouped nto onvenent and meanngful unts or setons A motve (or motf ) s a short, reurrng fgure that appears throughout a omposton or seton of mus t s onsdered to e the germnatng ell or organ unt that unfes a larger expanse of mus Dstntve melod and/or rhythm patterns form the underlyng struture of a motve A melod motve s a repeated pth pattern t usually reurs aompaned y the same or a smlar rhythm pattern Fgure 1 Rmsky-Korsakoff: Sheherazade, op 5,, mm 2 0 8 > Motve Motve Repeated Motve Repeated Motve Repeated 119
Rameau: Guerrers, suvez l Amour from Dardanus, at, sene, mm 1 5 2 2 m n m m Motve Motve Repeated Motve Repeated Motve Repeated Lalo: Conerto Russe, op 29,, mm 74 79 2 n n Motve Motve Repeated Motve Repeated Motve Repeated Rhythm Motve A reurrng rhythm pattern n a pee of mus s alled a rhythm motve Although melod motves typally ontan rhythm motves, n many ases rhythm motves funton ndependently of melod patterns, as the examples n Fgure 2 llustrate Fgure 2 Brtsh Folk Song 4 4 2 4 4 2 ã 4 4 2 4 4 2 Rhythm Motve Rhythm Motve Repeated Revaux and C Franços: My Way, mm 55 58 U Œ ã U Œ Rhythm Motve Rhythm Motve Repeated Rhythm Motve Repeated 120 PART B The Strutural Elements of Mus
Copland: Appalahan Sprng, mm 80 82 ã > Rhythm Motve Rhythm Motve Repeated Rhythm Motve Repeated Rhythm motves not assoated th melod motves also ommonly appear as the motves n aompanment fgures Aompanments typally nlude a lmted numer of rhythm motves that are repeated th only slght varaton Ths lak of rhythm varety helps suordnate the aompanment to the melody Fgure Mendelssohn: Songs Wthout Words op 2, no 1, mm 1 2 Andante espressvo > p Rhythm Motve * Rhythm Motve Repeated Rhythm Motve Repeated S n Rhythm Motve Repeated res Rhythm Motve Repeated Chopn: Mazurka n G Mnor, op 7, no 2, mm 1 4 Cantale 4 4 p Œ * * * Œ * Rhythm Motve Rhythm Motve Repeated Rhythm Motve Repeated Rhythm Motve Repeated Sequene A sequene s the mmedate restatement of a melod motve or longer fgure n the same nstrumental or voal part at a hgher or loer pth Eah separate unt of the sequene forms a segment The sequene s one of the most ommon as methods of melod CHAPTER Melod Organzaton 121
elaoraton found n the eghteenth and nneteenth entures The follong lst desres some haratersts of sequenes: 1 A sequene requres at least to segments 2 Most sequenes ontan no more than three or four segments Sequenes usually have only one dreton the segments sueed eah other at ontnungly hgher pthes or ontnungly loer pthes 4 Se quen e seg ment s usu a l ly ont nue y t he sa me nt er va l d st a n e As a n exa mple, f the frst segment egns on C and the next starts th E, then the remander of the segments ll ontnue n thrds Real Sequene A real sequene ontans ontnung segments that are exat transpostons of the f rst segment Every tone s transposed at exatly the same ntervall dstane Fgure 4 Beethoven: Symphony no 9 n D Mnor, op 125, : Prestssmo, mm 1 4 Segment 1 2 2 Segment 2 n Real Sequene Tonal Sequene A tonal sequene aommodates the daton sale, so that only daton notes of the sale are used Ths means that the transposton of the segments may not e exat n Fgure 5, note that n some segments, the half-step and hole-step patterns of the frst segment are not reprodued exatly Fgure 5 Selus: Symphony no 5 n E-flat Maor, op 82,, mm 114 119 4 Segment 1 Segment 2 ΠΠTonal Sequene Thakovsky: Symphony no 5 n E Mnor, op 4,, mm 1 Segment 1 4 Segment 2 - - - - - Tonal Sequene Modfed Sequene n a modf ed sequene some of the segments may e deorated or emellshed n a ay that does not destroy ther orgnal harater 122 PART B The Strutural Elements of Mus
Fgure C P E Bah: Sonata for oln and Pano 4 Segment 1 Segment 2 Modfed Sequene False Sequene A false sequene repeats part of a fgure and states the remander n sequene a mxture of sequene and repetton Fgure 7 Beethoven: Tro n B-flat Maor for Pano, Clarnet or oln, and Cello, op 11, : Adago, mm 1 4 Rep 4 Sequene Rep Œ Œ Sequene Œ False Sequene Shuert: Symphony no 5 n B-flat Maor, D 485,, mm 5 8 Sequene 2 Repetton Ó Sequene Repetton Ó False Sequene Phrase A phrase s a sustantal musal thought usually endng th a harmon, melod, and rhythm adene The presene of a adene dstngushes a phrase from a motve Phrases are frequently four measures long, ut may e longer or shorter A phrase presents a omplete (though sometmes dependent) musal thought Fgure 8 Haydn: Symphony no 102 n B-flat Maor, : Fnale, mm 1 4 Phrase 4 2 B : Half Cadene CHAPTER Melod Organzaton 12