Virginia Commonwealth University MHIS 146 Outline Notes Unit 1 Review Harmony: Diatonic Triads and Seventh Chords Root Position and Inversions Chapter 11: Voicing and Doublings Open and Closed Positions of Triads Never more than an octave between the upper three voices Guidelines for doubling notes in triads For All Major and minor triads Inversion 1 st Choice 2 nd Choice Root Position double the root (double the third or fifth) 1 st Inversion Double any note except tendency tones soprano voice most common 2 nd Inversion double the bass Tendency tones are notes with in the key that must resolve in a specific direction. These notes are the leading tones (7 th scale degree), the seventh of the V 7 (dominant seventh chord), and altered notes.
For Diminished Triads: Diminished triads most frequently appear in 1 st inversion, and the choice for doubling is the 3 rd of the chord, but occasionally the fifth can be doubled. Chapter 10: Notation Notation of Harmony: SATB four-part in open score Clefs, Staff, and Stem Direction Keyboard Harmony 3:1 R.H. vs. L.H. or vica versa
Chapter 12: Basic Phrase Model Terms: Phrase - a basic unit of musical thought which has beginning, middle and end The end of a phrase is marked by a cadence. Cadence - a musical figure that combines melodic, harmonic and rhythmic features To make a musical thought sound complete, either conclusive or inconclusive. Harmonic Rhythm - the rate at which the harmony changes. Tendency Tone - an active tone that requires specific resolution Parts of a basic phrase (Establishing a sense of tonality or key): Three areas of the phrase model: tonic area - dominant area - tonic closure tonic area (T) dominant area (D) presentation or statement of the tonic to strongly establish a sense of home base or musical referential point. presentation of the dominant especially the dominant seventh chord establishes the complete puzzle piece to provide direction and preparation for closure on the tonic. Area Scale degrees Tonic 1, 3, 5 Dominant (7 th ) 5, 7, 2, (4) [4 th scale degree is the seventh of the V 7 ] Desired resolution 1, 3 tonic closure (T) resolution of the dominant area back to the opening tonic and providing closure to the musical idea either conclusive or inconclusive.
Resolution of the Dominant and the Dominant Seventh Chords: The resolution of the dominant chord will create motion of the most common tendency tones found in a diatonic musical phrase. LT resolves up (7 th scale degree moves up to 1 st scale degree) 7 th of the V 7 resolves down (4 th scale degree moves down to 3 rd scale degree) One exception: the LT may resolve down if in an inner voice at the end of a phrase. Cadences: The end of the basic model phrase or the tonic closure consist of a specific harmonic, melodic, and rhythmic convergence that creates a musical marker to sign the ending of a musical idea. These markers are called cadences.
Common cadences: Type of Cadence Harmonic Motion Qualification Perfect Authentic (PAC) Dominant or dominant seventh to tonic both chords in root position and the tonic note is the soprano Imperfect Authentic (IAC) Dominant or dominant seventh to tonic Any of the above qualifications for a PAC are not met. Half Cadence (HC) Phrase ends on a root position dominant triad Most common the 2 nd scale degree is the soprano, but occasionally the 5 th or the 7 th scale degree can be the soprano Harmonizing Melodies: Determine the harmonic rhythm Analyze the scale degrees of the melody to determine the accompanying harmony Complete the piano accompaniment of Clementine
Chapter 13: Embellishing Tones Review Material from Chapters 8 and 9 Analysis of Mozart s Variations on Ah, vous dirai-je, Maman for examples of harmonic progressions, cadences, and embellishing tones from Chapter 8 and 9. Chordal Dissonance (p. 143) Embellishing Tones Passing Tones (P) (p. 147) Neighbor Tones (N)(p. 149) Chordal Skips (CS) (p. 149) Combined Embellishing (AP), (UN), and (LN) Neighbor Tones (p. 154) Incomplete neighbors (IN) (p. 156) Double Neighbors (DN) (p. 156) Embellishing Three and Four Voice Textures Analysis of Purcell, Music for a While Common Embellishing Tones (P), (N), (DN), and (IN) Suspension Types Review Previous Suspensions (p. 165 169) Suspensions with Change of Bass Combining Suspensions (Chains) Embellishing Suspensions Retardations Anticipation Pedal Points
Unit 2 Chapter 14: Chorale Harmonization and Figured Bass Chorale Harmonization 1. Sing the given line 2. Write the Bass-Soprano Counterpoint Begin with cadence of the phrase model, then to the beginning and finally the remaining middle section. Understand the harmonic implications of the line 3. Treat Perfect Intervals with care. When you write in common-practice style, do not use: 1. direct octaves or fifths: similar motion into a perfect interval in the soprano-bass pair, permitted only in inner voices or if soprano moves by step; 2. contrary octaves or fifths: contrary motion from one perfect interval to another of the same size; 3. unequal fifths: motion from a diminished fifth to a perfect fifth, especially in the soprano-bass pair, since this interferes with proper resolution of the tendency tones (7 th scale degree resolving up to the 1 st and the 4 th scale degree resolving down to the 3 rd ). Summary (p. 243) Keep in mind the following guidelines when connecting SATB chords 1. Work to achieve smooth voice-leading: Resolve tendency tones correctly, and never double them. If two chords share a common tone, keep the common tone in the same voice. Move each voice to the closest possible member of the following chord (without creating parallel perfect intervals). Avoid skipping down to a choral seventh.
2. Aim for independence of the four voices: Keep each within its own characteristic vocal range. Avoid moving all four voices in the same direction. Avoid placing a pitch in one voice part so that it crosses above or below the pitch sung by an adjacent voice part either within a single chord (voice-crossing) or between two consecutive chords (overlapping). Avoid prolonged parallel or similar motion; balance with contrary and oblique motion. 3. Make each voice a singable melody: Avoid large leaps (except bass leaps between chord members). Avoid melodic motion by augmented or diminished intervals. Include passing or neighboring tones to create a smooth line or add melodic interest. 4. Pay careful attention to voice-leading to and from perfect intervals: Use contrary or oblique motion when you approach and leave any perfect interval, parallel perfect intervals are prohibited in this style. 5. Remember to write musically: When harmony is repeated, create some variety by changing the soprano pitch, the inversion, and/or the spacing of the chord. Where possible, avoid static or repetitive melodic lines.
Figured Bass Figured bass is a numerical shorthand system. This system allows performers to complete harmonic progression and improvised according to personal taste. This was a common performance practice and a teaching technique for harmony during the 17 th and 18 th centuries. When realizing a figured bass: Sing the given line(s) to help orient yourself tonally. An accidental next to a number means to raise or lower the pitch associated with that number by one half step. (m. 47) An accidental by itself means to raise or lower the third above the bass. (m. 48) Place pitches above the bass in an appropriate octave according to the generic intervals given in the figured-bass symbols. (m. 49) Use pitches diatonic in the key. (m. 50) A slash through a number means to raise the pitch associated with that number by a half step. (m. 51) Accidentals in the figure apply only to that single chord. Figured bass does not list all intervals above the bass some, like octaves and thirds,,ay be implied by the figures. Follow the doubling and voice-leading guidelines when voicing or connecting chords. A dash between two numbers means that those intervals belong in the same voice-leading strand. (m. 52) Melodic embellishing tones (other than suspensions) are not shown in the figures because they are not a part of the main harmonic framework. Musicians realizing the bass would be expected to add them according to their taste.
No figure implies 5 3 (root position) # implies raised third above the bass 6 implies 6 3 (first inversion) 6 ( 6 with a slash) implies raised sixth above the bass Chapter 15: Expanding the Basic Phrase: 1. Dominant Substitute: Leading-Tone Chords Analysis of Clarke, Trumpet Voluntary The V and V 7 are not the only chords with the essential active ingredient for dominant function: the leading tone. The diminished triad vii and the diminished seventh chords vii ø 7 and the vii 7 are built on the leading tone and can substitute for the V and V 7. When using the leading-tone triad: Write the vii in first inversion this inversion softens the tritone by placing at least one member of the dissonant tritone in an inner voice. Double the third of the vii 6 (the bass note, or scale-degree 2), since this scale degree is not part of the tritone; if this doubling is not possible, double the fifth (4 th scale degree). Never double the root (7 th scale degree, the leading tone). When resolving vii 6 : (a) If the tritone is spelled as a diminished fifth 7 th scale degree below the 4 th normally resolves inward to a third: 1 st 3 rd scale degrees (m. 56)
(b) If the tritone is spelled as augmented fourth 4 th scale degree below the 7 th it may follow the voice-leading of the tendency tones and resolve outward to a sixth, or (m. 57) (c) It may move in similar motion to a perfect 4 th (5 th 1 st scale degrees) (m. 58) (d) When the tritone is spelled as a diminished fifth, you, may resolve the 4 th scale degree up to the 5 th in only one context: when the soprano-bass counterpoint moves upward in parallel tenths. (m. 59) When you add a minor seventh or a diminished seventh to the vii triad you create the half diminished or the fully diminished seventh chords. Since the seventh chords contain four different pitches there is no concerns about doubling but the chord contains three tendency tones that need to be resolved correctly. Resolve the root of the chord up (7 th scale degree up to the 1 st ). Resolve the 5 th of the chord down (4 th scale degree down to the 3 rd ) and Resolve the chordal 7 th down (6 th scale degree down to the 5 th ) In resolving half diminished and fully diminished seventh chords: Resolve the d5 inward to a third. This results in the tonic triad with a doubled third. (m. 61) When the 2 nd scale degree is voiced higher than the 6 th, the 2 nd may resolve down to the tonic. The resulting augmented fourth to the perfect fourth is permitted in this style. (m. 62) Avoid motion from a d5 to P5 in root position leading-tone seventh chords, the d5 usually contracts to a third in this style. (m. 63) Measure 64 demonstrates an exception to the Avoid motion from a d5 to P5, which is permitted. In this case the interval of the 10 th between the soprano-bass voices will override the sound of the unequal fifth to the perfect fifth.
The typical resolutions of the diminished seventh chords in root position are to root position tonic. The 1 st and 2 nd inversions of the diminished seventh chords resolve to a 1 st inversion tonic. Dominant Expansion Cadential 6 4 chord When you write a cadential 6 4: 1. Always double the bass. 2. Hold any common tones between the chord of approach and the 6 4, and move other voices the shortest distance. 3. Write the cadential 6 4 chord on a strong beat in the measure; it displaces the V of V7 to a weaker beat. In triple meter, sometimes the cadential 6 4 appears on the second beat, resolving to V or V7 on the third beat. 4. Resolve the suspended tones of the 64 downward: the sixth above the bass moves to the fifth, and the fourth above the bass moves to a third. 5. If there is a seventh in the dominant chord that follows the cadential 64, the doubled bass note (an octave above the bass) moves to the seventh of the dominant seventh chord. Always write the analysis as a voice-leading pattern of 6 4 5 3 combined with the Roman numerals (V 6 4 5 3) where no independent chord is created by the voice-leading embellishments. Other types of 6 4 chords that prolong harmony Neighboring 6 4 Chord The neighboring six-four embellishes and prolongs the chord it neighbors whether a tonic-, dominant-, or predominant-area chord- and is usually metrically unaccented. It shares its bass note with the harmony it embellishes, while two upper voices move in stepwise neighboring motion above the bass. This progression is also called a pedal 6 4 because the bass stays on the same pitch, providing a foundation for the simultaneous neighbor tones. Passing 6 4 Chord Passing 6 4 chords connect root-position and first-inversions chords of the same harmony. We call them passing because the 64 harmonizes a bass-line passing tone. The passing 6 4 chord, just as the Neighboring 6 4 chord, can occur on the tonic-, predominant-, or the dominant-area. Arpeggiating 6 4 Arpeggiating 6 4 chords are different from the above-mentioned types of 6 4 chords. These chords only involve a changing bass line under one harmony. The root position chord will arpeggiate up to the fifth of the chord and create a 6 4 chord (2 nd inversion) of itself and thus no dissonance is created. When using second inversion triads: Always double the bass (fifth) of the chord. Be sure you can name the type of 6 4. In all 6 4 chords except arpeggiating (which are consonant), all voices should approach and leave chord members by step (forming neighbor or passing tones) or common tone. Arpeggiating 6 4 chords will have chordal skips, but must then resolve correctly to the next harmony.
Unit 3 Chapter 16: Further Expansions of the Basic Phrase: Predominant Chords, Tonic Expansions, Root Progressions and the Mediant Triad Predominant Harmonies Predominant harmonies are specific chords that appear prior to the dominant chord of the cadence of the model phrase. Thus we can now expand our basic phrase model to include a predominant area to precede the dominant: T PD D T. Following are typical Roman numerals for the basic phrase. In Major keys: I (ii, ii 6, or IV) V7 I In minor keys: i (ii 6 or iv) V 7 i All analysis should include a sonority level that indicates the quality of the chord, a roman numerals analysis, and finally a contextually analysis that demonstrates the chords function within the basic phrase structure. Tonic Expansions with the Submediant The vi triad in major keys represents a new way to expand the tonic area. Compare the tonic with the submediant, they share the 1 st and 3 rd scale degrees and the third pitch in each triad is only different by a step. (In CM: compare C E G with a - c e) Analyze: Mozart, Piano Sonata in D major K. 284 3 rd movement. Mozart provides a clear example of the following progression: D bm em6 A7 D em6 D 6 4 - A DM: I vi ii6 V7 I ii6 V 6 4-5 3 T (T) PD D T PD D *T -----------------------------------------PD D Half cadence
*When the T PD D T basic phrase happens with in a larger phrase it is considered an expansion of the tonic area. In this case, the V7 to I in measures 3 to 4 do not create a cadence because the motion in the melody is not halted to conclude the idea. Not every V7 I is a cadence. Prolonging Tonic by 5 6 motion: Here the submediant chord is only subtly implied and is briefly provided for the ear. It ism best to view this as a transformation of a interval above the bass and not as a new triad presented in the usic. The Mozart Piano Sonata in B flat 1 st movement provides an excellent example. Prolonging Tonic with the Subdominant: You may place the subdominant, in any inversion, between two tonics and this will act as a prolongation of the tonic area. This is very common in many different styles of music: I IV I. Prolonging Tonic with the Dominant Previously, we saw that the V 6 4 can be built upon the 2 nd scale degree and act as a passing 64 chord between a tonic and a tonic in 1 st inversion. The same principle can apply to a V 4 3, a vii 6, or a viiø 6 5
Typical Soprano-Bass Counterpoint Look for patterns, in either the soprano or bass voices, that can imply a tonic area expansion, they include: Stepwise motion between members of the tonic triad (1 2 3, 3 2 1, 3 4 5, or 5 4 3) Neighboring motion above or below a member of the tonic triad (1 2 1, 1 7 1, 3- - 2- - 3, 3 4 3, or 5 4 5). Other soprano-bass combinations are possible that can include incomplete or double neighbor patterns other than passing and neighboring patterns. Basic Root Progressions There are three basic types of root movements in music: falling-fifth root progression, ascendingsecond root progression, and the falling-third root progression. Each of these progressions are measured from the root of the chord to the next root of the chord, and not by the bass line. Falling-fifth Root Progression: Falling-fifth in a diatonic key: In Major: I IV vii vi ii V I In minor: I iv vii (or VII) III VI ii V I This root movement connects the tonic area to predominant area (as in I IV or vi ii, where vi is a tonic expansion), or predominant to dominant areas (as in ii V) or dominant to tonic areas (as in the cadence V I). The motion is strictly down, except when the motion is from the tonic to dominant. This motion can appear between two, three or even more chords successively, as in the Mozart example: vi ii 6 V 7 I within the tonic expansion of the basic phrase model. (see above: Mozart, Piano Sonata in D major K. 284 3 rd movement). The progression seldom includes the leading tone or mediant triads because are weaker links in the chain of Falling-fifth. These triads are included when the falling-fifth progression includes a sequential pattern to the voice-leading (see chapter 18). A typical method of connecting triads with roots a fifth apart is to hold the common tone in the same voice, and move all of the other parts to the closest possible chord member. Falling-third Root Progression: Falling-thirds in a diatonic key: In Major: I vi ii vii - V iii I ascending: I ii V vii - ii IV vi - I In minor: I VI iv vii (or VII) VII I ascending: I III V vii (or VII) ii - iv VI - i The Falling-thirds may be ascending or descending, but descending is most common in common practice music. The most common use of the falling-third is from the tonic to the submediant in order to expand the tonic area (see above). Also this motion can be used to move from the tonic area to the predominant area as in I VI - iv to V. When connecting chords with roots a third apart, hold the common tones and move the other voices to the next-nearest chord member.
Ascending-second Root Progression Movement of a second typically connects functional areas within the basic phrase. Major minor I ii i ii T to PD areas IV V iv V PD to D I vii i - vii T to D (no PD) vii - I vii - I D to T (dominant substitute) V vi V VI D to T (tonic substitute (deceptive cadence see chapter 17)) When using the motion of an ascending second it is important not construct parallel perfect intervals between the chords. Always move the upper voices in contrary motion to the bass line to avoid parallel perfect intervals. Mediant Triad Mediant triads share two notes with the tonic (3 rd and 5 th scale degrees) and two notes with the dominant (5 th and 7 th scale degrees). Thus their ambiguity does not imply tonic expansion or dominant expansion and are rarely used. Be careful analyzing music if you come across a mediant triad. This may be a product of voice-leading and upon further examination you may discover that it is a tonic or dominant triad in disguise. In later 19 th century music the mediant in harmonic minor (III+) will be used as a dominant substitute or on occasion the minor mediant (iii) in Major will be used as a dominant substitute for a modal effect. Chapter 17: The Interaction of Melody and Harmony More on Cadences, Phrase, and Melody Cadences: There are three additional cadences found in common practice music: Deceptive cadence V vi or V VI in minor Plagal cadence IV I Phrygian cadence iv 6 V Previously, we saw half cadences (HC) that utilize the cadential movement to the dominant, and two types of authentic cadences (IAC) and (PAC) which as movement from the dominant to the tonic. We can now substitute the tonic with another harmonization.
The most common tonic substitute (Ts) is the submendiant. In order to achieve the desired effect of a deceptive cadence it is ideal to construct the cadence with the tonic in the soprano voice of the Ts. In music literature the Ts can be chords other than the submediant such as a IV 6 or even a fully diminished chord from outside the key area (called a vii 7 of V (see chapter 19)). As a general rule, the deceptive cadence is designed as the dominant to something else with the 1 st scale degree in the soprano voice, often it is the submediant and the third of the chord should always be doubled to avoid incorrect voice-leading. Plagal Cadence: IV I (iv i) Typically American hymns ended with the text Amen and this used the progression of IV I. The plagal cadence is sometimes called the Amen Cadence We have seen that the I IV I can prolong the tonic area and the plagal cadence can be interpreted in common-practice writing as a prolongation of the tonic area after the final dominant tonic cadence. For an example see the end of the Hallelujah! chorus from the Messiah by Handel, after the final dominant tonic cadence it continues with I I6 IV I progression until the end, a tonic expansion. In popular song writing, plagal cadences are freely and frequently used. Phrygian Cadence: iv 6 - V A Phrygian cadence is a special type of half cadence. It does have the motion of the predominant area to the dominant to form the half cadence, but it is only in minor and contains a half step motion (6 th to 5 th scale degrees) in the bass and a whole step motion (4 th to 5 th scale degrees) in the soprano voice. Its use is primary for effect that can setup expectations of something to follow. Phrase Structure Terminology Analyze Wilson: Till There Was You - Chart the phrase structure A phrase expresses a musical idea and moves toward a goal: the cadence. It is the smallest musical gesture that ends with a cadence. This means that a four-measure unit makes a phrase only when it concludes with a cadence.
Analyze Clementi: Sonatina in C Major Op. 36 No. 1 1 st mvt. A subphrase is a smaller musical unit that does not contain a cadence but it contains a coherent musical gesture. A motive is the smallest recognizable musical idea. Motives may be characterized by their pitches, contour, and/or rhythm, but they rarely contain a cadence. For a musical segment to qualify as a motive, it must be repeated either exactly or in a varied form. Classical-era melodies, the phrase structure of 1+1+2 are so common they are called a sentence. Period Construction When the first phrase of a pair of phrases ends with a weak harmonic conclusion and the second with a strong harmonic conclusion, we call these antecedent and consequent phrases. The two together form an antecedent-consequent pair, or period. Most commonly, the first phrase ends with a half cadence and the second with a perfect authentic cadence. Parallel Period is a phrase pair that use the same material twice only with a slight variant for the ending cadence (a a ) Contrasting Period has two different phrases for it musical material (a b) A phrase group is defined as three or more phrases whose tonal and/or thematic material group them together as a unit. This can be a b a, a a b, or a b b. The last phrase must end with a PAC and the first two end with either a HC or an IAC. These are commonly known as an Asymmetrical Period. A four-phrase period is known as a Double Period that contains a PAC at the end of the last phrase. Several cadential patterns are possible but this is the most common one: IAC-HC, IAC-PAC and this can total 16 or 32 measures. Motives: A rhythmic motive maintains its rhythm but changes its contour and interval structure. (Triplet in Till There Was You ) A contour motive maintains its contour or shape but changes its intervals. (Clementi Sonatina in C) A melodic sequence begins with motive and is repeated in a transposed form either up or down.
Composing an Antecedent-Consequent pair of phrases: 1. Begin by mapping out eight blank measures on two lines of staff paper. Place four on top and four below. 2. Sketch in an approach to each cadence: 1 st cadence ends on 3 rd to 2 nd scale degrees to suggest a HC, then 2 nd to 1 st or 7 th to 1 st scale degrees to create a PAC. 3. Begin in measure one on a chord member on the tonic or add an anacrusis that suggests a dominant tone. 4. Start composing a melody in the first four measures that outlines an incomplete phrase model (T PD D). Plan you progression with one or two chords per measure. 5. Write a melody that expresses your progression by using arpeggios then include embellishing tones. 6. Copy the first half of the music to the second four measures and then continue the phrase to bring the music to a PAC conclusion. Try to create one high point around measure 6 to provide a balance to your music.
Unit 4 Chapter 18: Diatonic Sequences Analyze: Bach, Invention in d minor Sequences In its basic sense, the term sequence refers to a musical pattern that is restated immediately in the same voice at different pitch levels. A restatement of a motive at a different pitch level either up or down forms a melodic sequence. When the entire harmonic or contrapuntal framework is a part of a sequential pattern it forms a harmonic sequence. Diatonic v. Chromatic In a diatonic sequence generic melodic intervals stay the same when the pattern moves to another pitch level, but the pitch-interval qualities change (for example major to minor, or perfect to diminished). A chromatic sequence will use specific intervals that will include pitches outside of the key. Harmonic Sequences Based on Root Progressions A harmonic sequence is a combination with an intervallic pattern in the upper voices and the root movement in a progression. This is referred to as a linear intervallic pattern. The falling fifth root progression is by far the most common source of harmonic sequences; it is well suited to repetitive patterns both in the outer-voice framework and in the entire musical texture. A sequence is used to expand the tonic area or even provide a basis to move to another key area. If we examine a few of the most common Falling-fifth sequences, they will contain an interval of a 10 th between the soprano-bass outer voices, or alternating intervals of a 6 10 between the voices, or
a 6 10 alternating outer voices. Look at the Bach, Invention in d minor again, consider that pattern formed in measures 7 10. What would the harmonic reduction reveal? Analyze: Handel, Chaconne in G Major Variation 11, 12, and 13 When you write Falling-fifth sequences: Follow the same part-writing guidelines as for any two chords with roots related by fifth. In most cases, the two-chord patterns will include one voice part with a common tone. Keep the common tone, and move the other voices to the closest chord member. If the sequence alternates first-inversion triads, the two chord patterns may or may not have these common tone connections, depending on what you have doubled. Some sequences can contain seventh chords: all seventh chords, alternating triads and sevenths chords, or alternating inversions of seventh chords. In common practice style: When you write a Falling-fifth sequence with all root-position seventh chords, parallel fifths and octaves can easily result. T o avoid them, alternate complete and incomplete seventh chords (omit the fifth of the chord). Remember to resolve all of the chordal sevenths down, according to
their tendency. In this case, the leading tones need not resolve up, but they may be pulled down by a descending voice-leading line. When you write a Falling-fifth sequence with alternating triads and seventh chords, every chord should be complete, with standard doubling. Seventh-chord sequences may alternate between two inversions. Inverted seventh chords are usually complete in four-part settings.
On occasion we do observe a sequence of fifths that are ascending. This pattern can be either root position chords or alternating with first inversion chords. The root position ascending fifth sequence pattern will have a 10 5 interval between the soprano-bass outer voices. The alternating pattern will have 10ths as their outer voices. Falling-third Sequence When Falling-third sequences appear in music we run the risk of producing parallel fifths and octaves between the chords. In order to over come this problem, many composers will include an intervening chord between the Falling-third sequence. Analyze: Hensel, Neue Liebe, nuees Leben. Falling-third sequences may also in sevenths just like the Falling-fifth sequence. One of the most famous harmonic- sequence-based pieces is the Canon in D by Pachelbel. The opening chord progression of I V vi iii IV I ii 6 5 V 7 I contains a Falling-third sequence with an intervening root position chord to expand the tonic area the predominant ii 6 5 followed by the dominant (V 7 ) and then the imperfect authentic cadence to I starts the sequence over again.
Sequences based on Seconds As we have learned earlier, root progressions of a second will yield parallel fifths and octaves. One intervallic arrangement that can resolve this problem is Falling-seconds sequence of chords in first inversion. This can be done in descending or ascending series of chords. This arrangement of voice leading was not addressed in the previous chapter, chapter 16, because a span of chords in first inversion is used to expand a tonic, predominant, or a dominant area. A prominent feature of the series of first inversion chords is that they contain a intervallic pattern that demonstrates a connection between the soprano-bass voice leading. In addition to parallel first inversion chords, there are two more ways to break up the perfect intervals from appearing within the Falling-second sequence. First, is to feature a chain of 7-6 suspensions. Analyze: Handel, Chaconne in G Major, Variation 9 Another sequence framework based on root motion by second is a series of root-position triads moving up by step, then delay arrival of the sixth above the bass one half beat. This will create a linear intervallic pattern of a 5 th moving to a sixth on the offbeat, thus preventing from producing parallel fifths because the voices do not move together.
Analyze: Hensel, Neue Liebe, neues Leben, mm. 69-71 Summary: When we analyze sequences, we need to determine (1) what type of pattern they are based on (a root progression, a melodic idea that s restated, an interval pattern, or a combination of both) and (2) the intervals of the restatement. When you come across a sequence in a piece of music, a contextual analysis beneath your Roman numerals will help clarify the harmonic function and goal of the passage. You may substitute for beat-to-beat Roman numerals a label on the beginning and ending chord, plus a label that describes the type from among the following: Falling-fifth (root position or root alternating with inversions, may have sevenths) Ascending-fifth (root position or root alternating with 6 3) Falling-third (stepwise bass or alternating root movements) Parallel 6 3 chords (roots moving by seconds) 7 6 motion (roots descending by seconds) 5 6 motion (roots ascending by seconds)
Unit 5 Chapter 19 Intensifying the Dominant: Secondary Dominants and Secondary Leading-Tone Chords; New Voice-Leading Chords We will examine two topics (1) how to intensify motion to the dominant and expand the dominant area and (2) how to embellish the basic phrase with new voice-leading chords. Analyze: Bach, Wachet auf Secondary dominants, V 7 /V (read as V 7 of V ), acts as temporary dominant chord to the V chord that follows. Triads may also serve as secondary dominants (V/V) The triads or seventh chords will be identified by their chromatic pitch or altered pitch in the music. This will result in the raised fourth scale degree (#4) of the primary key. Build Secondary Dominants: V/V or V 7 /V are altered Predominant ii chords. Predominant Secondary Dominant Ex. CM: ii D F A V/V D F# A ii 7 D F A C V 7 /V D F# A C In minor keys we will utilize the melodic minor alterations to achieve the raised 6 th scale degree. Thus in cm: the A-flat would become an A-natural in order to form these chords. Just as a Predominant ii chord will appear prior to the dominant the secondary dominant will also perform the same role, but with the chromatic alteration it will intensify the dominant and expand the area that we perceive the dominant to be present. To simplify or easily spot the V/V or the V 7 /V chords within the musical context it will appear as a major chord built on the second scale degree or a II or II 7 but to understand its role as intensifying the dominant or expanding the dominant area it should be labeled as a V/V or V 7 /V. When you write and resolve a V7/V in common-practice style be sure you: avoid doubling the #4 resolve the temporary leading tone up (#4 up to 5 th scale degree) resolve the chordal seventh down (1 st scale degree down to the 7 th scale degree) Resolving root-position chords: When moving from a V/V to a V. both chords are complete and resolve normally (m. 82) If you resolve a complete root-position V7/V to a root position V, the chord of resolution will be incomplete, if resolved correctly. (m. 83)
If you want to resolve a root-position V7/V to a complete V chord, then use an incomplete V7/V, (m. 84) thus the temporary leading tone may skip instead to the fifth of the next chord to fill out a complete dominant chord (m. 85). The V chord to which the secondary dominant resolves may be embellished by a cadential 6 4 chord (m. 86). The sudden introduction of the #4 in one voice right after the diatonic 4 th scale degree sounds in another voice is called a cross-relation, a technique generally avoided in common-practice music. When you write secondary dominants that are prepared by their diatonic counterparts, keep the diatonic pitch in the same voice as the chromatically altered pitch. There are other permitted voices that involve cross relations. Secondary Leading Tone Chords Previously we learn that leading tone chords can substitute for the dominant chord. The same is true for secondary dominants, these chords can be replaced by a secondary leading tone. These chords are also a product of a #4 scale degree. Predominant Secondary Leading-Tone Ex. CM: IV F A C vii /V F# A C IV 7 F A C E viiø 7 /V F# A C E In c (melodic) minor: IV 7 F A C Eb vii 7 /V F# A C Eb Of these chords the diminished triad and the fully diminished seventh chords are the most common choices. They are commonly found in the above keys mentioned but occasionally a fully diminished chord will be found in a major key. When you resolve a secondary leading-tone chord to V: Resolve #4 up to the 5 th scale degree Resolve the chordal seventh (3 rd scale degree or lowered 3 rd ) doen to the 2 nd scale degree (m. 89 or m. 93) Avoid parallel fifths and d5 to P5 unless you can replace them in inner voices (m. 88 or m. 92)or unless you write parallel 10ths between soprano and bass (you may write A4 to P4) (m. 87 and m. 91). Be sure not to double the third in the chord of resolution (V) that s the leading tone in the primary key.
Clue: It can be easy to locate these types of chords. First their location will usually be found after the predominant area followed by the dominant or a cadential 6 4 chord. Also they will between two dominant chords as part of an expansion of the dominant area. The second clue is the #4 scale degree resolving to the 5 th scale degree. After you spot these check for the quality of the chord, Major, diminished triad, half diminished, or fully diminished. New Types of Voice-Leading Chords In a previous chapter we saw passing and neighboring 6 4 chords that were used as expansions or prolongations of the tonic. This can also be done with 4 2 chords. Passing 4 2 Chords Commonly this type of chords is seen as I I 4 2 IV 6. This type of harmonic motion will provide a stepwise bass line that leading to a Predominant area. Neighboring 4 2 Chords A common harmonic motion is a I - ii 4 2 I. In this harmonic motion the bass note will remain the same and perform a function as a Pedal 4 2 chord. This is easily identified by the fact the seventh of the ii 4 2 is NOT resolved by maintain to create the root of the tonic chord that follows. The ii chord can also contain a raised 4 th scale degree is does create a V 4 2/V but should be viewed as a Neighboring 4 2 Chord to expand the tonic area and NOT an expansion of the dominant area.
Chapter 20: Phrase Rhythm and Motivic Analysis Analyze: Mozart, Piano Sonata in C Major 2 nd movement Analyze: Clemnti, Sonatina in C Major 1 st movement Analyze: Schumann, Widmung ( Dedication ) Additional handouts: Bach, Prelude, from Cello Suite No. 2 in d minor Bach, Fugue in d# minor from The Well-Tempered Clavier Book I Terms to know: Augmentation Cadential extension Coda Compound melody Contour motive Diminution Elision Extension Fortspinnung Fragmentation Hypermeter Inversion Lead-in Link Metric reinterpretation Overlap Phrase rhythm Rhythmic motive Step progression Subphrase Tonal inversion Truncate