 Bass Arpeggiation- The bass moves down so that the notes outline a chord. A I6/4 chord will be needed to achieve the arpeggiated bass.  Melodic Bass-

Slides:

Advertisements

Similar presentations

Voice Leading in Four Voices Rich Harris Jr. Root Position When two roots lie a P5 or a P4 apart: –Keep common tone ( tone shared by both triads) and.

Advertisements

The 6/4 and Other Linear Chords

Before We Begin... Hang on to your homework – we’re going to go over Part A, and Part B is part of your assignment tonight. I will give you your “tests”

C HAPTER 10 The Dominant Seventh Chord Embellishing the Tonic Harmony.

Schenker’s late theory in overview

Mr. Jackson AP Music Theory.  A cadence is the harmonic, melodic, and rhythmic conclusion to a phrase. It also helps to establish the tonal center. It.

Chopin Analysis.

THE TONIC AND SUBDOMINANT TRIADS IN FIRST INVERSION The I 6 and IV 6 as Embellishing Chords Chapter 11.

Chapter 14 The Pre-dominant II and II 7 Chords. The Supertonic Family Major mode : supertonic sounds minor and its seventh chords is a minor seventh (m7)

Harmonic Progression and Harmonic Rhythm

I 6 and V 6. BrainTeasers 1. Spell Incomplete V7 using scale degrees (bass first). 2. Spell Complete V7 using scale degrees (bass first). 3. With normal.

Cadential or Harmonic Prolongation via expansion 2 Basic Phrase Shapes: I-V (half cadence) I-V (7) -I (authentic/full) I- IV- V-

INTRODUCTION TO MUSIC THEORY

Form. Form p. 2 C Major Triad, Meas. 1-2 C Major 5 Finger Pattern, m. 2-3.

Voice Leading in Four-Part Chorale Writing

 Music Sharing!  Review: Common Harmonies: MAJOR  Review: Common Harmonies: MINOR  Review: Broken Chords & Arpeggios  Review: Cadences  New: Passing.

Intervals – the building blocks of harmony

V OICE L EADING IN F OUR -P ART C HORALE W RITING Chapter 9.

 Music Sharing!  Review: Common Harmonies: MAJOR  Review: Broken Chords & Arpeggios  New: Common Harmonies: MINOR  New: Cadences  New: Passing Tones.

Music Theory Cadences - Chapter 5 Definitions  Phrase A substantial musical thought, which ends with a punctuation called a cadence A substantial musical.

Secondary Dominants and Leading-Tone Chords

Chapter Nine Triads in Second Inversion. Introduction Same as First Inversion Triads by the use of bass arpeggiations. Second Inversion Triads are NOT.

February 9, 2015 Triads in Second Inversion: Six-Four Chords CSUEB, Theory II.

Embellishing Tones. Important Notes vs. Pretty Notes Embellishing tones may or may not be chord tones Embellishing tones contribute to the forward motion.

Harmonizing a Melody AP MUSIC THEORY Remember… Utilize Harmonies Harmonic Progression Cadences Counterpoint There is more than one correct answer!

 Harmony – the way chords are constructed and follow each other.  Chord – combination of three or more tones sounded at once.  Progression – a specific.

Mr. Jackson AP Music Theory

Chapter 8 Diatonic Harmony

Chapter 9 Primary Triads: Tonic, Dominant, & Subdominant Chordss.

CHORD PROGRESSIONS What are they and how will they help you?

Cadences. Why we need Cadences A cadence is where the music reaches some kind of goal – often accompanied by a rhythmic pause. The music between cadences.

AS/A2 MusicBach Chorale Cadences How to Harmonize Bach Chorale Cadences.

Volume II Chapter 4. Borrowed Chords Chords that are borrowed from the parallel minor key Adds color and variety ii° ii ø ⁷ iv b VI vii°⁷ Progression.

Cadences.  Def.= A Harmonic Goal, specifically the chords used at the goal.  Some Cadences sound more final, where as others leave us off balance, feeling.

Cadences, Sentences, Periods and Phrases. Cadences Even though our ultimate harmonic goal is usually a tonic triad, there will also be some harmonic goals.

Chapter 8. Why use 1 st Inversion Chords?  To Improve the contour of the bass line  To provide greater variety of pitches in the bass line  To lessen.

Before We Begin... Get ready for your “test” – Figured Bass and Roman Numerals.

Part Writing and Voice Leading THE #1 THING YOU’VE ALWAYS WANTED TO DO ON A TUESDAY.

Rules for Root Position Part-Writing

PART WRITING GET READY FOR SOME FUN!. ROOT POSITION PART WRITING RULES AND REGULATIONS Four Part Textures: 1. All members of the triad are usually present.

1. Rhythm 1.1. Basic rhythmsBasic rhythms 1.2. Rhythmic formulasRhythmic formulas 2. Melody 2.1. Diatonic scaleDiatonic scale Relative keys Degrees of.

Dominant Seventh Chord Chapter 11. Dominant Seventh Chord Built on the 5 th scale degree Major triad with minor seventh Almost as common as dominant triad.

AP Music Theory Mr. Silvagni

Melodic and harmonic devices

Demystifying Melodic Harmonization

Chapter 16 - Further Expansion of the Basic Phrase: Tonic Expansions, Root Progressions, and the Mediant Triad.

Diatonic Triads and 7th Chords

Harmonic Progression Determines the shape of a composition.

Secondary Dominants Chapter 20.

Introduction to Music Theory

Introduction to Triads and Seventh Chords

AP Music Theory Mr. Silvagni

AP Music Theory Mr. Silvagni

Harmonic Expansions G. DeBenedetti

Four Different Interval Combinations for the Bass Voice

Chorale Harmonization and Figured Bass

Voice Ranges Bass: E2-C4 Tenor: C3-F4 Alto: E3-D5 Soprano: B3-A5

Introduction to Triads and Seventh Chords

Harmonic Progressions

Harmonic Expansions G. DeBenedetti

Vocabulary. Vocabulary SATB Style Notation Range Spacing Voice Crossing Doubling.

Seventh Chords.

Harmonic Expansions G. DeBenedetti

Harmonic Expansions G. DeBenedetti

Triad Inversions When the root of the triad is the bottom note (or the bass note) of the chord, the triad is in root position.

Tonic, Subdominant, and Dominant.

Chapter 13 Embellishing Tones.

The Interaction of Melody and Harmony

Texture Key Words.

Bass Lines and Harmonic Structure

Presentation transcript:

 Bass Arpeggiation- The bass moves down so that the notes outline a chord. A I6/4 chord will be needed to achieve the arpeggiated bass.  Melodic Bass- If the bass line takes on a more melodic role with the upper voices providing the harmony, then a I 6/4 chord may be used.

 Used at the end of the of a piece to extend the Final Cadence Sound  Extends the Dominant or V chord sound in the bass  The I 6/4 occurs on the strong beat in a measure: i.e. 1 or 3 in 4/4/; 1 in ¾  Typical Cadential Progression: I6/4-V-I  Voice Leading: The upper voice move into and out of the I 6/4 chord smoothly

 The passing Six-Four is used to harmonize the middle note of a three-note scalar figure in the bass.  Although any triad may be used as a passing six-four chord, the following are the most commonly used and are found in both major and minor. › I- V6/4-I6 › IV6-I6/4-ii6  Voice Leading: The upper voice should move in contrary motion to the bass line

 Used as an Elaboration of a static root position triad  The Bass and doubled note are held while the other two voices move up and down by step  Common Pedal Progression Chords: › I-(IV6/4)-I › V-(I6/4)-V  6/4 chord must occur on a weak beat and must be analyzed in parentheses.

 The Bass (5 th of the Chord) should be doubled.  The other voices move as smoothly as possible-often by step-both into and out of the six four chord.