Harmony Most chords are 5/3s or 6/3s (triads in root position or first inversion). Non-chord notes include passing notes and auxiliary notes (rapid scalic.

Slides:



Advertisements
Similar presentations
Harmonic Progressions By Wally Furrer. Chord Progressions The best way to study harmonic progression is to consider progressions in groups according to.
Advertisements

The 6/4 and Other Linear Chords
C HAPTER 10 The Dominant Seventh Chord Embellishing the Tonic Harmony.
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.
The Development Section Bars Based entirely on the opening figure from the first subject. That’s this bit, here!
THE TONIC AND SUBDOMINANT TRIADS IN FIRST INVERSION The I 6 and IV 6 as Embellishing Chords Chapter 11.
KNOW: what an interval is SHOW: That you can work out an interval from different root notes. COSTRUCT: A range of triads.
Chapter 8.  Voice leading  Linear aspect of music (melodies)  Species counterpoint  Composition in Renaissance style  Cantus Firmus  Fixed melody.
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)
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
NCVPS AP Music Theory Presentation by Dr. Tom Moncrief Inversions of Triads.
Theme and Variations Hinchingbrooke School Music Department.
Lessons 3 and 5. Tasks for this lesson Ask questions and make sure you fully understand how to complete the tasks Don’t leave until you are certain that.
Who is he? Giovanni Gabrielii ( ) was principal organist and composer at the great church of St Mark’s in Venice. There he continued the development.
+ Renaissance Music (Sacred) An introduction. + Renaissance – rebirth ( ) Art, architecture, literature and music share characteristics of the.
Year 12: AS Music Learning Objectives -To recognise key fingerprints of the postmodernist period and the anthem - To review the elements of music and use.
Music Theory Cadences - Chapter 5 Definitions  Phrase A substantial musical thought, which ends with a punctuation called a cadence A substantial musical.
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.
Medieval & Renaissance Periods
Cadences and Nonharmonic Tones Chapter 5. Harmonic Cadence The end of a musical phrase Can be compared to punctuation 5 types.
Compositional Language(s) Instructor: Prof. SIGMAN Tuesday 13:00-15:00 Lecture III.
Chapter 9 Primary Triads: Tonic, Dominant, & Subdominant Chordss.
-The rule of 9 - Figured Bass - 6/6-4. For diatonically-named intervals, there is a useful rule applying to all intervals (that is those of one octave.
Harmony Music is harmony, harmony is perfection, perfection is our dream, and our dream is heaven. - Henri Frederic Amiel.
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.
TIPS Harmony & Melody Composition paper: Timing 1 hour 30 minutes Read paper 5 minutes Melody: 25 – 30 minutes Harmony: 40 – 45 minutes Checking: 10.
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.
84. Chord A harmonic unit with at least 3 different tones. Day 13 – Triads and Inversions.
Miles Davis Quintet ‘Four’. About Davis Lived from 1926 to 1991 Regarded as the lead figure in American jazz through the 2 nd half of the 20 th century.
Partita no. 4 in D: Sarabande and Gigue J.S. Bach.
Locus Iste BRUCKNER. About Bruckner  Born in 1824  Received his training as a chorister at the Augustinian monastery of St. Florian, eventually began.
NAM 8.  Performing forces and their handling  Texture  Structure  Tonality  Harmony  Word-setting and Melody  Rhythm and Metre.
Tippett - Concerto for Double String Orchestra movement I (Harmony) By Luke Everard.
Cadences and Nonharmonic Tones
 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-
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.
Compare and contrast harmony and tonality in Bruckner’s Locus iste and Don’t look back in anger by Oasis (18) Indicative Content HarmonyBruckner Functional;
NAM 33 “Flow My Tears” - Dowland
Mozart – Symphony no.40 in G minor
By Angel and Farah Music 2 Year
How to Play the Major Chords in the Key of D?
AP Music Theory Mr. Silvagni
S4 (Higher) BAROQUE MUSIC
Melodic and harmonic devices
Unit 1: Basic Concepts Review
Cadences and Non-Chord Tones
Chapter 16 Secondary Functions 1.
AP Music Theory Mr. Silvagni
Gigue Describe what you see & hear.
AP Music Theory Mr. Silvagni
AP Music Theory Mr. Silvagni
Harmonic Expansions G. DeBenedetti
Chorale Harmonization and Figured Bass
Voice Ranges Bass: E2-C4 Tenor: C3-F4 Alto: E3-D5 Soprano: B3-A5
Harmonic Expansions G. DeBenedetti
The Basic Phrase Model: Tonic and Dominant Voice-Leading
Vocabulary. Vocabulary SATB Style Notation Range Spacing Voice Crossing Doubling.
To know and be able to recognise the following musical features:
Harmonic Expansions G. DeBenedetti
Harmonic Expansions G. DeBenedetti
SUSPENSIONS CHAPTER 9.
Chapter 13 Embellishing Tones.
MUSIC HIGH SCHOOL - ELECTRONIC PIANO – Unit 6
Non Chord Tones - Nonharmonic Tones
‘Music for a While’ Purcell ‘Music for a While’
Presentation transcript:

Harmony Most chords are 5/3s or 6/3s (triads in root position or first inversion). Non-chord notes include passing notes and auxiliary notes (rapid scalic passages) and occasional suspensions. Dissonances are not forces, but non-chord notes are much more evident than in, for example, Weelkes’s Sing we at pleasure, a light madrigal (or ballett) contemporary with Dowland’s original. However, whereas Weelkes’s ballett is cheerful, the theme for Sweelinck and Dowland is ‘tears’. The following annotated passage demonstrates a few details of Sweelinck’s handling of non-chord notes:

Harmony P = passing note A = auxiliary note (1) Implies VIb, but is better heard as part of a 6–5 movement over a continuing chord I, the 6th ‘resolving’ to the chord’s 5th note. 6–5 ‘mild dissonances’ were common in Renaissance music (E flat–D over G and D–C over F in bars 15–16 of Taverner’s O Wilhelme, pastor bone (Anthology no. 26)). (2) This A resolves to G so beat 1 is not therefore a true 6/4 chord of A minor. (3) This quaver B shows the true moment of the suspension's resolution, each step in the suspension process lasting essentially for a minim. The first B in bar 35 anticipates the resolution, minimising the dissonant effect of the suspension

Harmony Cadences are imperfect and perfect. At ends of sections, the final chord of a cadence is extended over two bars and heavily decorated/embellished. Section A (in A minor) has three imperfect cadences (bars 3–4, 73–8 and 11–12) before the final perfect cadence (14–15/16). The perfect cadence ends with a Tierce de Picardie (chord I having a major not minor 3rd above the bass). In Sweelinck’s time this was customary in minor keys. The imperfect cadences are all phrygian, chord V being preceded by IVb. Phrygian cadences were originally associated with the: Phrygian mode E (st) F (t) G (t) A (t) B (st) C (t) D (t) E. There they served as substitute perfect cadences, now conventional to consider such endings as imperfect cadences in: Aeolian A minor A (t) B (st) C (t) D (t) E (st) F (t) G (t) A.