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

In Chapter 16 we will… …expand (prolong) the tonic using various methods. …use/analyze basic root progressions. …use/analyze mediant triads.

Big Ideas BIG IDEA #1: EXPANSION OF THE TONIC AREA USING THE vi (VI) OR IV (iv) chords Little, but related idea: expansion of the tonic area using the dominant between 2 voicings of the tonic chord BIG IDEA #2: HARMONIC PROGRESSIONS Using ROOT movements to identify progressions

Tonic Function What triad can function similarly to a tonic? It is a triad that has two scale degrees in common. This triad to ii6 is a common succession for the middle of a phrase. And the winner is?

Key Concept - page 277 The vi chord represents a new way to expand the tonic area. Because I and vi share scale-degrees 1 and 3, vi can prolong or substitute for I in certain musical contexts. Example - page 277 Using the vi allows for a tonic function (contextual analysis), and is a way to prolonging the tonic area.

Key Concept - page 278 When small-scale T-PD-D-T progressions are embedded within a large phrase, they serve to prolong the tonic area. Example - page 277

Key Concept - page 278 The tonic area may be expanded by 5-6 motion above scale degree 1. We generally label this as I5 6 rather than I-vi6. Example - page 278 Good to know it exists, but we very rarely see it, to the point where we can ignore it.

Important to Note We may also place subdominant, in any inversion, between two tonic chords to prolong the tonic area. (Major = I-IV-I; minor = i-iv-i) Examples can be fond on pages 279 and 280.

Prolonging Tonic with the Dominant In Chapter 15 we learned about P64 and N64 (V64). We could have used: V43 vii6 vii65

Tonic Expansion with Neighbor 43 Place N43 (V43) on the weak or off beats or measures. Notice how the tendency tones are still resolved correctly. D: I V43 I (N43) I

Tonic Expansion with P6 Again write these on the weak or off beats. Tendency tones are resolved correctly. d: i vii6 i6 (P6) I 6

Key Concepts - page 281 Patterns that imply tonic expansion 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, or 5-4-5).

Tonic Expansion - Passing Motion Example Notice how tendency tones still resolve correctly. 3 4 5 1 7 1 1 2 3 D: I V43 I6 I 6

Tonic Expansion - Incomplete Neighbor Example Notice how tendency tones still resolve correctly. 1 7 1 3 2 3 1 4 3 D: I V42 I6 IN I 6

Tonic Expansion - Incomplete Neighbor Example Notice how tendency tones still resolve correctly. 1 2 1 5 4 3 3 7 1 d: i6 V65 i (IN) i6 53

Tonic Expansion - Double Neighbor Example D: I V43 65 I (DN) I

Tonic Expansion Recap. Let’s not make this harder than it needs to be. You can use the vi (VI) or IV (iv) chords to extend the tonic area. Got it? Good. Ignore that I5-6 or I6-5 notation in the text. You will not see it very much, ever. On a separate sheet of paper, complete the Try it #3 from page 283 (Also on the next slide.)

Try it #3 - page 283 What two harmonizations are possible for the following patterns?

Basic Root Progressions Now we get to the fun stuff. REMEMBER THAT IN ALL HARMONIC PROGRESSIONS WE ARE USING ROOT MOVEMENT. DON’T CONFUSE THIS WITH BASS MOVEMENT (or grass roots movement or bowel movement, etc.)

Basic Root Progressions Falling-fifth root progressions Ascending-second root progressions Falling-third root progression

Falling-fifth Root Progressions Strongest root motion in tonal music It helps to think of them in a chain: Major: I-IV-vii-iii-vi-ii-V-I minor: i-iv-vii(or VII)-III-VI-ii-V-i Sometimes only fragments of the order above are used (2-4 chords at a time) We do not usually find ascending-fifth motion in tonal music. Pages 1-4 of the handout.

Key Concept - page 286 Some of the most common falling-fifth progressions: I-IV (or i-iv) vi-ii (or VI-ii) ii-V (or ii-V) IV-vii6 (in minor, to set 6-7-1 in melody) V-I (or V-i)

Key Concept - page 287 A typical method of connecting triads with roots a fifth apart is to hold to common tone in the same voice, and move all of the other parts to the closest possible chord member. C: V I V I V I6 V6 I

Key Concept - p. 287 - In Other Words… Keep common tones between chords. Move everything as close as possible. Remember - these are based on the root, not the bass. Make sure you follow doubling guidelines. Resolve tendency tones properly. C: V I V I V I6 V6 I

Substitute 7th Chords In a falling-fifth root progression we typically substitute 7th chords for some of the triads such as: vii7 instead of vii (- resolve leading tone correctly) ii7 (ii7) instead of ii (ii) V7 instead of V (- resolve leading tone correctly) IV7 (iv7) instead of IV (iv) iii7 (III7) instead of iii (III) Pages 3-4 of the handout.

Key Concept and Examples - page 287 Resolve the seventh of the nondominant seventh chord down by step, them move the other two upper voice parts the shortest distance to the members of the next chord. Check for parallels, doubling, and spacing. IN SATB textures, when one seventh chord follows another, one of the two will be incomplete, missing the fifth. F: vi ii7 V7 I f: VI ii7 V7 i 7 Missing 5th

Root Motion by Falling Thirds Assuming you understand the Falling Fifth progressions, this should be easy. Just think of the ROOT motion descending a third. A Common example is I – vi – IV (Think Heart and Soul or Stand by Me) The complete Falling Third Chain in Major is: I-vi-IV-ii-vii-V-iii-I The complete chain in minor is: I-VI-iv-ii-vii-(VIII)-V-III-I Typically the mediant (iii or III) is not used at all in this progression. Once the dominant is reached the tonic usually follows for a cadence. Page 4 of the handout.

Root Motion by Ascending Thirds Did you get the Falling Thirds? Good, go backwards. The complete ascending third chain in major is: I-iii-V-vii-ii-IV-vi-I The complete ascending third chain in minor is: I-III-V-viii (VII)-ii-iv-VI-I Considered to be a retrogression (backwards progression) of descending thirds. Page 4 of the handout.

Key Concept - page 290 When connecting chords with roots a third apart, hold the common tones and move the other parts to the next-nearest chord member.

Root Motion by Seconds - Key Concept 291 Common progressions connecting functional areas are: Major Minor I-ii or I-ii connecting T and PD areas IV-V or iv-V connecting PD and D areas I-vii or I-vii connecting T and D areas (ommitting the PD area) vii-I or vii-I connecting D and T areas (with a dominant substitute) I-vi or V-VI connecting D and T areas (with a tonic substitute)

Root Motion by Seconds Be very careful of parallel 5ths and octaves Parallel 5ths an octaves are found in 20th century music, folk music, and popular music Not permitted in common-practice-period (this course) To avoid parallel 5ths and octaves, start voice far enough apart and use contrary motion were possible. D: I ii IV V

Key Concept - page 292 Chords with roots a second apart are responsible for most parallel-fifth and parallel octave errors in student part writing! When we write root-progressions chords a second apart, we move the upper parts in contrary motion to the bass line, as shown in Example 16.15, to avoid unwanted parallels. D: I ii IV V

Key Concept - page 293 Mediant triads are rarely found in major keys outside of complete root-progression chains. When you think you have spotted one in a harmonic anaylsis, scrutinize it carefully,especially if it is an apparent iii6 or iii64. In many cases, closer inspection of the context will reveal that it is not a mediant chord at all, but tonic of dominant, which the mediant resembles, with nonchord tones or late arrival of a chord tone producing the apparent mediant.

Key Concept - page 296 Minor dominant chords (v) are occasionally found midphrase in tonal music, where they temporarily evoke the sounds of modal composition. Write them sparingly (or not at all) in common practice style, and not at a cadence (where the leading tone is a necessary ingredient). C: I iii IV