AP Music Theory Mr. Silvagni

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
AP MUSIC THEORY MR. JACKSON UNIT 11: SECONDARY DOMINANTS.
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 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
AP Music Theory Mr. Jackson
Battle of the Sexes! VI and IV 6 Men sit Screen Right Women sit Screen Left.
Cadential or Harmonic Prolongation via expansion 2 Basic Phrase Shapes: I-V (half cadence) I-V (7) -I (authentic/full) I- IV- V-
Thursday, October 18,  Music Sharing!  Review: Common Harmonies (major & minor)  Review: Cadences  New: Passing Tones & Neighboring Tones 
Music and MATLAB Arianne Ferare employ a random walk to generate a musical melody harmonize the melody with randomly generated yet appropriate chords and.
INTRODUCTION TO MUSIC THEORY
MP-102 Lecture 1: Intro. What is sequencing? Creating the order of musical events that make up a song, arrangement, or composition.
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.
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.
 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.
Harmonizing a Melody AP MUSIC THEORY Remember… Utilize Harmonies Harmonic Progression Cadences Counterpoint There is more than one correct answer!
MELODIC WRITING. FINISH THIS MELODY! TO BREAK RULES, YOU HAVE TO LEARN THEM FIRST… Composers often consider many things when they write music- rhythm,
 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
Cadences and Nonharmonic Tones Chapter 5. Harmonic Cadence The end of a musical phrase Can be compared to punctuation 5 types.
Chapter 9 Primary Triads: Tonic, Dominant, & Subdominant Chordss.
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.
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.
Resolving the V7 and its Inversions.  Let’s create a V7 chord by stacking 3rds on scale degree 5.  SATB style, anyone?  What is the quality of the.
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.
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.
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
AP Music Theory Mr. Silvagni
AP Music Theory Mr. Silvagni
AP Music Theory Mr. Silvagni
AP Music Theory Mr. Silvagni
Unit 1: Basic Concepts Review
Demystifying Melodic Harmonization
Cadences and Non-Chord Tones
Chapter 16 - Further Expansion of the Basic Phrase: Tonic Expansions, Root Progressions, and the Mediant Triad.
Diatonic Triads and 7th Chords
Chapter 16 Secondary Functions 1.
AP Music Theory Mr. Silvagni
Chapter 19 Notes Intensifying the Dominant
Ear Training at Berklee
Secondary Dominants Chapter 20.
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
Whole vs. Half steps Major Scale Solfege Dominant/Tonic
Intervals in Action (Two-Voice Composition)
Harmonic Progressions
Harmonic Expansions G. DeBenedetti
The Basic Phrase Model: Tonic and Dominant Voice-Leading
Vocabulary. Vocabulary SATB Style Notation Range Spacing Voice Crossing Doubling.
Most (left) to least (right)
Harmonizing a Melody Chorale Style Rules:
Harmonic Expansions G. DeBenedetti
Tonic, Subdominant, and Dominant.
The Interaction of Melody and Harmony
Bass Lines and Harmonic Structure
Presentation transcript:

AP Music Theory Mr. Silvagni Harmonizing a Melody AP Music Theory Mr. Silvagni

Write a Bass Line The last written section of the AP test asks you to write a bass line to a given melody There are 8 measures in total and the bass line is provided for the first 21/2 measures You must also provide roman numerals to imply harmony with the bass line

Harmonizing a Melody Tips Final written section of the AP exam Identify the notes of the melody with either scale degree numbers or solfège Do the cadences first Cadences end with I (i), vi (VI), or V only Use root position chords for the final two chords Do not invert needlessly Do not use seventh chords excessively Do not use root position viio Do not use non-chord tones excessively (or use none) Do not use second inversion triads outside of the four types Identify any notes out of the key and what that implies

More specific tips Write a chord menu (major and minor) Cadences first Write out chords I, ii(7), IV, V(7)/V, V(7), vi, and vii(ø7) Write out chords i, ii(ø7), iv, V(7)/V, V(7), VI, and vii(o7) Cadences first Identify chord choices and start phrases with tonic if possible Determine harmonic rhythm…chose which notes from soprano will be NCTs Keep in mind tonic, subdominant, dominant, tonic flow as you pick chords Make sure bass line is a consonant counterpoint to melody Check for parallelism, retrogression, and correct resolution of tendency tones (Ti-Do, Fa-Mi)

Writing Cadences Authentic Cadences Soprano Line Bass Line Harmony Mi (or Me) Re Do Do Ti Do Do Re Do Sol Sol Do I64-V(7)-I i64-V(7)-i Re Ti Do Fa Ti Do Fa Sol Do IV-V-I or ii6-V-I iv-V-i or iio6-V-i

Writing Cadenecs Half Cadences Melody ends on Sol, Ti, or Re Ti and Re have to be half cadences, Sol can be IAC Use root position V Before the cadence Harmonize Re, Fa, or La (Le) with Fa in the melody and IV or ii6 (iv or iio6) Harmonize Do, Mi (Me), or Sol in the melody with Sol in the bass and I64 (i64) The Phrygian half cadence occurs only in minor…bass line must be Le-Sol and the melody is commonly Fa-Sol If two cadences both end with Sol, both could be a half or one could be IAC (not both IAC) If the melody ends with Sol and it preceded by Fi, then harmonize Fi with root position V/V and Sol with root position V Common Soprano lines: (Re-Ti, Re-Mi[Me]-Fa-Sol, Mi[Me]-Re, La[Le]-Sol, Fa-Sol, Mi-Fi-Sol, Sol-Fi-Sol, Do-Do-Ti, Do-Re)

Writing Cadences Deceptive Cadences Soprano line ends on Do or Mi(Me), NOT La/Le If you choose deceptive, V-vi or V-VI should all be in root position Before V? Predominant chords like ii6 or IV(iio6 or iv); or I64 (i64) if it’s a strong beat

Writing Cadences Plagal Cadence Fa, La(Le), or Do going to Do, Mi(Me), or Sol Usually Fa-Mi (Fa-Me) or La-Sol (Le-Sol) Must use root position IV-I or iv-i

Phrase Beginnings Observe what has been written for you…take their ideas if melody line repeats in any way What’s the last chord written? Does it have a specific resolution? New phrase is like starting over…no points scored for connection between last chord of one phrase into first chord of next Most common bass lines that begin phrases: I-V6-I (Do-Ti-Do) I-IV64-I (Do-Do-Do) I-V64-I6 (Do-Re-Mi)

Everything Else You don’t have to harmonize every beat Do NOT use NCTs in the bass line Do NOT invert carelessly Do NOT use seventh chords except at cadences P4 above bass must resolves downward No retrogression (V-IV, V-ii6, ii-IV) Write standard progressions, such as vi-ii-V-I

Order of Completion Complete the cadences Start the phrases with I (tonic), if possible, then decide on the harmonic rhythm Fill in the beats between the cadences

Practice Examples Barron’s AP Theory AP Central