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

Slides:

Advertisements

Similar presentations

Secondary dominants are chords that are altered to sound like dominants (which are the fifth scale degrees of diatonic scales). This means changing minor.

Advertisements

The 6/4 and Other Linear Chords

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

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

Schenker’s Concept of Melody I

Battle of the Sexes! VI and IV 6 Men sit Screen Right Women sit Screen Left.

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.

Schenker’s Concept(s) of Melody. 1. The Tonic Triad as Matrix Notes of the tonic triad are the most stable and form a compositional grid/matrix. Others.

Comparison of Scale Degrees In Major and minor. 1. Scale Degrees ^1, ^2, ^4, and ^5 = Tonal Scale Degrees same for major and all three forms of the minor.

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.

Thursday, October 13,  Music Sharing: Mitchell & Hunter K. (CHS)  Let’s review… Triads (and inversions) 7 th Chords (and inversions) Figured Bass.

Chapter Nine Harmony. Basic Elements of Music Rhythm Melody (pitch Harmony Timbre (sound) Form (shape)

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.

MP102 Intro – Part II. Quick review of Part I Building triads Building triads Making chord progressions Making chord progressions Creating a melody with.

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.

Thursday, October 11, 2012 (10–11–12!).  Music Sharing: Haley & Joey (XHS)  Let’s review (and make sure we really know this stuff!) Figured Bass vs.

Journal  Highland Cathedral – Mass band, Breman 2008 

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

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.

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.

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.

Steve, HEEEELP! Beethoven Piano Sonata, Op. 2, no. 1 in f minor, (1st movement) Beethoven Piano Sonata, Op. 2, no. 1 in f minor, (1st movement)

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

Triad Brain Teasers 1. Do all triads contain three notes? 2. A Triad can be simplified to a stack of __?___( name interval ). Name all the intervals.

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.

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.

 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.

AP Music Theory Mr. Silvagni

How to Play the Major Chords in the Key of D?

Unit 1: Basic Concepts Review

Cadences and Non-Chord Tones

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

Triads and Seventh Chords

Chapter 16 Secondary Functions 1.

Harmonic Progression Determines the shape of a composition.

AP Music Theory Mr. Silvagni

Chapter 19 Notes Intensifying the Dominant

MELODY Melody usually single note phrases that is the LEAD of the piece = single notes that add to a recognizable whole.

Secondary Dominants Chapter 20.

AP Music Theory Mr. Silvagni

Harmonic Expansions G. DeBenedetti

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

Intervals in Action (Two-Voice Composition)

Harmonic Progressions

Harmonic Expansions G. DeBenedetti

Harmonic Expansions G. DeBenedetti

The Basic Phrase Model: Tonic and Dominant Voice-Leading

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

Harmonizing a Melody Chorale Style Rules:

Harmonic Expansions G. DeBenedetti

Harmonic Expansions G. DeBenedetti

Chapter 13 Embellishing Tones.

The Interaction of Melody and Harmony

Bass Lines and Harmonic Structure

Presentation transcript:

Cadential or

Harmonic Prolongation via expansion 2 Basic Phrase Shapes: I-V (half cadence) I-V (7) -I (authentic/full) I- IV- V- I I-V#-I- IV- I 6 - II- V°—‡ I I- IV- II- V- I I- V- I

a minor: I- IV ? - V! I = Harmonic Prolongation via Delay

^3 ^^1 Delays V via double upper neighbors: Expressed as scale degrees: delays V via __ to __ and __ to __. V - ! Because of delay function is always a part uses notes of tonic triad, but is dominant function (never label Tonic note (^1) is dissonant (forms 4th with bass tone) ^5 NN 6th above bass delays 5th 4th above bass delays 3rd

Basics: 1. Notes (scale degrees) portion AND bass tone 2. Doubling (give as scale degree and as root, 3 rd, or 5 th ) Metrically strong or weak ( hint: in 3/4 beats 1-2 are both strong ) ! (dominant arrival) strong or weak 4. Voice -leading in upper voices 5. Characteristic bass motion Beethoven, 7 Variations on “God Save the King”

1. What 2 characteristic melody lines (3 notes) does -I often support? 2. How is the dissonant scale degree ^^1 approached in bar 5? 3. Is it difficulty to connect instead of V! (see m. 13)? 4. What function chord ( tonic, interm. dom ) leads to both Figures?

What is the function of this

^5 ^6 ^7 ^1 ^2 ^3 ^4 ^3 ^2 ^1