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

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

3. 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

4. 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?

5. 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.

6. 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

7. 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.

8. 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.

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

10. 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 V I
(N43) I

11. 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

12. 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).

13. Tonic Expansion - Passing Motion Example
Notice how tendency tones still resolve correctly.
D: I V43 I6 I

14. Tonic Expansion - Incomplete Neighbor Example
Notice how tendency tones still resolve correctly.
D: I V I6 IN I

15. Tonic Expansion - Incomplete Neighbor Example
Notice how tendency tones still resolve correctly.
d: i V65 i
(IN) i

16. Tonic Expansion - Double Neighbor Example
D: I V I
(DN) I

17. 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.)

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

19. 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.)

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

21. 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.

22. 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 in melody)
V-I (or V-i)

23. 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 I V I

24. 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 I V I

25. 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.

26. 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 ii V I f: VI ii V i 7
Missing 5th

27. 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.

28. 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.

29. 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.

30. 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)

31. 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

32. 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

33. 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.

34. 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