Download presentation
Presentation is loading. Please wait.
Published byLoreen Green Modified over 9 years ago
1
THE TONIC AND SUBDOMINANT TRIADS IN FIRST INVERSION The I 6 and IV 6 as Embellishing Chords Chapter 11
2
Tonic and Subdominant Triads Root position triads built on ^1, ^4, & ^5 First inversions triads add ^3 & ^6 Helps create interesting melodic lines by using various embellishing tones between essential bass notes
3
Partwriting with I 6 and IV 6 Rules are not as hard and fast as with root position Seek the smoothest connection between different voice parts Avoid perfect parallels, awkward melodic leaps, and questionable doublings Standard doubling: Double the soprano voice, either at the unison or octave. If this leads to a partwriting error, double a different voice.
4
Partwriting with I 6 and IV 6 Ex. 11.2
5
Partwriting with I 6 and IV 6 11.2A Doubling the soprano at the unison or octave 11.2B Often an O/O structure serves as a link between close and open structure or vice versa 11.2C The chordal 3 rd of a I chord (^3) may appear in both the soprano and bass. Do not double the 3 rd of a IV chord (active scale degree ^6). 11.2D You may double an inner voice if a suspension is placed in the soprano of a iv6
6
Partwriting with I 6 and IV 6 Promoting good doubling practices: Safest scale degree doublings: ^1, ^4, ^5 Questionable doublings ^3, ^6 Never double the leading tone ^7
7
The Use of I 6 Occurs in two contexts I 6 can extend tonic harmony through three-note arpeggiations; I - I 6 – I or I 6 – I - I 6 I 6 may be used either to approach or depart from the V, V 7, or IV chords. In this case I 6 would be an essential chord. Ex. 11.4
8
The Use of I 6 Ex. 11.4
9
The Use of the IV 6 Occurs in 3 basic contexts May extend IV harmony through arpeggiation, allowing passing tones to be used IV 6 provides stepwise approach to V Phrygian half cadence IV 6 is sometimes linked to I 6 I 6 to IV 6 or IV 6 to I 6 this involves two inversions; voice doubling in one of the triads will need to be adjusted to avoid possible parallels
10
The Use of the IV 6 IV6 extending IV harmony through arpeggiation
11
Phrygian Half Cadence Derives from the characteristic voice leading used in the Phrygian church mode Occurs frequently in the minor mode Outer voices move stepwise by contrary motion to the dominant (^6 – 5) in bass and (^4 - ^5) in soprano
12
Phrygian Half Cadence ^7 - ^6 suspension over the bass embellishes this progression Double the inner voices of the iv6 avoids parallels
13
The IV as an Embellishing Chord Subdominant may function as an embellishment of the tonic; embellishing chordal neighbor Subdominant is shorter in duration and metrically weaker than the tonic is embellishes Embellishment occurs early in the phrase – long before the cadence point
14
The I as an Embellishing Chord Melodic motion between two subdominant or dominant chords may create a consonant passing or neighboring harmony that embellishes V or IV This embellishing chord usually ends up being I or I6 Does not function as tonic – elaborates a weaker harmony
15
Melody Harmonization – A how to… Harmonic rhythm #1 – Determine preliminary harmonies Opening harmony – downbeat Cadential formula – Roman numerals & scale degrees Chords will normally be in root position, unless: Phrygian cadence Let the soprano have ‘typical’ scale degrees
16
Melody Harmonization – A how to… #2 – fill in the phrase interior Smart chord choices and a good bass line are a MUST Consider what chords are supported by the melody The Bass Line Good mixture of contrary and similar motion in outer parts Stress the use of imperfect consonances between S & B Reserve perfect intervals (5 ths and 8vas) for the opening and cadence
17
Melody Harmonization – A how to… Presently available chords to support different scale degrees in the soprano
18
Melody Harmonization – A how to… #3 Fill in the inner voices to create a 4 part texture #4 Elaborate your note – against – note setting by various embellishing tones Be careful not to over-do the non-harmonic tones Beware any parallels that may be created by the addition of your non-harmonic tones
19
Melody Harmonization – Conclusion #1 – Prep opening harmony and cadence formula #2 – Choose soprano notes, appropriate chords, and a solid bass line to fill the interior #3 – Fill in the interior voices using good partwriting practices #4 – Add embellishing tones.
Similar presentations
© 2025 SlidePlayer.com. Inc.
All rights reserved.