2.  Music Sharing!  Review: Common Harmonies: MAJOR  Review: Broken Chords & Arpeggios  New: Common Harmonies: MINOR  New: Cadences  New: Passing Tones & Neighboring Tones  New: Composition in MAJOR & MINOR

3.  MAJOR: › Scale degrees 1, 3, 5 = I chord › Scale degrees 2, 4, 5, 7 = V (or V7) chord › Scale degrees 1, 4, 6 = IV chord › When harmonizing with the V7 chord, the 5 th is often omitted. › Most harmonizations begin with a I chord › Typical progression at the end of a piece:  ii–vi–V–I  IV–V–I

4.  BROKEN CHORDS: › A way to harmonize a melody in which the chord notes are “broken up” (not played simultaneously). › Opposite of Block chords (when the notes of a chord are played together at the same time).  ARPEGGIOS: › When the notes of a chord are played sequentially; one after the other. › “Arpeggio” comes from the Italian word, “arpeggiare”, meaning “to play on a harp.” › An arpeggio may be extended to an octave or more.

5.  MINOR: › Scale degrees 1, 3, 5 = i chord › Scale degrees 2, 4, 5, 7 = V (or V7) chord › Scale degrees 1, 4, 6 = iv chord › When harmonizing with the V7 chord, the 5 th is often omitted. › Most harmonizations begin with a i chord › Typical progression at the end of a piece:  ii–vi–V(7)–I  IV–V(7)–I

6.  A progression of at least two chords that end a phrase, section, or piece of music.  Authentic Cadence: › V(7)–I or V(7)–i  Plagal Cadence: › IV–I or IV–I (“Amen”)  Half Cadence: › any cadence ending on V  Deceptive Cadence: › V–chord other than I (typically ii, IV6, iv6, vi or VI)

7.  Most melodies include tones that are not part of the chord used for the harmony. These non– chord tones are called “non–harmonic tones.”  When a melody passes from one chord tone to a different chord tone with a non–harmonic tone in between, the non–harmonic tone is called a PASSING TONE.  When a melody passes from one chord tone back to the same chord tone with a non– harmonic tone in between, the non–harmonic tone is called a PASSING TONE.  Upper & lower neighboring tones

8.  Composition is a similar process regardless of whether you are composing in a major or a minor key. You can compose a melody based on a given chord progression.  Analyze the chord progression by writing Roman numerals below the chords and/chord symbols above the staff.

9.  Use both chord tones and non–chord tones (passing and neighboring) to make the melody unique and interesting.  Remember that the first and last note of a melody tends to be the root of the I (or i) chord.  Also, remember that a V or V7 chord usually precedes the last chord.

10.  Start adding harmony (chords/arpeggios, etc.) to your composition!  Use Noteflight!  As a part of your final exam, you will turn in a ‘completed’ composition. This must include: › Your original poem/quote/text/lyrics › Melody line › Harmonization (chord tones & non–chord tones) › Correct key signatures, time signature, etc. › Dynamic, articulation, and tempo markings › Any other theoretical components that we’ve studied during this term that you’d like to employ to make your composition the best it can be!