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Total Theory Review
Total Theory Review
CH. 13 + 14
descending melodic minor scale: This feel and the expressive half step
(D-C# in Example 13.15) show why such descents occur more often in the
minor mode than in the major. Note that in minor, v 6 is used to precede
minor iv6 to give the bass line §....J,7....J,6-5; the use of avoids the augmented
EXAMPLE 13.15 Schutz, "Nacket bin ich von Mutterleibe kommen" ("Naked I have come
from my mother's womb"), Musicalischen Exequien, op. 7, SWV 279
EXAMPLE 13.15 Schutz, "Nacket bin ich von Mutterleibe kommen" ("Naked I have come
from my mother's womb"), Musicalischen Exequien, op. 7, SWV 279
Repeating harmony
BRD
B. Back-relating
Bach, Prelude (reduction)dominant is a dominant chord
which is prolonging a previous tonic without
resolving to another tonic (like a passing V
might)
B. Back-relating
Bach, Prelude (reduction)dominant is a dominant chord
which is prolonging a previous tonic without
resolving to another tonic (like a passing V
might)
▸ Rewrite everything!
PART WRITING, WOO!
▸ Rewrite everything!
▸ Start sensibly, but be prepared to start over!
PART WRITING, WOO!
Local
Brief Tonicization
Prolongational
APPLIED CHORDS — T O N I C I Z AT I O N — M O D U L AT I O N
Local
Brief Tonicization
Prolongational
Fleeting
Often Within Phrases
Do not disrupt home key
APPLIED CHORDS — T O N I C I Z AT I O N — M O D U L AT I O N
Local
Brief Tonicization
Prolongational
Fleeting
Often Within Phrases
Do not disrupt home key
• V7 / x (or inversions)
x determines function !
APPLIED CHORDS
• V/x (or inversions)
• V7 / x (or inversions)
• x determines function !
vi, V7 /IV precedes IV, and V7 /V precedes
The
d method is to second methodchords
alter diatonic is to alter diatonic chords
chromatically, c
changin
them into and
plied dominants applied dominants
seeing and point
where they seeingas where th
domina
cedes IV,vi,
andV7V 7 /V
/IV precedesIV,V.and V7 /V precedes V.
precedes
18.2
d method The
is to second methodchords
alter diatonic is to alter diatonic chords
chromatically, chang
them into and
plied dominants applied dominants
seeing and point
where they seeingaswhere
domint
tonicize ii of C major. Because of the varied types and inversion o
chords-vii 07 /ii, vii 06 /ii and vii 0 j/ii-the supertonic can be toni
some time (nearly half of the example's four measures). Note that t
Same goes for applied
function leading-tone
of ii as a pre-dominant remains chords.
unchanged. The tonici
functions as a way station that helps to connect tonic and dominant.
T E M P O R A RY L E A D I N G T O N E S A N D T E M P O R A RY
S E V E N T H S M U S T B E R E S O LV E D
( J U S T L I K E Y O U W O U L D W I T H A D I AT O N I C V 7 O R V I I O 7 )
Voice leading for applied chords?
T E M P O R A RY L E A D I N G T O N E S A N D T E M P O R A RY
S E V E N T H S M U S T B E R E S O LV E D
( J U S T L I K E Y O U W O U L D W I T H A D I AT O N I C V 7 O R VIIO7 )
A couple related concerns…
A couple related concerns…
C R O S S R E L AT I O N S A N D T O N I C I Z E D H A L F C A D E N C E S
C R O S S R E L AT I O N
•
awkward leaps in the soprano and tenor
C R O S S R E L AT I O N
LE 18.9 Cross Relation
• When a chromatic tone is prepared by another voice.
AVOID
(Remember chromatic alteration?
C R O S S R E L AT I O N
AVOID
(Remember chromatic alteration?
Detecting check
Appliedyour work,
Chords don’t totally rely on it.
18.3
D E T E C T I N Each
G Aof PthePfollowing
L I E D excerpts
C H Ocontains
R D Sat least one a
key listed for each example, analyze each of the chor
SOLVED/APP 6
Exercise 18.4
A4.
EXAMPLE 19.1
A. Schumann, "Talismane," Myrten, op. 25, no. 8
371
EXAMPLE 19.1
A. Schumann, "Talismane," Myrten, op. 25, no. 8
371
? ? ? ? ?
EXAMPLE 19.1
A. Schumann, "Talismane," Myrten, op. 25, no. 8
371
g A ii A ii
EXAMPLE 19.1
A. Schumann, "Talismane," Myrten, op. 25, no. 8
371
v V/ii ii V/ii ii
EXAMPLE 19.1
A. Schumann, "Talismane," Myrten, op. 25, no. 8
371
Let's apply this method of analysis to the following examples from the
Notice how the shift towards ii (d minor) is within the
literature, each of which demonstrates an extended tonicization.
phrase (extended
EXAMPLE 19.2 Beethoven,PD)
Piano and doesn’t
Sonata in H major, op.disrupt the home key.
27, no. 1, Andante
REVIEW: MORE
CHROMATIC HARMONY
CHROMATICISM
CHROMATICISM
MODAL MIXTURE
nope. CHROMATICISM
MODAL MIXTURE
nope. CHROMATICISM
MAJOR DIMINISHED
MODAL MIXTURE
DOMINANT
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
APPLIED CHORD?
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
APPLIED CHORD?
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
APPLIED CHORD?
CHROMATICISM
COMMON TONE?
Quality?
MAJOR DIMINISHED
DOMINANT
nope.
APPLIED CHORD?
CHROMATICISM
COMMON TONE?
Quality?
MAJOR DIMINISHED
DOMINANT
nope.
CTo7
APPLIED CHORD?
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
CHROMATICISM
MAJOR DIMINISHED
MODAL MIXTURE
nope. DOMINANT
CHROMATICISM
MAJOR DIMINISHED
MODAL MIXTURE
nope. DOMINANT
APPLIED CHORD?
CHROMATICISM
MAJOR DIMINISHED
MODAL MIXTURE
nope. DOMINANT
APPLIED CHORD?
nope.
CHROMATICISM
MAJOR DIMINISHED
MODAL MIXTURE
nope. DOMINANT
APPLIED CHORD?
NEAPOLITAN
nope.
NEAPOLITAN 6 CHORD
(N6)
A Major Chord
NEAPOLITAN 6 CHORD
(N6)
A Major Chord
Built off the lowered second scale degree
NEAPOLITAN 6 CHORD
(N6)
A Major Chord
Built off the lowered second scale degree
In first inversion (6)
NEAPOLITAN 6 CHORD
(N6)
C Major
C minor
C# Major
Eb minor
Cb Major
NEAPOLITAN 6 CHORD
(N6)
C Major (Db)
C minor (Db)
C# Major (D)
Eb minor (Fb)
Cb Major (Dbb)
NEAPOLITAN 6 CHORD
(N6)
FUNCTION?
NEAPOLITAN 6 CHORD
(N6)
FUNCTION?
N6 - V
b2 - 7
NEAPOLITAN 6 CHORD
(N6)
N6 - ? - V
b2 - 1 - 7
NEAPOLITAN 6 CHORD
(N6)
b2 - 1 - 7
N6 - viio7/V - V
NEAPOLITAN 6 CHORD
(N6)
b2 - 1 - 7
N6 - viio7/V - V
N6 - viio7/V - V64 - V53
NEAPOLITAN 6 CHORD
(N6)
b2 - 1 - 7
N6 - viio7/V - V
N6 - viio7/V - V64 - V53
N6 - V64 - V53
m6-Vprogressions will have a motion in one of the upper
voices-usually the soprano (Example 23.2A).
Double the bass, 4. (See Example 23.2A.) If necessary, double 6.
NEAPOLITAN
In minor, any chord that6would
CHORD
precede ii 06 can also precede m6.
In major, the common chords before m6 are tonic (I) and mixture
chords (N6)
iv). When writing in major, avoid the augmented
second that occurs between 3 and (Example 23.2C).
The ultimate goal of the Neapolitan chord is to move to V. However,
m
there are two common ways to move from 6 to V, both of which
harmonize a passing i (Example 23.3).
EXERCISE INTERLUDE
WRITING
23.1
ther than an awkward tritone leap from to 5 (Example 23.2B
ajor major
e, both
mode, mode,
theboth theboth
supertonic the supertonic
and theand
supertonic and the
submediant aresubmediant
the submediantlowered ar
an
are lowered
y), asrespectively),
in Example
spectively), as in Example
23.2C.
as in Example 23.2C. 23.2C.
NEAPOLITAN 6 CHORD
(N6)
2mmon
Common
Neapolitan Neapolitan
ContextsContexts
Contexts
Neapolitan
b2 - (1) - 7
Quality?
MAJOR DIMINISHED
DOMINANT
APPLIED CHORD?
nope.
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
APPLIED CHORD?
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
APPLIED CHORD?
nope.
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
GER. 6
APPLIED CHORD?
nope.
CHROMATICISM
Augmented Sixth?
CHROMATICISM
Augmented Sixth?
+ Scale Degree 1
IT. 6
CHROMATICISM
Augmented Sixth?
+ Scale Degree 1
+ Scale Degree 2
IT. 6 FR. 6
CHROMATICISM
Augmented Sixth?
+ Scale Degree 2
• So every kind of Aug6 chord has that same augmented 6th shell
• The pitches which flank the 5th scale degree on either side
THE AUGMENTED 6TH
ITALIAN , FRENC H, GERMAN (AND SWISS…)
• F natural and D#
THE AUGMENTED 6TH
ITALIAN , FRENC H, GERMAN (AND SWISS…)
• Eb and C#
• Eb and C#
• Eb and C#
CHAPTER 24 THE AUGMENTED SIXTH CHORD
• What else do we have to check for?
Augmented Sixth?
(#4 + b6)
CHROMATICISM
Augmented Sixth?
CHAPTER
(#4 + b6) 24 THE AUGMENTED SIXTH CHO
IT. 6
CHROMATICISM
Augmented Sixth?
(#4 + b6)
+ Scale Degree 1
+ Scale Degree 2
IT. 6 FR. 6
CHROMATICISM
Augmented Sixth?
(#4 + b6)
+ Scale Degree 2
• Then, go back to the Aug6 and write the aug 6th tendency tones
• Finally:
IS IT GOING TO V ?
Augmented Sixth?
+ Scale Degree 2
IS IT GOING TO V ?
+ Scale Degree 2
IS IT GOING TO V ?
+ Scale Degree 2
IS IT GOING TO V ?
+ Scale Degree 2
nope.
APPLIED CHORDS — T O N I C I Z AT I O N — M O D U L AT I O N
Local
Brief Tonicization
Prolongational
Fleeting
Often Within Phrases
Do not disrupt home key
Writing Modulations
You must test your modulations with performance, because often wha
looks like a successful pivot chord may, in actuality, not work at all. This i
because in addition to the following voice-leading rules, you must establis
two keys in a convincing manner. The following guidelines will help you t
rare nature of vi 6-and its spelling as the common ii6 in the n
key-is one indication that the key is already changing.
PIVOT CHORD
EXAMPLE 19.7 M Sonata
Mozart, Piano O D U in
L AT I O NK. 284, Thema, Andante
D major,
Writing Modulations
Pivot chord
You is often
must test a predominant
your in performance,
modulations with new key…because
why? often wha
looks like a successful pivot chord may, in actuality, not work at all. This i
because in addition to the following voice-leading rules, you must establish
two keys in a convincing manner. The following guidelines will help you to
write modulations.
Eb
Is there a chord diatonic to both keys to use as a pivot?
Eb
No. But there is a chord which makes sense as a chromatic pivot.
Eb
Chromatic Pivot Chords are often MODAL MIXTURE chords
Eb
T Y P E S O F M O D U L AT I O N ? ? ?
▸ D2
▸ (-5/+4)
▸ D3
▸ (-4/+2… Pachelbel…)
▸ A2
▸ (+5/-4)
▸ (-3/+4)
beams in Example 17.4. The A2 ( +5/ -4) sequence-which typi
only-results in a large-scale step ascent that u
EXAMPLE 17.4 The D2 Sequence as shown in Example 17.10B, a leap to 6 as par
that ii 0 and VI chords are skipped in Exa
asterisk). This is typically done to avoid the tri
which so far have not been permitted. Within sequences, these sonorities
are that resultoffrom
members falling
a larger directly by thirds. pattern and are not
contrapuntal/harmonic
Listen
independent to Example
entities; 17.8A and
they are allowed note
in order the miniature
to participate in the deceptive
overall motion
and the
repeating stepwise
pattern. descending
In Example soprano
17.5, the stately D2 line; these
( -5/ +4) are common
sequence in G charac
minor maintains its contrapuntal/harmonic pattern
of the D3 (-4/ +2) sequence. Also observe the minor v chord in through the entire
circle of fifths in that key, arriving back at the tonic. Therefore, we hear not
Example 17.8C, which
only the strong tritone
is necessary to avoidbut
in the bass
augmented
thealso the ii 0 in
second b
and
root position. m.
no. 1, Trio
Model Copy
Model Copy
Model Copy
Model Copy
F b e a d G C
F b e a d G C
F B e A d G C
It is particularly common to add sevenths to the triads of the D2 (-5/+4)
applied-chord sequence, thereby enhancing the sequence's goal-directed
motion. These seventh chords may be alternating (Example 18.20A) or
interlocking (Example 18.20B). Notice the presence of parallel tritones in the
upper voices of 18.20B and in mm. 9-12 in the left hand of Beethoven's
"Moonlight" Sonata (Example 18.21).
APPLIED CtheHdiatonic
O RformD of S
the E
D2 Q
( -5/U
+4)E N CinEExample
S 18.19A, then
The D2 (-5/+4) Sequence
Review sequence
note that a chromatic version of it appears when applied chords substitute for
D2
diatonic chords. The result is the sequence seen in Example 18.19B.
F b e a d G C
F B e A d G C
It is particularly common to add sevenths to the triads of the D2 (-5/+4)
applied-chord sequence, thereby enhancing the sequence's goal-directed
motion. These seventh chords may be V/iii iii V/ii(Example
alternating ii 18.20A) or
interlocking (Example 18.20B). Notice the presence of parallel tritones in the
upper voices of 18.20B and in mm. 9-12 in the left hand of Beethoven's
"Moonlight" Sonata (Example 18.21).
inversion triads-the ascending 5-6 sequence (E
converted into an applied-chord sequence simply
step. This creates a powerful harmonized chr
APPLIED C H functions
O R D asS aE7,Qwhich
U E leads
N CtoE the
S upcoming ro
18.24B). Example 18.24C adds the seventh to the ap
A2
EXAMPLE 18.24 Applied A2 Sequences: First Inversion
A. D3 (diatonic)
(-4/+2) Changes
CHAPTER 18 to (+3/-5)
APPLIED when using
CHORDS
Applied
MPLE 18.22 Diatonic Versus AppliedDominants
D3 Sequences
A. D3 (diatonic)
EXAMPLE D3 Diatonic
EXAMPLE18.22
18.22 -Diatonic
Change Versus with
Applied Applied
Versus Applied SequencesDominants
D3 Sequences
A. D3
A. D3 (diatonic)
(diatonic)
B.B. D3
D3(with
(with applied
applied chords)
chords)
Inverted chords help to smooth out the angular leaps created by roo
e soprano). Note the bass's hooking contour in Example
onant leap to the applied chord's leading tone is balanced by
ion in the opposite direction. ExampleD318.23C demonstrates
d root-position diminished seventh chord may also be
the Or stays
applied (-4/+2)
dominant using
chords applied
in Example 18.23B,leading-tone
creating a chords.
uence.
vii07 in D3 Sequences
REVIEW: PERIODS
PERIODS
▸ Melody
▸ Harmony
PERIODS - IDENTIFYING THE 8 TYPES
▸ Melody
▸ Parallel or Contrasting?
▸ Harmony
▸ Interrupted or Continuous?
▸ Sectional?
▸ Progressive?
PERIODS - IDENTIFYING THE 8 TYPES
▸ Melody
▸ Parallel or Contrasting?
▸ Melody
▸ Parallel or Contrasting?
PARALLEL
CHAPTER 15 THE PERIOD
CONTRASTING
EXAMPLE 15.5 Mozart, Die Zaubeifliite (The Magic Flute), K. 617, act I, finale
EXAMPLE 15.5 Mozart, Die Zaubeifliite (The Magic Flute), K. 617, act I, finale
Antecedent
PARALLEL Consequent
▸ Harmony
PERIODS - IDENTIFYING THE 8 TYPES
▸ Harmony
▸ Interrupted or Continuous?
PERIODS - IDENTIFYING THE 8 TYPES
▸ Harmony
▸ Interrupted or Continuous?
▸ Harmony
▸ Interrupted or Continuous?
▸ I - - - - - - - HC // I - - - - - - - - AC
▸ Harmony
▸ Interrupted or Continuous?
▸ I - - - - - - - HC // I - - - - - - - - AC
▸ I - - - - - - - HC / V - - - - - - - - AC
PERIODS - IDENTIFYING THE 8 TYPES
▸ Harmony
▸ Interrupted or Continuous?
▸ I - - - - - - - HC // I - - - - - - - - AC
▸ I - - - - - - - HC // V - - - - - - - - AC
▸ I - - - - - - - HC // PD - - - - - - AC
PERIODS - IDENTIFYING THE 8 TYPES
▸ Harmony
▸ Interrupted or Continuous?
▸ I - - - - - - - HC // I - - - - - - - - AC
▸ I - - - - - - - HC // V - - - - - - - - AC
▸ I - - - - - - - HC // PD - - - - - - AC
▸ I - - - - PD - - - - // D - - - - - - - -AC
EXAMPLE 15.2
▸ Harmony
▸ Sectional?
▸ Progressive?
PERIODS - IDENTIFYING THE 8 TYPES
▸ Harmony
▸ Sectional?
▸ Progressive?
▸ Harmony
▸ Sectional?
▸ Progressive?
▸ Harmony
▸ Sectional?
▸ Progressive?
parallel
interrupted
period PIP
contrasting
interrupted
period CIP
parallel
sectional
period PSP
contrasting
sectional
period CSP
parallel
continuous
period PCP
contrasting
continuous
period CCP
parallel
progressive
period ppp
contrasting
progressive
period CPP
example is a period, provide a formal diagram and period label. Note: You may
find it useful to mark up the music to help you with your analysis. Do not
analyze every harmony.
SOLVED/APP 6
SOLVED/APP 6
SOLVED/APP 6
SOLVED/APP 6
HC
SOLVED/APP 6
HC I
SOLVED/APP 6
Interrupted!
example is a period, provide a formal diagram and period label. Note: You may
find it useful to mark up the music to help you with your analysis. Do not
analyze every harmony.
SOLVED/APP 6
SOLVED/APP 6
Eb: I IV V I
SOLVED/APP 6
Eb: I IV V I
Eb: I IV V I
or….
Antecedent
EXAMPLE 16.6 =Piano
Beethoven, Period,
Sonata inConsequent = Period
AJ, major, op. 26, Andante
Modified Periods:
Echo
EXAMPLE 16.8 Beethoven, Piano Sonata inC minor, "Pathetique," op. 13, Rondo
Modified Periods:
Occasionally, composersAsymmetrical
write periods comprising an uneven
of distinct phrases, which create three-phrase, five-phrase,
seven-phrase periods. We call these asymmetrical periods.
16.10 is an example of a three-phrase asymmetrical period
includes repeated phrases creating the pattern aabcc:
a b c
II: I HC :II v HC II: I PAC :II
phrase 1 phrase 3 phrase 4
phrase 2 phrase 5
1.
2.
776 THE COMPLETE MUSICIAN
1.
2.
776 THE COMPLETE MUSICIAN
MODIFIED REPETITION -
Composers rarely employ retrograde and retrograde inversion, given how
difficult they are to aurally recognize. We can summarize these transformations
using a contour diagram such as the one shown in Example 3.12. Notice that
PITCH TRANSFORMATIONS
since the model (taken from one of the cantus firmi in Chapter 2) creates an arch
(ascent followed by descent) and that the first three pitches (G-A-C) are
reversed at the end (C-A-G), the retrograde version and the model are quite
audibly related. Study each of the transformations, all of which are tonal (as
opposed to real, and thus remain within G major), and notice how pitches and
intervals are related in each of the transformations.
MODIFIED REPETITION
Composers -
often increase or decrease proportion
duration of motivic repetitions. A proportional in
RHYTHMIC TRANSFORMATIONS
augmentation, and a decrease is called diminution. Ins
shown in Example 3.14A. Example 3.14B presents th
Adagietto movement from Mahler's Symphony no. 5. The
the well-known main motive occurs in the first violin
restatement of the tune in the cello is augmented by a facto
A.
1.
786 THE COMPLETE MUSICIAN
120
viio7 w/ root of A
viio7 w/ root of C
viio7 w/ root of Eb
and/or
viio7 w/ root of D#
Why are we even doing this?
heard as vid; but because of where it progresses, it actuall
notated as a root-position vii 07 in the new tonal area.
Why are we even doing this?
Be aware that composers are not consistent in the
enharmonic modulations using diminished seventh chords.
the chord either as it functions in the new key or as it functi
(in which case it would appear to have an unusual resolutio
Analytical Interlude
Example 28.13 illustrates two distant modulations from the
Why are we even doing this?
CHAPTER 28 NEW HARMONIC TENDENCIES 601
Written Pitch
Direction of transposition