|||||||||||||||||||||||||||||||||||||||||||| 26.

Binary form and variations

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. The study of MUSICAL FORM can be viewed in 3 stages:

1. Fundamental building blocks of music (phrase and subphrase) and how

they combine to form the period
and the sentence.

2. Combination of periods, phrases, and sentences to creaty BINARY

FORM.

3. Rondo, ternary, and sonata forms.

. This chapter discusses the binary form.

BINARY FORM: a complete work that can be parsed into 2 sections.

. It can be traced back to 1700. Examples are found within the Baroque
suite, with dance movements like
SARABANDES or GIGUES, each of which is cast in binary form.

. One of these dances, the MINUET, made it into the Classical period.

. During the 19th century, the SCHERZO, a more energetic minuet, is

exploited by the likes of Beethoven
and later composers.

. TWO-REPRISE FORM is another name for binary form, given that repeat signs
almost always mark the two sections
of pieces in binary form.

. When describing binary form, we apply a label in the same manner as a

period label: we consider the melodic
structure (or THEMATIC DESIGN) and the harmonic structure.

SIMPLE THEMATIC DESIGN: when the two sections share no melodic material.

SECTIONAL HARMONIC STRUCTURE: when the cadence at the end of the first
section ends on the tonic.

CONTINUOUS HARMONIC STRUCTURE: when the first section closes away from the
tonic, and the following section continues
away from the tonic.

DIGRESSION: a tactic consisting of beginning the second section with

fragmented and unstable material that leads
to a HC, to then quickly lead back to a RECAPITULATION.

RECAPITULATION: a restatement of the original material.

ROUNDED THEMATIC DESIGN: when all or part of the opening material of a binary
form returns in the second section
after the digression.

INTERRUPTION: structural HC followed by a return to the tonic.

BALANCED THEMATIC DESIGN: when, instead of returning with the opening

harmonic and melodic material as in rounded,
 we draw material that closes the piece from an analogous
point in the close of the first
section.

|-| VARIATION FORM |-|

. Balancing unity and variety is one of the most difficult and important
tasks for a composer.

. How do you handle repeating melodic material?

VARIATION SET: usually begins with an initial idea, or THEME, from which a
series of VARIATIONS unfold.

. These sets may be independent pieces, or members of larger, multimovement

works.

. There's two common types: continuous variations and sectional variations.

|-| CONTINUOUS VARIATIONS |-|

. The theme is relatively short (usually a phrase), and it gives the effect
of being incomplete in order to
permit each variation to flow seamlessly into the next.

. This is usually achieved by an overlapping process whereby the ending tonic

of one variation acts as the
beginning of the next.

OSTINATO: repeated idea. Can be used over changes in register, texture, and
motivic design.

GROUND BASS: repeating bass pattern.

CHACONNE: repeating harmonic pattern.

PASSACAGLIA: both a repeating bass and a repeating harmonic pattern.

|-| SECTIONAL VARIATIONS |-|

. The theme and variations are usually in binary form (often rounded
continuous) that is tonally closed, and
therefore they are separated.

. There are often more substantive changes among variations. In addition to

changes in texture and figuration,
there may be reharmonization, tonicization of diatonic and chromatic keys,
and changes between major and
minor modes.

. In general, diversity and unity are balanced by retaining one or more

characteristic element presented by
the theme.

. The form of the theme tends not to be altered (general proportions and
length).

. To avoid the set being a string of connected ideas devoid of any larger,
goal-oriented musical development,
 composers employ two common strategies:

1. Create a sense of drive that leads to a musical climax. Most

commonly done by the use of ever-smaller
note values (aka rhythmic crescendo) or increasingly elaborate
textures and expanded registers and
dynamics (in which there may be arches of intensity).

2. Group two or more variations to create another level or

organization. This way, they can create a
large-scale ebb and flow.

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|||||||||||||||||||||||||||||||||||||||||||| 27. Modal mixture

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MODAL MIXTURE: technique of borrowing harmonies from the parallel mode.

. Although it can work both ways, it's much more common for elements of the
minor mode to be imported into
the major mode. This is because of the way the 6 and 7 work in the minor
mode (they have two forms), which
makes the modal mixture less impactful or noticeable.

|-| ALTERED PRE-DOMINANT HARMONIES: ii� and iv |-|

. 6 is the most common degree involved in modal mixture. The reasons are:

1. It's least likely to undermine the integrity of the home key and
mode.

2. Lowering 6 permits a strong half-step motion to the dominant.

3. Modal mixture invoked on 6 colors all PD harmonies.

4. It's the only scale degree outside of the tonic triad that can be
consonantly supported by a
harmony with 1 in the bass. Thus, it is a component of the
contrapuntal 5-6 motion that figures
prominently in music.

MELODIC MIXTURE: type of chromatic alteration which changes the quality of a

chord but doesn't alter its root.

|-| ALTERED SUBMEDIANT HARMONY: bVI |-|

HARMONIC MIXTURE: type of chromatic alteration which alters the root of a

chord. E.g. bVI in major mode.
 . Note that the 3 scale degree is also lowered so that the triad built on b6
is major (the way it would be in the
parallel minor).

bVI participates in:

1. Descending arpeggiations (I - bVI - iv)

2. Descending-fifth motions (bVI - ii�6 - V7 - I)

3. Precedes the dominant as a PD chord.

4. Follows the dominant (and substitutes for the tonic chord) in

deceptive motions (V7 - bVI).

5. Because it lies a half step away from the dominant, it's usually
used motivically as a dramatic
upper neighbor that extends V.

|-| ALTERED TONIC HARMONY: i |-|

. Because it calls the mode of an entire piece into question, a minor tonic
is more often only implied rather
than literally stated.

. By the nineteenth century, some composers (such as Schubert) began to

saturate their major-mode pieces with
elements of the minor to such a degree that you couldn't tell if a piece
was in major or minor.

|-| ALTERED MEDIANT HARMONY: bIII |-|

. Just as bVI, bIII arises from harmonic mixture. It also borrows b7 to

create a consonant major triad.

bIII continues to function as a mediant chord:

1. It divides the fifth between I and V into two smaller thirds.

2. It's a bridge between T and PD.

3. Participates in descending-fifths motion, although less often than

the diatonic ii chord.

4. It's a PD chord, leading to V4/3.

5. It can be preceded by its dominant (in minor keiys, V/III leads to

III; in major keys, this progression
becomes V/bIII to bIII).

6. It also is a substitute for I6 (although not nearly as common as

diatonic iii, given that 3 is lowered
in bIII).

|-| VOICE LEADING FOR MIXTURE HARMONIES |-|

Review the following guidelines, which restate and slightly develop the rules
for writing APPLIED CHORDS:
 1. Avoid doubling a chromatically altered tone unless it's the root of
the chord (as in bVI).

2. Since b6 will be either a neighbor tone (5-b6-5) or a descending

passing tone (6-b6-5), prepare and
resolve it by step motion. Keeping the chromatic line 6-b6-5 in a
single voice will help avoid
outer-voice cross relations.

3. Once you introduce modal mixture, continue its use until you reach
the dominant function. This is because
b3 and especially b6 possess such powerful drives to 2 and to 5,
respectively, that any intrusion of
their diatonic forms would not only create a jarring cross relation
but also ruin the drive to the
dominant.

|-| CHROMATIC STEPWISE BASS DESCENTS |-|

. Stepwise bass descents leading to the dominant can be completely

chromaticized, in minor mode, due to the
two-form nature of 6 and 7.

. With modal mixture, we can import this progression into major-mode pieces.

CHROMATIC VOICE EXCHANGE: a voice exchange in which one of the two degrees is
altered in the second voice
(e.g. A/F turns into F/Ab).

|-| PLAGAL MOTIONS |-|

PLAGAL MOTION: term used at the second level to describe progressions in

which harmonies other than the dominant
lead to the tonic.

HOLLYWOOD CADENCE: a chromatically embellished plagal cadence (IV-I).

. A contrapuntal 5-6 motion and mixture transform IV into iih�6/5 before the
resolution to the tonic chord.

|-| MODAL MIXTURE, APPLIED CHORDS, AND OTHER CHROMATIC HARMONIES |-|

. TONICIZATION is intimately associated with DOMINANT function, as new

chromatic tones act as TEMPORARY LEADING
TONES.

. MODAL MIXTURE usually occurs within the PRE-DOMINANT function, as the new
chromatic tones retain their scale
degree function but in an altered form.

. Occasionally, composers use two other chromatic harmonies on 3 and 6 of a

major key, but they're not products
of tonicization or modal mixture:

1. Major mediant chord (III) whose root is diatonic 3. Most often part
of a rising bass arpeggiation
(I-III-V), which may include a PD (I-III-IV-V).

2. Major submediant chord (VI) whose root is the diatonic 6. Like vi

and bVI, it most often leads to
IV. Had VI led to ii, it would be better interpreted as V/ii rather
than VI.

|-| SUMMARY |-|

. The major tonic now has access to three sets of third relations:

1. Diatonic upper and lower thirds (iii, vi).

2. Raised chromatic thirds (III, VI).

3. Lowered chromatic thirds (bIII, bVI).

. A minor tonic will usually move only to its diatonic III and VI.

. Upper thirds can lead to 5 (V) through arpeggiations, while lower thirds
can lead to 4 (IV or iv).

||||||||||||||||||||||||||||||||||| 28. Expansion of modal mixture harmonies:

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||||||||||||||||||||||||||||||||||| chromatic modulation and the German Lied
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CHROMATIC MODULATIONS: modulations that use a chromatic chord as tonic.

. bVI and bIII are the most commonly tonicized chromatic harmonies in 18th-
and 19th-century art music. VI
and III are less often tonicized, but still relevant.

|-| CHROMATIC PIVOT-CHORD MODULATION |-|

. To move smoothly from one key area to another, composers usually employ a
PIVOT HARMONY that is common to
both keys.

. When implementing chromatic modulation, there's often no common chords

between the two keys. That's when
the use of modal mixture to introduce triads from the parallel can be
useful.

. For CHROMATIC PIVOT-CHORD MODULATIONS. In a modulation to a chromatic key

that results from modal
mixture (such as bIII or bVI), the pivot chord must be a mixture chord in
the original key.

. The previous rule holds so consistently for music of the 19th century that
the presence of modal mixture
� particularly of the tonic � often signals an upcoming tonicization of a
chromatic key. This is true
because, owing to the modal shift, the tonic loses its anchoring power and
instead begins to act as a
pre-dominant to an upcoming bVI or bIII.

|-| WRITING CHROMATIC MODULATIONS |-|

Keep the following in mind:

1. Add the necessary accidentals in the new key, or use the appropriate
key signature.

2. The pivot chord must always result from modal mixture. Often, it is
effective to use minor
i (as vi or iii in the new key).

3. Try to create a seamless musical process by expanding the PD in the

new key, either through
inversions or a brief tonicization. This postpones the cadence in
the new key and therefore
allows the ear to get acclimated to the new tonal environment.

|-| UNPREPARED CHROMATIC MODULATIONS |-|

. Unlike tonicizations achieved smoothly, UNPREPARED CHROMATIC MODULATIONS

occur without the aid
of a pivot chord.

|-| CHROMATIC COMMON-TONE MODULATIONS |-|

CHROMATIC COMMON-TONE MODULATION: type of modulation which uses a common tone

to link, usually, two
non-diatonic keys lying a third above or below one
another.

. Both chromatic common-tone modulations and motivic development are common

in 19th-century music.

|-| ANALYTICAL CHALLENGES |-|

. When moving to a key with a difficult key signature, composers have often
chosen to use its
enharmonically equivalent key instead (e.g. A major instead of Bbb major).
Then, a move from Db
wouldn't be directed to the #V, but rather the bVI written in its
enharmonically equivalent key.

|-| MODAL MIXTURE AND THE GERMAN LIED |-|

. In 19th-century Germany and Austria, the genre of song (Lied) became an

important laboratory
for experimentation. The idea was to develop musically expressive forces
that would be capable
of meeting the needs of communicating the emotionally rich poetry of the
time.

. Modal mixture was often at the heart of the innovations.

. For example, the juxtaposition of mixture tones and harmonies against

diatonic ones is almost
always a sign of emotional conflicts, contradictions, etc.

|||||||||||||||||||||||||||||||||||||| 29. The neapolitan chord (bII)

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NEAPOLITAN: major triad built on b2 degree.

|-| COMMON CONTEXTS FOR bII6 |-|

 . The Neapolitan usually occurs in first inversion as the NEAPOLITAN SIXTH
CHORD (bII6).

. It's easy to write as long as you DOUBLE STABLE CHORDAL MEMBERS, such as
the bass (4). If
necessary, you may double 6, but AVOID doubling b2.

. Functions as PD that pulls strongly toward V.

. It occurs more often in minor-mode pieces.

. When in major mode, it's a product of modal mixture. In these cases you
should lower both 2
and 6. Avoid the augmented second that can occur between 3 and b2 by using
the soprano 1-b2.

. Usually appears at cadences, but it can be used with EPMs.

. bII6-V progressions typically have b2-7 in the soprano. You can use 1 as a
passing tone,
harmonizing it with a cadential six-four or an applied diminished-seventh
chord.

|-| EXPANDING bII |-|

. It can be prolonged with a CHORDAL LEAP in the bass.

. It's possible to place the FIRST SUBPHRASE of a piece in TONIC and FOLLOW
it with one TRANSPOSED
UP A HALF STEP to bII. This is common in middle-period Beethoven.

. It is also possible to prolong bII by TONICIZATION. Usually preceding it

with its dominant (VI
in minor or bVI in major).

. Extended tonicizations are common, although the Neapolitan almost always

functions as a PD, no
matter how extended it becomes.

|-| THE NEAPOLITAN IN SEQUENCES |-|

. Incorporating the Neapolitan in sequences allows for root-position b2 in

minor pieces. Remember,
when ii� is diatonic, it cannot participate in applied sequences, because
dissonant triads
cannot be preceded by an applied chord.

|-| THE NEAPOLITAN AS A PIVOT CHORD |-|

. It's an effective PIVOT CHORD when modulating to diatonic as well as

chromatic keys.

||||||||||||||||||||||||||||||||||||||| 30. The augmented sixth chord

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AUGMENTED SIXTH CHORDS: chromatic pre-dominant chords in which the diatonic

major sixth above the
bass is raised a half step to create the strongly directed
inverval of
 the augmented sixth.

. An augmented sixth chord can be derived from the common Phrygian cadence
(iv6-V) by raising the
4 degree in iv6 a half step while maintaining the other chordal members the
same.

|-| GENERAL FEATURES |-|

. Functions primarily as a pre-dominant harmony, as do most of the other

chromatic chords studied.

. Occurs more frequently in minor-mode pieces, where its characteristic b6-5

bass motion is
diatonic.

. Voice leading is same as for the Phrygian cadence, with bass moving b6-5
while upper voice
(usually soprano) moves #4-5. Remaining inner voices double 1 and move in
contrary motion.

ELIDED RESOLUTION: when #4 doesn't resolve literally to 5 but moves directly

to []4 (and on to 3).
Occurs often when the augmented sixth chord moves directly to
V7.

|-| TYPES OF AUGMENTED SIXTH CHORDS |-|

Basic components of the augmented sixth chord:

. 6 in the bass.

. #4 in an upper voice (often soprano).

. 1, which is doubled.

ITALIAN ASC: labeled It6, is the simplest type, featuring all of the
components named above.

GERMAN ASC: labeled Ger6/5, substitutes a perfect fifth above the bass (3)
for one of the
doubled pitches on 1. Figured bass is 5/3.

FRENCH ASC: labeled Fr4/3, contains an augmented fourth (2). Figured bass is
4/3.

|-| WRITING AUGMENTED SIXTH CHORDS: APPROACH AND RESOLUTION |-|

. All varieties can be approached from the tonic and resolved to the
dominant.

. Approach from the tonic is easily done by step and common tone.

. Resolution is for the most part predetermined (because of the number of

tendency tones).
6-5 in the bass, #4-5 in upper voice (unless elided to V7).

. Ger6/5 should move first to a cadential 6/4 in order to offset the parallel
fifths that
 would occur with a direct move to V.

. Fr4/3 holds 2 as a common tone with V, for which it becomes the chordal
fifth.

. For them to occur in major mode, at least one additional chromatic

alteration is
necessary: the bass must be lowered to b6.

. For Ger6/5, 3 must also be lowered.

. When Ger6/5 occurs in the major mode and leads to a cadential 6/4 with a
major sixth,
composers often notate the chromatic ascent (b3 to raised 3) using the
enharmonic
equivalent #2, which visually leads more effectively up to 3.

SWISS ASC: or doubly augmented sixth chord. ASC with a doubly augmented 4
above the bass.
Seen mostly when using #2 instead of b3 for the move from a Ger6/5
(here called
Swiss ASC) to a cadential 6/4 with a major sixth.

|-| HEARING AUGMENTED SIXTH CHRODS |-|

. Fr4/3 is easily identifiable by its two tritones creating an exotic effect.

They also
often create a major-second clash in the inner pitches.

. It6 being the simplest, it sounds less full than the others.

. Ger6/5 contains four distinct pitches and sounds like a complete dominant
seventh chord.

. Resolution is useful when distinguishing between It6 and Ger6/5, given that
they resolve
to V and a cadential 6/4, respectively.

|-| (b)VI AND THE AUGMENTED SIXTH CHORD |-|

. An augmented sixth chord can be approached from chords other than the
tonic.

. The SUBMEDIANT is one of the most important chords that approach an ASC.

. (b)VI usually moves to a pre-dominant. Often, however, composers want to

lead bVI directly
to V in order to take advantage of the dramatic half-step motion (b)6-5 in
the bass. Since
leading (b)VI directly to V results in voice-leading problems of octaves
and fifths,
composers regularly convert (b)VI into a Ger6/5, because they share three
of four scale
degrees.

|-| AUGMENTED SIXTH CHORDS AS PART OF PD EXPANSIONS |-|

. ASC frequently combine with other pre-dominant harmonies to expand the PD

function.
 . ASC is usually the last event before the dominant (because of its goal-
directed voices
toward 5), following either iv(6) or VI.

. ASC often participated as the final chord in PD expansions where the iv

moves to a
iv6 through a P6/4. Here, the ASC replaces the iv6.

CHROMATIC VOICE EXCHANGE: voice exchange in which one of the degrees moves to
a chromatic
version of itself (raised or lowered a half step). Seen
in
the move iv-P6/4-ASC.

. In rarer cases, there's a move ASC-P6/4-ASC.

. In Ger6/5-P6/4-Ger7, there appears an inverted Ger6/5.

GERMAN DIMINISHED THIRD CHORD: Ger7. Inversion of Ger6/5.

|-| THE AUGMENTED SIXTH CHORD AND MODULATION: REINFORCEMENT |-|

. Because of its half-step tendencies to 5, the ASC is particularly helpful

in securing a
a new key when appearing after a pivot chord.

|-| THE AUGMENTED SIXTH CHORD AS PIVOT IN MODULATIONS |-|

. An ASC is enharmonically equivalent to a V7 chord; incomplete in the It6,

but complete in
the Ger6/5.

Their functions are distinguished based on their resolutions and voice

leading:

V7: dominant chord that leads to tonic. The seventh of the chord
descends by step
as the bass leaps.

ASC: PD chord and leads to dominant. The bass descends by half step to
5, and
another voice ascends by half step to 5.

. Them being enharmonically equivalent, however, opens the door for a

ENHARMONIC
REINTERPRETATION. By interpreting the #4 as a b5, we �change� from Ger6/5
to V7/bII, what
allows us to modulate to the new key of bII (Neapolitan).

. Just as with the Ger6/5 and V7, a reinterpretation can be used moving from
Ger7 to V{4/2}/bII.

. The reverse is also possible, although much less common, since 7 is rarely
if ever tonicized.

. With enharmonic reinterpretation, it's now possible to change any V7 into

ASC, allowing a
composer to easily access both closely and distantly related keys.
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||||||||||||||||||||||||||||||||||||||||||||||| 31. Ternary form

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COMPOSITE FORMS: forms constructed of multiple sections that are self-

contained.

. The independent sections feature strong melodic contrast and tonal closure.

. BINARY FORM is not composite, since its sections are tonally dependent on
one another and can
be viewed as being more organic in its construction.

. TERNARY and RONDO forms are composite.

TERNARY FORM: has a THREE-PART MELODIC DESIGN (ABA or ABA') and a THREE-PART
TONAL STRUCTURE
(original key-contrasting key-original key).

. Ternary and rounded binary form differ in their tonal structure; RBF's is
two-part.

FULL SECTIONAL TERNARY FORM: A||B||A||. When each of the three sections
closes in its respective
tonic.

SECTIONAL TERNARY FORM: A||BA or AB||A. When either the A or B section close
away from its tonic
chord and this closure is integral to the tonal motion of
the section.

CONTINUOUS TERNARY FORM: ABA. When both A and B close away from their
respective tonic chords.

. To distinguish between a continuous ternary form and a rounded binary form,

consider how much
the B part is dependent on the A part. If there is little connection, a
ternary form is
indicated. If there's thematic or motivic connection and little or no
change of key, it's
binary.

|-| TRANSITIONS AND RETRANSITIONS |-|

TRANSITION: material that bridges two sections; between tonic and a new key.

RETRANSITION: returning transition; bridging material that leads from a

contrasting key back to
 tonic.

. Retransitions occur much more frequently than transitions.

|-| DA CAPO FORM: COMPOUND TERNARY FORM |-|

. Primary form of the Baroque aria, although it can be found in almost all
genres, style periods
and instrumental combinations of the common-practice era.

. The ABA structure in this form is realized by following the marking at the
end of the score:
Da Capo (al {fermata}). This means that the performer should return to the
beginning of the
piece and play to the fermata sign.

COMPOUND TERNARY FORMS: forms with larger parts that divide into smaller
forms. An example is
a full sectional ternary form that includes smaller binary
forms.

|-| DA CAPO ARIA |-|

. The most important ternary structure in the Baroque period.

RITORNELLO: instrumental interlude that usually punctuates formal parts and

sections of text.

. First section is a complete entity, ending in the tonic.

. Second section contrasts with the first in its key, texture, mood and
sometimes tempo.

. Third section is da capo.

|-| MINUET-TRIO FORM |-|

MINUET: was a type of Baroque dance that remained popular in the Classical
period. It was often
(during the Classical) transformed into a more spirited piece called
the SCHERZO.

TRIO: a companion lighter texture piece to the minuet that follows it without
pause.

. After the trio, a da capo marking indicates that the minuet is to be

repeated.

MINUET-TRIO FORM: ternary form following the pattern minuet-trio-minuet (last

section da capo).

|-| TERNARY FORM IN THE NINETEENTH CENTURY |-|

CHARACTER PIECE: short, expressive work often written for solo piano.
Bagatelles, impromptus,
moments musicaux, ballades, nocturnes, etc. are all good
examples of this.

. Composers influenced by literature wrote entire cycles of piano pieces like

this.

. MOTIVIC TRANSFORMATION reaches its apogee in the music of Liszt and Wagner.

||||||||||||||||||||||||||||||||||||||||||||||| 32. Rondo

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RONDO FORM: composite form that can be thought of as an extension of ternary

form. A three-part
rondo would be ternary form, but there can also be five-part,
seven-part, etc.

REFRAIN: section of recurring material.

EPISODE: section of constrasting material.

. The basic structure is A1-B-A2-C-A3-D.... That is, it alternates refrains

with episodes.

|-| THE CLASSICAL RONDO |-|

. Rondos in the late 18th century occur at the end of larger multi-movement
works, such as
sonatas, chamber pieces and symphonies.

. Its themes are often taken from folk or popular sources or imitating those.
They provide
a light finish and contrast to the more complex first movements and serious
slow movements.

. They provide an opportunity to demonstrate the player's ability to change

style quickly
between contrasting sections.

|-| CODA, TRANSITIONS AND RETRANSITIONS |-|

CODA: extra musical material that occurs beyond the point at which a piece
could have ended.

TRANSITION: connecting section that move from refrain to an episode.

RETRANSITION: connecting section that marks the return from an episode back
to the refrain.

|-| COMPOUND RONDO FORM |-|

. As with ternary form, rondo can be a COMPOUND FORM with nested forms.

|-| SEVEN-PART RONDO |-|

. The two added parts to the five-part rondo create a symmetrical form, which
some liken to
a musical arch.

The typical keys for the seven-part rondo are:

MAJOR: I (A1) - V, i or IV (B1) - I (A2) - i, IV or vi (C) - I (A3) - I

or i (B2) - I (A4)
 MINOR: i (A1) - III or v (B1) - i (A2) - iv, IV, III, VI or I (C) - i
(A3) - I (B2) - i (A4)

|-| DISTINGUISHING SEVEN-PART RONDO FORM FROM TERNARY FORM |-|

. Because of its symmetrical construction and because the section C maybe

longer and distinct
from the flanking ABA sections, the seven-part rondo can sound like a giant
three-part
ternary.

. It's especially confusing if the ternary contains its own nested binary
form in the A section.

Context is what helps here:

. Consider when the work was written. Rondos were favored in the 18th
century and ternary
forms in the 19th.

. Consider the tempo. A slow rondo is less likely than a spirited one.

. Recall that seven-part rondos usually contain repeated, nested

smaller forms, adding
yet another level of structure that is sometimes absent from ternary
forms.

. Be aware that seven-part rondos can be shorter than five-part rondos

because the
latter often have lenghty C sections, transitions, retransitions and
codas that
appear less often in seven-part rondos.

|-| MISSING DOUBLE BARS AND REPEATS |-|

. Since double bars do not always appear in rondos, you may need to appeal to
other musical
signals (changes in key, motive or texture) in demarcating large formal
sections or subsections.

. Many rondos end with a coda that restates earlier material.

. Usually, codas are cadential and emphasize the tonic, but they may
sometimes emphasize IV
before returning to V and I.

. After the statement of A1 and B1, composers often omit the repeats or write
out ornamented
ones.

||||||||||||||||||||||||||||||||||||||||||| 33. Sonata form

||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

. Originally, in the 16th century, the term SONATA was used as a signal that
a given musical work
was to be performed instrumentally and not sung. This meaning has, to an
extent, held constant
for centuries.
 . The term applies to multimovement works for solo instrument or a small
ensemble of instruments
(there are almost no sonatas for voice).

. Over the years, musicians have extended the word beyond its original
meaning and have applied
it to discussion of movement with a very particular form, just as important
and common as the
other forms learned in this book.

. Since the 1780s all of the important genres have featured movements cast in
SONATA FORM.

. The two terms used as synonyms for sonata form � SONATA-ALLEGRO FORM and
FIRST-MOVEMENT FORM �
are misnomers, because movements in this form may be in any tempo and occur
in any movement
of larger works. First movements may not even be cast in it.

Rather than a rigid form, we consider sonata form as a WAY OF COMPOSING, one
that is the
outgrowth of a large-scale musical process dependent on a powerful tonal
strategy:

1. State the opening material in the tonic.

2. State additional material in a contrasting key.

3. Restate all of the material in tonic.

|-| THE BINARY MODEL FOR SONATA FORM |-|

. Our understanding of SONATA FORM (just as that of the other forms) is

dependent on our knowledge
of BINARY FORM.

. Sonata form may be seen as arising from a combination of balanced and

rounded continuous binary
forms.

FIRST TONAL AREA: first part of the EXPOSITION in which the material is
presented in the tonic key.

. The FTA is dependent on the rounded-binary characteristics, returning with

the original material
(RECAPITULATION) after a digression (DEVELOPMENT) and a HC with an
interruption.

SECOND TONAL AREA: second part of the EXPOSITION with material presented in
the contrasting
key (usually V in major mode and III in minor mode).

. The STA is dependent on balanced-binary characteristics: material (STA,

usually with a new theme)
presented at the end of the EXPOSITION returns at the end of the piece
(RECAPITULATION) in the
tonic key. This is the SONATA PRINCIPLE.

. FTA and STA may contain SIMILAR or CONTRASTING THEMATIC MATERIAL. They may
also contain MULTIPLE
THEMES.

TRANSITION:

TRANSITION (Tr): passage that leads from FTA to STA.

DEPENDENT TRANSITION (DTr): begins with a restatement of the initial theme

from the FTA.

INDEPENDENT TRANSITION (ITr): uses new thematic material.

. Both types of transition end either on the new tonic or new dominant (in
which case the actual
statement of the tonic is reserved for the opening of the STA).

MEDIAL CAESURA: pause that very offent occurs between the end of the
TRANSITION and the beginning
of the STA and that marks the approximate midpoint of the
EXPOSITION.

. Transitions often reappear in the RECAPITULATION, even though there is no

need for one (because
both the FTA and STA remain in the tonic). Since the ending key for the
�transition� is now the
original key, this passage is often altered (harmonically and/or
melodically) to create a sense
of motion.

CLOSING SECTION:

CLOSING SECTION (Cl): cadential section closing the EXPOSITION. It follows

the appearance of
contrasting thematic material in the STA and a conclusive
cadence of that
material.

. Cl's purpose is to reinforce the new key, thus containing multiple

cadential figures that are
cast in two or more subsections that may even contain new thematic
material. This is why the
Cl is often longer than the STA.

. The end of the exposition is usually marked by a double bar or repeat sign.

DEVELOPMENT AND RETRANSITION:

. Usually the freest section; analogous to the digression in a binary form.

. Even though the exposition's material may be transformed here, composers

are free to introduce
one or more new themes, explore new harmonic areas and develop thematic and
motivic material
through transformations like thematic fragmentation and sequence.

. Given its improvisatory character, there is often a complete absence of

regular phrasing and
periodicity, making it the most complex and dramatic section of the
movement.
 . Still, the development is made coherent by a logical unfolding of tonal and
melodic events.

RETRANSITION (RTr): final area of the development, where the dominant

prepares the return of the
tonic in the RECAPITULATION.

. In major-mode sonata forms, the dominant would be secured much earlier (in
the STA), and from
that point is implicitly prolonged through the development.

RECAPITULATION AND CODA:

. Almost always, the RECAPITULATION repeats many events of the exposition,

but containing crucial
changes.

. One important change is that not only the FTA's material but also that of
the STA and Cl return
in the tonic.

. In addition, composers often alter the recapitulation by compressing

thematic material from the
FTA, introducing brief tonicizations using modal mixture or even reversing
the order of themes
from the exposition's FTA and STA.

. CODAS occur after the recapitulation. CODETTAS, typically shorter and

ending away from the tonic
key, occur at the end of the exposition. Both are optional.

. Codas and codettas serve to confirm the closing key and often incorporate
material from the
FTA or STA.

. Material in codas is often stated over a PEDAL POINT, which creates a

STRONG CADENTIAL FEELING.

. Codas often emphasize the subdominant, which provides a large plagal motion
that extends the
prevailing key.

|-| ADDITIONAL CHARACTERISTICS AND ELEMENTS OF SONATA FORM |-|

MONOTHEMATIC SONATA FORM: when it uses the same theme (although often varied)
in both the FTA
and the STA.

THE SLOW INTRODUCTION:

. Particularly common in large works, such as symphonies, slow introductions

touch on foreign
harmonic territory and chromatic key areas, often incorporating modal
mixture.

. SI usually begin on the tonic (although I is not well established) and

eventually move to
and close on a HC.
HARMONIC ANOMALIES:

. Two harmonic anomalies frequently appear near or at the point of

recapitulation.

FALSE RECAPITULATION: when the theme from the FTA appears in the �wrong� key.
Usually, the
real recapitulation follows, in the tonic.

. False recapitulations are part of the development.

SUBDOMINANT RETURN: when the recapitulation begins not on I but on IV.

. Given the exposition's tonal model of root motion up a fifth from I to V

and given that the
STA in the recapitulation must appear in the tonic to prepare for closure
of the movement,
composers begin the recapitulation down a fifth from the eventual tonic.

|-| OTHER TONAL STRATEGIES |-|

THREE-KEY EXPOSITION:

. Introduced in the 1800s, century that brought tonal innovations of many

types.

. The THREE-KEY EXPOSITION is found in major-mode works in which the STA

moves to a diatonic
third-related key, which bisects the traditional fifth motion from I to V.

. The motivation for this may have been the century-old minor-mode binary and
sonata forms
whose overarching i-III-V|| create an arguably more dramatic progression
than the I-V--||
characteristic of major-mode works.

EXTENDED THIRD-RELATED STAs:

. Even more dramatic is to POSTPONE THE STRUCTURAL DOMINANT until the

retransition and to
remain in the mediant for the entire exposition.

***********************************************************************************
*************************************
*
*
* INTRODUCTION TO 19TH-CENTURY HARMONY:
*
* THE SHIFT FROM ASYMMETRY TO SYMMETRY
*
*
*
***********************************************************************************
*************************************

|||||||||||||||||||||||||||||||||||||||| 34. New harmonic tendencies

|||||||||||||||||||||||||||||||||||||||||||||||||||
|-| TONAL AMBIGUITY: THE PLAGAL RELATION AND RECIPROCAL PROCESS |-|

. In the 19th century, the dominant function was weakened by the ever-growing
appearance of
chromaticism. As a result, the final structural cadence of pieces
incorporated harmonies
such as iv and iih�6/5 � substitutions for the dominant � and move directly
to the tonic
in a technique called the PLAGAL RELATION.

. The rise of the plagal relation contributed to TONAL AMBIGUITY.

RECIPROCAL PROCESS: occurs when the listener loses TONAL GROUNDING because of
conflicting
tonal implications that confuse the three harmonic functions.

|-| TONAL AMBIGUITY: SEMITONAL VOICE LEADING |-|

SEMITONAL VOICE LEADING: technique which consists of moving two or more

voices by a half
step while usually keeping one common tone in another
voice.

. 19th-century composers often connected distantly related chords or tonal

areas by
transforming one chord chromatically into the next.

|-| THE DIMINISHED SEVENTH CHORD AND ENHARMONIC MODULATION |-|

. Since the 18th century, composers have used the DIMINISHED SEVENTH CHORD
both as a
powerful goal-oriented applied chord and as a dramatic signpost.

. Since before Bach, DSCs have also been used to create TONAL AMBIGUITY. This
is possible
because the chord in any of its inversions partitions the octave into four
minor thirds
(using enharmonicism).

SYMMETRICALLY CONSTRUCTED HARMONY: a chord that partitions the octave into

identical
intervals in every inversion.

. SCHs are useful for accessing both close and distant key areas.

. The inaudible ENHARMONIC ALTERATION of a single note allows the chord to

function in
two different keys.

. Through ENHARMONIC REINTERPRETATION, the vii�7 becomes a vehicle that can

modulate to
many other key areas.

. This is similar to the REINTERPRETATION OF Ger6/5 although, that chord no

being
symmetrical, its access to remote keys is limited.

. A good way to determine the four accessible keys is to interpret each of

the four pitches
in the DSC as a LEADING TONE.

|-| TONAL CLARITY POSTPONED: OFF-TONIC BEGINNING |-|

OFF-TONIC BEGINNING: when a piece beings on a harmony other than the tonic.

. Composers postpone TONAL STABILITY to create a sense of AMBIGUITY and

HEIGHTENED
EXPECTATION.

|-| DOUBLE TONALITY |-|

. Sometimes you may encounter pieces in which two keys vie for supremacy
simultaneously,
leaving no other choice than to interpret them in the key in which they
end.

. Some analysts conclude that highly ambiguous pieces are being controlled
not by a single
key but by the two keys juxtaposed throughout the piece.

|||||||||||||||||||||||||||||| 35. The rise of symmetrical harmony in tonal music

||||||||||||||||||||||||||||||||||||||

|-| A PARADOX: �BALANCED� MUSIC BASED ON ASYMMETRY |-|

. BALANCE characterizes tonal music.

. Metrical and formal symmetries allow a deeper level of periodicity to

arise, in a
phenomenon called HYPERMETER.

. At the level of whole works, the idea of perfect symmetry is replaced by

TONAL BALANCE,
as can be seen in both binary and sonata forms, which can be heard as
harmonic arches
progressing from tonic to dominant and back again.

. It is consequently curious that the �well-balanced� TONAL SYSTEM itself is

predicated
on ASYMMETRICAL STRUCTURES that contain unequal and asymmetrical
intervallic divisions.

. Just as ASYMMETRICAL STRUCTURES such as major and minor triads HELP TO

CREATE TONALITY,
the use of SYMMETRICALLY CONSTRUCTED HARMONIES and HARMONIC PROGRESSIONS
RESULTS IN
TONAL AMBIGUITY.

. The TONAL SYSTEM contains the seeds for SYMMETRY: harmonic motions up to
the dominant
(I->V) and down to the subdominant (I->IV) � they both move a perfect fifth
� flank
the tonic. However, common-practice music will not usually permit the SD to
lead
directly back to the tonic, but rather to the dominant.

. 18th-century diatonic motion divides the perfect fifths around the tonic
 asymmetrically by major and minor thirds (tonic->mediant->dominant/tonic-
>submediant
->subdominant). Including, in C, these movements:

. C (I) <-> c (i)

. G (V) -> C (I)/c (i)

. F (IV)/f (iv) -> G (V)

. C (I) -> e (iii) -> G (V)

. c (i) -> Eb (III) -> G (V)

. C (I) -> a (vi) -> F (IV)

. c (i) -> Ab (VI) -> f (iv)

. LATE 18th century/EARLY 19th century. From the combination of parallel

modes
through mixture emerge CHROMATIC MEDIANT RELATIONS. These continue to form
asymmetrical tonal progressions. In addition, the subdominant need not
progress
to the dominant; it may move to the tonic through the plagal relation.
Including,
in C, these movements:

DOMINANT: G

MEDIANT: Eb - e - E

TONIC: c <-> C

SUBMEDIANT: Ab - a - A

SUBDOMINANT: F - f

. Starting at the tonic.

. Can rise to the DOMINANT through MEDIANT.

. Can fall to the SUBDOMINANT through SUBMEDIANT.

. Can move from SUBDOMINANT to DOMINANT.

. Can move to tonic from either DOMINANT or SUBDOMINANT.

|-| SYMMETRY AND TONAL AMBIGUITY |-|

. LATE 19th CENTURY. A new model of TONAL PATHS is explored. These paths
circumvent
both the dominant and the subdominant by moving by a single repeating
interval
of either a major third or a minor third (or the enharmonic equivalents)
until
these intervallic cycles reach a perfect octave. Examples in C:

. C <-> c
 . C -> E -> G# -> C/c

. c -> Eb -> Gb -> A -> c/C

. C -> A -> F# -> Eb -> C/c

. c -> Ab -> Fb -> c/C

. The basis of tonality's gravitational field is predicated on ASYMMETRY

(specifically associated with major and minor scales).

. What would happen if SCALES were COMPOSED solely of WHOLE STEPS and HALF
STEPS
OR of ALTERNATING HALF and WHOLE STEPS?

. A sense of GOAL-DIRECTED MOTION and TONAL GROUNDING disappears because

every scale
step is as stable (or unstable) as every other step.

. Examples of this are the CHROMATIC SCALE (all half steps), the WHOLE TONE
SCALE
(all whole steps) and the OCTATONIC SCALE (alternating half and whole
steps).

. Just as symmetrical structures (major and minor triads) help to create

tonality,
the use of SYMMETRICALLY CONSTRUCTED HARMONIES and HARMONIC PROGRESSIONS
RESULTS
in TONAL AMBIGUITY, an important feature of 19th-century music.

. Symmetrical harmonies and tonal progressions develop from two late-18th-

century
precedents: CHROMATICALLY ALTERED DOMINANT HARMONIES and CHROMATIC
SEQUENCES.

|-| THE AUGMENTED TRIAD |-|

. In addition to the DIMINISHED TRIAD, there's another SYMMETRICAL TRIAD: the

AUGMENTED TRIAD, composed of two stacked major thirds.

. The DIMINISHED TRIAD doesn't partition the octave evenly (only half of it,
since it spans a tritone). By contrast, the DIMINISHED SEVENTH CHORD does
partition the octave symmetrically.

. The AUGMENTED TRIAD partitions the octave equally, spanning an AUGMENTED

FIFTH. That is, unlike every other triadic structure, it RETAINS ITS MAJOR
THIRD and AUGMENTED FIFTH INTERVALS (or enharmonic equivalents) UNDER
INVERSION.

|-| ALTERED DOMINANT SEVENTH CHORDS |-|

. The fifth of the V7 chord, 2, is a weak tendency tone when compared to the
leading tone and the chordal seventh. But when 2 is raised � creating an
ALTERED
DOMINANT SEVENTH CHORD � it forms an augmented sixth interval with 4 and,
as a
strong tendency tone, it must rise to 3.

. Because of the proper resolution of the chordal seventh, the tonic chord
that
follows has a doubled 3.

. It's also possible to alter V7 by lowering 2 a half step, forming a chord

that
has an augmented sixth between the lowered 2 and the leading tone.

. Composers often place this chord in second inversion with b2 in the bass,
producing a chord identical to a French ASC. It's usually labeled FrV4/3,
showing its function as a dominant and its similarities to Fr4/3.

. FrV4/3 functions in a RECIPROCAL PROCESS; it sounds like it participates in

a half cadence (Fr4/3 -> V), but it actually is a part of an authentic
cadence
(altered V4/3 -> I).

|-| THE COMMON-TONE DIMINISHED SEVENTH CHORD |-|

. Besides EPMs, passing and neighboring chords, there's another way to extend
harmonies contrapuntally.

. There's two different additional ways to prolong I and V through

neighboring
and passing motions.

. One of these is the COMMON-TONE DIMINISHED SEVENTH CHORD (c.t.�7, a

diminished
seventh chord that shares a common tone with the following chord of
resolution.

To distinguish between a tonicizing DSC and a contrapuntal one, check:

. Common-tone DSCs share a common tone with the following chord of

resolution.

. vii�7 and applied vii�7 chords have no common tones with the
following
chord of resolution.

. Common tones in the progression vii�7/V -> cad. 6/4-5/3 are

misleading.
They are not chord tones but suspensions that fall to the 5/3 chord,
which doesn't share pitches with the applied vii�7.

|-| COMMON-TONE AUGMENTED SIXTH CHORDS |-|

COMMON-TONE AUGMENTED SIXTH CHORD: c.t.+6. Although it resembles a Ger6/5,

since
it contains an augmented sixth, it doesn't
move to its resolution; instead, it sustains
a common tone with the following resolution
chord.

||||||||||||||||||||||| 36. Melodic and harmonic symmetry combine: chromatic

sequences |||||||||||||||||||||||||||||||||

. The STEPPING STONES for CHROMATIC SEQUENCES are no longer the major and
minor
scales.
 . The CHORD QUALITIES of each harmony inside a CS tend to exhibit more
HOMOGENEITY.
They won't necessarily alternate between major, minor and diminish as in
diatonic
sequences; rather, they could stay the same throughout the entire CS.

CHROMATIC SEQUENCES: they are distinguished from DIATONIC SEQUENCES in that

their
MAIN CHORDS contain ALTERED SCALE DEGREES. They strictly
MAINTAIN CHORD QUALITY and INTERVALLIC DISTANCE between
repetitions.

. Because of how they divide the octave into same-sized intervals, CSs avoid
shifting whole steps and half steps that lead to the goal-directed motion
of
DSs.

. CSs include the specific interval motions within the parentheses in their
label.

. CSs create the temporary effect of TONAL AMBIGUITY.

|-| THE DM2 (-4/+3) SEQUENCE |-|

. Both the diatonic D3 (-4/+2) and the chromatic D2 (-P4/+m3) sequences are
related
by the underlying 5-6 motion that hold each one together.

. CSs can also occur with alternating 6/3 chords.

. To reitroduce tonal focus to a CS, one must break it off as it is not goal-
directed.

. CSs occur more often in major mode than in the minor mode.

|-| THE CHROMATIC FORMS OF THE D2 (-5/+4) SEQUENCE |-|

. This sequence is asymmetrical because it contains perfect fifths and a

tritone.

. To become symmetrical, it contains exclusively perfect fifths.

. A complete statement of the diatonic form requires seven diatonic steps to

cycle
back to the tonic; the chromatic requires 12 chromatic steps.

To AVOID STASIS, composers use:

1. Partial statements of the series (only one or two repetitions).

2. Three or more fifth-related chords within the model rather than two,
to
reduce the number of repetitions.

. It is possible, instead of the D2 (-P5/+P4) seen here, to have a CS

descending
by minor seconds: D2 (-P5/+A4).
|-| THE CHROMATIC FORMS OF THE A2 (-3/+4) SEQUENCE |-|

. These chromatic forms also derive from the contrapuntal 5-6 motion.

. A first diatonic variant of the sequence is characterized by applied chords

tonicizing each diatonic scale degree.

Two CHROMATIC VARIANTS lie between standard DSs and CSs:

1. The root of every chord is diatonic (asymmetrical), but the

structural
chord of each repetition is chromatically altered (symmetrical).

2. Fully chromatic, A2 (-M3/+P4). The structural first chord of every

repetition is major, and the sequence ascends by half step. Although
the bass is sustained through the two-chord repetition, every second
chord is transformed into an APPLIED 6/5 chord. This shows in the
ENHARMONIC RESPELLING of the bass in some measures, showing its
leading-tone function.

. In popular music, the applied chords often appear in root

position.

. A second sustained common tone between the first chord and

its transformation into a dominant results in an augmented
triad on the second chord.

|-| OTHER CHROMATIC STEP-DESCENT BASSES |-|

. It's possible to descend chromatically with a ONE-CHORD PATTERN, although

these
are not true sequences.

SIX-THREE CHORDS:

. The diatonic descending 6/3 chord pattern, with 7-6 suspensions, can be
transformed into a chromatic motion.

. The dissonant seventh usually occurs over a chromatic bass note and
resolves
over a diatonic bass note.

. The emphasized beats on which the suspensions occur are harmonized by

various
types of seventh chords.

DIMINISHED SEVENTH CHORDS:

. DSCs can be used in descending chromatic sequences (like the DM2 (+P4/-
P5)).

. Even though the notation respects voice-leading practice, it's not possible
to aurally differentiate root-position and inverted DSCs. Rather, the
sequence
sounds like a stream of root-position DSCs.

AUGMENTED SIXTH CHORDS:

. V7/IV becomes a Ger6/5, lowering the temporary tonal center a half step.
 . This PD-D progression is clarified at the end of each measure by
transforming
the ambiguous Ger6/5 to the clearer Fr4/3. The lowered fifth in Fr4/3 also
avoids parallel fifths, anticipating the P5 of the following dominant
seventh.

. The real underlying motion of the sequence is from tonic to dominant.

|-| WRITING CHROMATIC SEQUENCES |-|

. Follow standard voice leading for sequences.

The following issues arise:

1. Use ENHARMONIC NOTATION instead of writing double flats or sharps.

2. CSs usually break off at the PD, whether it rises or falls, just
like
DSs.

3. CSs requires copies to MAINTAIN the MODEL exactly � both CHORD

QUALITY
and VOICING.

|-| CHROMATIC CONTRARY MOTION |-|

. One can EXTEND DISSONANT HARMONIES, just like we extended the consonant
triads (with
chordal leaps and passing chords), by CONTRARY MOTION.

DISSONANT PROLONGATION: the prolongation of a dissonant harmony.

. CONTRARY MOTION here means that you do a VOICE EXCHANGE between two voices
and carry
it out by contrary motion.

. The other voices don't move or barely move.

. Some lines won't work well with contrary motion because of the
impossibility of
harmonizing certain intervals when going through the voice exchange (e.g.
m9 or
M7).

. In contrary-motion CHROMATIC LINES, the intervals with an EVEN NUMBER OF

HALF
STEPS are best harmonized: unison, M2, M3, tritone, m6, m7 and their
compound-interval counterparts.

. To successfully work with a line that contains problematic intervals, you

can
SUSPEND one of the voices while the other ascends or descends by half step,
forming an even interval that can continue in contrary motion.

|-| THE OMNIBUS |-|

. The same CHROMATIC CONTRARY MOTION that prolongs DOMINANT (V7 to V6/5) can
be
 stretched so that it covers an ENTIRE OCTAVE (either ascending or
descending).

OMNIBUS: a prolongation that spans an ENTIRE OCTAVE through CHROMATIC

CONTRARY
MOTION.

|-| A FINAL EQUAL DIVISION OF THE OCTAVE |-|

Chromatic parallel-motion sequences and contrary-motion progressions

partition
the octave into equal-sized intervals:

. DESCENDING MINOR SECONDS: D2(-P5/+A4)

. DESCENDING MAJOR SECONDS: D2(-P4/+M3) and DM2(-P5/+P4)
. ASCENDING MINOR SECONDS: A2(-M3/+P4)
. MINOR THIRDS: Omnibus

. There's one more interval that can symmetrically divide the octave: the
MAJOR THIRD.

. Major thirds can divide the octave symmetrically with a slight variation
of the diatonic D3(-4/+2) sequence: the D3(-P4/+m2).

. Its voice-leading irregularities result from maintaining the sequential

progression in an exact way.

||||||||||||||||||||||||||||||||||| 37. At tonality's edge

|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

. Naturally, after CSs, composers began to use autonomous SYMMETRICAL

PROGRESSIONS independent of sequential motion. These EXTEND AMBIGUITY to
DEEP
STRUCTURAL LEVELS of the music.

|-| SEQUENTIAL PROGRESSIONS |-|

EQUAL DIVISIONS OF THE OCTAVE: equal intervals into which the octave is
segmented
by progressions taht incorporate two or more
identical intervals.

In C, by:

. TRITONE: C F# C
. M3: C E G# C
. m3: C Eb F# A C
. M2: C D E F# G# Bb C
. m2: C C# D Eb E F F# G G# A Bb B C

SEQUENTIAL PROGRESSION: a progression featuring CONSISTENT TRANSPOSITION and

SEQUENTIAL BEHAVIOR.

|-| NONSEQUENTIAL PROGRESSIONS AND EQUAL DIVISIONS OF THE OCTAVE |-|

. Equal divisions of the octave occur also in progressions that are not
sequential, with each TONICIZED AREA containing a DIFFERENT HARMONIC
PROGRESSION.
 . Often occur over large spans of music, with intervening tonicizations of
independent musical sections.

. When analyzing these, you'll have to interpret the tonal structure both
within
each section and between sections in order to see the deeper-level
progression.

|-| THE INTERVALLIC CELL |-|

. After mixture and structuring of passages based on symmetry there's one

last
process that create AMBIGUITY and underlies late-19th- and early-20th-
century
music.

INVERVALLIC CELLS: or CELLS. Abstract collection of pitches defined by their

INTERVALLIC STRUCTURE and CONTOUR rather than by their melodic
design, as opposed to easily singable, periodic constructions.

. CELLS can be developed in both the MELODIC and HARMONIC DOMAINS, there
existing
a close relationship between musical events unfolding in time and those
that
unfold in space.

. Such emphasis on the intervallic aspect of music was a central focus of

atonal
music between 1900 and 1920.

. During the 19th century, MELODIC CELLS became more common because of their
capacity for DIVERSE HARMONIZATIONS and POTENTIAL AMBIGUITY.

. Just like MOTIVES, CELLS appear early in a composition and are developed
and
transformed.

Such TRANSFORMATIONS include:

. TRANSPOSITION.

. INVERSION (reversing the contour of each interval of the cell)

. INTERPOLATION (adding pitch elements between members of the cell)

. RHYTHMIC DIMINUTION (shortening the rhythmic value of members of the

cell)

. RHYTHMIC AUGMENTATION (lengthening the rhythmic value of members of

the cell)