Music 270 - Music Theory 1 Dr.

Karen Sunabacka
Summary of Chapter 12: Rules

About Chords – Triads and Seventh-chords:

1. Any diatonic triad of the key can be used in the Tonal Homophony. However there is a
hierarchy in how these chords are used:.
2. Only chords in root position or first inversion can be used (not including chords of
dominant function, who have a special role) So the following chords are used: I, I6, II, II6,
III, III6, IV. IV6, VI, VI6.
3. Chords of Dominant Function (TEXT pp166-169). The following chords can be used as a
dominant function chord that points to the Tonic triad. Very specific voice leading MUST
be followed (but of course there are always a few exceptions…)(^7-^8, ^2-^1, ^2-^3, ^5-
^3 OR ^4-^3, ^5-^5, ^5-^8, ^5-^1)
a. Passing 64 (dominant triad in 2nd inversion) -
b. V, V6
c. V7, V65, V43, V42
d. VII6
4. Chords must be introduced in the proper place in a prolongation and in the Final Cadence
(See Chord order hand-out).
5. In a dominant-tonic resolution, ^7 MUST always resolve to ^8 (except at the
cadence…see section on cadence for exceptions)
6. When a a V7 chord and ALL its inversions resolves, ^4 MUST resolve to ^3. There is an
exception, however, when there is a soprano ^3-^4-^5 and the bass is written with
parallel 10ths as ^1-^2-^3 – then you can use V43.

About Prolongations
7. In a dominant to tonic resolution, when using a vii6 dominant function chord, ^4 does not
NEED to resolve to ^3, it can resolve to ^5.
8. A specific chord order must be followed in tonic prolongations and this comes from the
fundamental Tonic-dominant prolongation, which is the three-beat prolongation: tonic-
dominant-tonic. In other words, the prolongation is outlined with the Tonic triad (the first
and third chord is a tonic triad, the middle chord is a dominant function chord)
9. In a four-beat prolongation the dominant can be extended to occupy beats two and three.
If the chordal seventh is introduced on beat 2 (meaning you are using V7 or any of its
inversions, then beat three MUST be an inversion of the V7. ^4 CANNOT be dropped!
10. The P64 should not be used in a four-beat prolongation
11. Various elaborative chords can stand on beat 2 of a four-beat prolongation –Any diatonic
nondominant triad or 6th-chord (first inverstion chord) can be used, including diatonic v
and VII in minor (when ^7 is NOT raised).
12. Sometimes a tonic can be prolonged by the subdominant triad IV or IV6. See text pp174-
175 for details.
13. In a four-beat subdominant prolongation the IV or IV6 will stand on beat 3. The IV chord
can extend to occupy beats 2 and 3 or an elaborative chord can stand on beat 2. (See
exception on page 175 if you are interested!)
 14. When the soprano melodic figure permits, for variety and contrast VI can be substituted
for I after a V or V7. This I-V-VI progression is called a deceptive resolution.
15. In the Deceptive resolution prolongation, the V or V7 MUST be in root position, and the
VI must ALSO be in root position. (So the bass moves from ^5-^6) (See exceptions to
inner voice voice leading on pp177)
16. A double statement of the tonic can occur at the beginning or end of a prolongation…
Generally these two chords (or more) are stated in different inversions (see text pp176-
177 for examples)

About the Soprano and analyzing the Soprano

17. The Cantus will generally be 13-16 tones
18. The soprano will begin on ^1, ^3 or ^5 and end with ^2-^1 or ^7-^8
19. In a minor key the subtonic must raised when moving to ^1 (^8) to create a leading tone.
When ^6 occurs directly before a raised ^7, ^6 must also be raised (to avoid an
augmented 2nd.)
20. The Principal tones found, when analyzing the soprano, mark the beginning and end of
our prolongations.

About the Bass and Sketching the Bass

21. The bass MUST begin on the tonic to establish the key.
22. Excluding the final three beats, underlay each principal tone in the soprano with ^1 or ^3
in the bass, forming 6ths and 10ths with the soprano (AVOID 8ves)
23. 8ves and 5ths can only be introduced on the second beat of a soprano tone repetition.
24. Notate the bass notes in octaves to give more options for proper bass line development.
25. Complete the sketch of the bass by notating the harmonic cadence. Show both the ^5-^1
and ^5-^8 possibilities.

About designing the Bass

26. Generally the bass creates melodic figures in the prolongations.
27. The bass can outline an octave with an Arpeggiation figure
28. The bass can elaborate a unison with a fourth-leaping PEM.
29. Occasionally new melodic figures are introduced!
30. The bass can approach tendency tones (^4 and ^7 within skip-steps involving dissonant
leaps.
31. ^4 in the bass (of a V42) can be approached by an ASCENDING dissonant leap and
MUST resolve to ^3.
32. ^7 in the bass (of a V6 or V65) can be approach by a DESCENDING dissonant leap and
must resolve to ^8.
33. In minor the raised ^6 can be approached by a DESCENDING dissonant leap when part
of a ^6-^7-^8 bass motion.
34. When a 4-beat tonic-dominant prolongation employs an extended dominant ^7 and ^4
can be transferred to another voice
35. Major and minor 10ths and 6ths (and their compounds) should predominant the soprano
bass framework. Fifths and octaves should be introduced with care.
36. When a 5th or 8ve is approached is similar motion, the soprano MUST move by step.
37. Let the melodic design of the bass determine the introduction of 5ths and octaves
About the Counterpoint
38. Plan each gambit as a melodic gesture. The bass should respond to the soprano with
complementary melodic figures.
39. When planning a tonic-dominant prolongation, ensure that both soprano and bass melodic
figures will accommodate a chord of dominant function.
40. Make sure the bass motive ensures a proper resolution (especially of ^7 and ^4).
41. When planning a tonic-subdominant prolongation, ensure that both soprano and bass
melodic figures will accommodate the IV chord.
42. Be sure to check the bass line’s contour and direction.
43. In expressing the interlocking tonic prolongations, unidirectional motion will
occasionally exceed the octave.
44. Be sensitive to the motivic design and melodic direction of the bass line – seek to develop
a complex curve and broad range.
45. The various tonic prolongations and extensions should arise naturally.

Adding the Tenor and Alto – counterpoint rules

46. Alto and tenor lines SHOULD be boring lines – few and small leaps and MUCH tone
repetition.
47. Like the bass, the tenor or alto can approach ^4 and ^7 in chords of dominant function by
dissonant leaps. The leap takes the direction opposite to the tendency tone’s resolution.
48. Best to have complete chords on each beat. In tradition four-part writing, one tone must
be double for 53, 63 and 64 chords.
49. The leading tone is NEVER doubled. (^7)
50. The V7 is restricted… CANNOT be used in a regular tonic-dominant prolongation, unless
it is the first of two dominant function chords in a four-beat tonic-dominant prolongation
(because the tendency-tones can be passed to another voice.
51. The V or V7 MUST be used in the deceptive resolution prolongation.
52. Voice overlap allowed (but rarely).
53. Avoid voice crossing.
54. The introduction of a leading tone may create a cross-relation. This will be softened when
it occurs between the lower voices. It can be avoided by assigning both tones to the same
voice.
55. Avoid Consecutive 5ths or 8ves between any two voices.
56. A direct 5th or 8ve between an inner and an outer voice can occur when one voice
approaches the interval by step.
57. Infrequently a direct 5th can be approached by leaps in both voices.
58. When two voices sharing the same staff meet in a 2nd, notate the higher whole-note to the
immediate left of the lower.

The Cadence
59. In Tonal harmony, the force of the Authentic Cadence expands to include the third-from-
last beat.
60. The resolution of ^2 and ^7 will in some cases be avoided in order to gain a complete and
stable chordal sonority for the final I (doubled root, third and fifth)
i. At the cadence, when ^2 is carried in an inner voice, it can rise to ^3.
ii. When ^7 is carried by an inner voice, it can raise to ^3 or fall to ^5.
 iii. In one instance the final tonic will necessarily be incomplete. When V7 – I
harmonizes a ^7-^8 close, the tonic chord will carry a tripled root plus the
third. Here ^4 will resolve to ^3, and ^2 will resolve to ^1, tripled the root.
61. In four instances the soprano can be harmonized with the V-V7 extension. (^2-^2-^1, ^7-
^9-^8, ^9-^7-^8, ^5-^7-^8)
62. In two instances the cadential dominant can be decorated by a preceding cadential 64
chord. (^8-^7-^8, ^3-^2-^1).
i. In this chord, the fourth above the bass (^8) MUST resolves down to the
third above the bass (^7) of the following dominant chord, the 6th above
the bass (^3) MUST resolve down to the fifth above the bass (^2) of the
following dominant. The final voice doubles the bass-note an octave or
two above the bass (^5) and either remains on ^5 (doubling the root for a
dominant triad) or moves down to a 7th above the bass (creating a V7
chord).
ii. The Cadential 64 is decorative by nature, it is an accessory to V, which it
delays and thus intensifies.
63. There are six Cadential pre-dominants that can be used before the final V or V7: II (only
in Major), II6, II65, IV, IV6, VI (see text pp 186-189 for more info)
64. In a minor key, three pre-dominant chords are available for harmonizing a soprano ^#6-
^#7-^8: IV, II6 and II (These chords carry the same qualities as in a major key.
65. Music in a minor key can cadence on a major triad by means of a Picardy third.
66. A pre-dominant chord can introduce the V-V7 extension or the cadential 64 decoration.
67. The predominant function can be enlarged to include two beats, and on occasion, three
beats.
68. A pre-dominant can appear in double statement
69. Two different pre-dominant chords can be paired
70. A pre-dominant chord in double statement can be preceded or followed by a different
pre-dominant chord
71. Because they have three tones in common, IV6 and II65 often form a pre-dominant pair
(and a passing 64 can link these two – see text p190)
72. When completing your homophony, be sure to figure the bass and complete the harmonic
analysis (including prolongation brackets, extension lines and roman numerals).