Professional Documents
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Mus 201A Handouts Package
Mus 201A Handouts Package
& ww
w
P
Passing notes may be diatonic or chromatic:
& ..
& ww
There may be more than one passing note in a row, for example,
when the jump from one chord tone to the next spans the interval of a fourth:
.
..
# #
&
One may also find passing notes that are metrically stronger than the tones before and after.
These are referred to as accented passing notes (APN).
(APN)
If a voice moves away from a chord tone by step and then back, the non chord tone is a neighbour note.
Neighbour notes are normally metrically weak.
& ..
diatonic upper neighbour:
& ..
& .
.
& .
.
&
N
DN
&
DN
& ...
Inc N
ANT
& .
ANTICIPATION (ANT)
An anticipation states a note of the next chord just before the chord changes.
It is metrically weak. Generally sounds best in the soprano.
ESC
.
&
Go by step in the wrong direction, then change direction and jump to the next chord
tone. Echapps are metrically weak. Generally sounds best in the soprano.
Jump one note too far, then change direction and go by step to the next chord tone.
Reaching tones are metrically weak. Generally sounds best in the soprano.
(Note: This is NOT the same as the cambiata studied in first semester counterpoint.)
&
APPOGGIATURA
In the eighteenth and nineteenth centuries, the term appoggiatura referred to any metrically strong non chord tone that was not
tied over from a previous note. Almost always, the appoggiatura resolved by step. One can think of the appoggiatura this way: In
place of the chord tone, sound the note a step above or below, then resolve by step to the chord tone.
APP
&
&
APP
APP
&
Nowadays, many theorists define the appoggiatura in a more restrictive fashion. The new definition
states that the appoggiatura is a metrically strong non-chord tone that is approached by leap and
resolves by step:
SUSPENSION
& #
chromatic appoggiatura:
APP
(SUSP, SUS)
A suspension is a note that was consonant, but that remained stationary when other voices moved,
and is now dissonant. It then resolves by step. Suspensions are metrically strong.
&
Preparation
BECOMES
Suspension
Resolution
(Originally, the suspension note was tied over from the preparation. Nowadays, we still use the term suspension even if there isn't a tie.)
&
&
Tonic Pedal
Types of Cadences
AUTHENTIC CADENCE
&
&
&
vii6 to I
vii6
HALF CADENCE
&
V6
&
PHRYGIAN CADENCE
A particular type of half cadence iv6 to V in minor
In four voices, for the smoothest voice leading, the fifth of the
iv6 chord is doubled.
&
?
&
PLAGAL CADENCE
IV to I
iv6
IV
&
DECEPTIVE CADENCE
vi
vii7
vii7 contains the leading tone and has a dominant function.
(N. B.: the root, third, and fifth of vii7 are the same as the third, fifth, and seventh of V7. Only the seventh of vii7 is different.
But if you lower it a semitone, it is the root of the dominant seventh chord.)
&
b www
w
wwww
V6
5
)
vii7 is frequently used in root position, first inversion, and second inversion. It is not often used in third inversion.
vii7
Any chord that can lead to V can lead to vii7 (or an inversion, depending on voice leading).
The seventh of vii7 should be approached as a common tone or by step.
vii7 resolves to i (or an inversion, depending on voice leading).
Root position:
c- b
& b b ww
ww
? b b n ww
b
ww
vii7
ww
n ww
w
w
ww
ww
n ww
ww
ww
vii7
vii7
b
& b b n ww
w
w
ww
b
ww
? bb
vii 6
5
i6
b w
&b b w
w
w
ww
ww
? b b n ww
b
w
w
n ww
w
w
i6
vii 4
3
i6
vii 4
3
Accompaniment Patterns
&c
?c
Mozart K. 309/I
# ## # 3
&
4
? # # # # 43
# .
& 24
& 24
3 Voice Texture
Repeated note in bass,
melody harmonized in
3rds or 6ths
b
& b 43
? b b 43
Haydn
3 Voice Tecture
Repeated double notes
in accompaniment
& b 43 . . . 3
3
#.
3
? b b 43
. .
.
&c
#
? c
Mozart K 310/I
j
#
4 Voice Texture
CHORALE STYLE
### # c
&
? # # # # c
# # # #
&
? ### #
#
#
&
ASCENDING
BROKEN CHORDS
##
? ##
#
Beethoven Op. 22/I
bb .
&
? bb
&c
ALBERTI BASS
2
&4 J
& 42
#
& #
? ##
BASS LINE WITH OFFBEAT REPEATED PITCH (Bass and soprano often in parallel 10ths.
Note that the repeated pitch, here, is actually a sustained dominant.)
&c
Mozart K. 545/I
Mozart K. 284/I
The Motive
A motive is a short, melodic and/or rhythmic musical idea. It is typically 2 to 4 notes in length.
Examples of motives:
? # 24
#### 4
&
4
&
Repeated pitch
A movement is usually based on a small number of motives. The motives usually appear prominently at the beginning of the
movement, and are building blocks from which much of what follows is constructed. As an example, the opening melody of
Haydn's Symphony No. 88, IV is built out of two motives. They are labeled here as a and b:
? # 24
?#
#
b
Motives may be varied in a number of ways and still retain enough of their identity to be recognizable. Some possibilities:
1. A motive may start on different pitches:
? 24
#### 4
&
4
2. Same as above, but one or more intervals may be slightly altered, often in order to fit a different harmony:
m. 1
m. 5
b
& b b 44
c-:
#### 4
&
4
4. Notes may be added to a motive without destroying its identity. In the following example, two passing notes are added to m. 4:
#### 4
&
4
#
& # 44
6. Rhythmic alteration:
## C
&
. .
. J
J
J
J J
.
J
&
###
Here is a tuneful example from Mozart Piano Concerto K. 488, I that uses several of the above techniques:
&
.
& 44 J J
Mozart
Paris, 1778
KV 265
Piano
THEME
24 . .. ..
&
? 24
.
.
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.
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&
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13
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n
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25
VAR. I
1.
# n
2.
#
n#
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?
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31
37
&
# n # . n
.
R
# n
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&
43
#
R
n
R
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.
.
&
49
VAR. II
? .. # #
&
54
.
.
.
.
.
.
n # #
n# n#
?
.. ..
n
n
&
60
65
&
#
&
69
VAR. III
www.music-scores.com
n
b
.
.
n n #
#
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? ..
73
n
n
n #
n #
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# n. . . . . . . . . . . . .
#
n
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# .
.
.
#
#
n # . . n
&.
81
? ..
&
?
n
89
97
VAR. IV
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109
&
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n
n .
.
&
115
n #
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#n. . . n . . . . . . . . .
..
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# #
#
.
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n .
.
103
.
# # # # n .
.
.
.
.
n .
.
www.music-scores.com
..
j
j j
j j
.
J J J J J
J
J
&.
? .. J
J
J
J J J J J J J
j
J
..
# n b # n
J # nJ bJ j
121 VAR. V
129
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? .. J
138
&
j
J
J J ..
# n # n ..
J J
J
J
J
J
J j ..
J
J
J
J
J
J
J
J
J
J
? .. # n # n
j
j
& .
145 VAR. VI
j
j
&
151
? #
.. ..
.. .. # n # n
n
#
& # # #
156
www.music-scores.com
&
161
& J
? # n
165
J
J
# n
..
#
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# n#
& ..
? ..
169 VAR.VII
#
#
. . #. .
.
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&
J
?
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.
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n
175
. #. .
n
&
J
181
# n# n
.. bbb
&
187
#
#
n
n
.. bbb
www.music-scores.com
VAR. VIII
b
.
b
b
.
&
? b ..
bb
193
&
bb . n# nn n bb
b
& .
# n n b
j
b
? bb ..
n
#
&b b
? bb
b
&
? ..
225
& ..
? ..
233
&
. .
www.music-scores.com
. . . . . .
# n n b
# n n b
.. nnn
. j
J
. .
..
n n b
. n
. n n
.
& .
217 VAR. IX
..
n bn
n n b
201
210
..
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. . .
..
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r
r
r
r
r
.
& . b b n
241 VAR. X
#
#
? ..
n
n
#
#
r
r
r
r
r
n
#
.
.
& n . .
b
247
.. ..
#
#
n
n
r
r
r
r
r
r
b n
&
R
253
b
b
#
#
n
n
r
r
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r
b n n ..
&
259
VAR. XI
265 Adagio
& .. .
? ..
#
#
J
.
fp
.
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#
fp
r
r
r
r .
r
.
r
n .
.
#
&
? J J
269
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j ..
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273
& ..
. . . .
. .
&
280
&
285
&
j U
J
#U
J
U 3 n 3 .
. J
J
. fp
.
.
VAR. XII
Allegro
& .. 43
.
.
fp
r r
r
r
r
. # .
r
? J
289
. #.
n . U
. #
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277
Kr
.
j ..
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.
#
? .. 43 #
293
&
?
n.
..
# n
..
www.music-scores.com
297
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# n # n
#
? ..
# n # n
# n
#
n#
&
301
# n # n
305
&
. # #
n.
# #
? #
310
&
1.
..
2.
. # #
n.
? nn # n # n .. b #n
314
&
?
# #
&
#
? .
319
#
#
#
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?w w w w w w w w
ww
& w www
?w w
I
Since the bass is a sequence, we will make the upper voices move
sequentially, as well. There are a few ways to do this. One of the most
common is to have the top voice start a 10th above the bass and alternate,
in contrary motion, 10th, octave, 10th, octave, etc. (this is sometimes
referred to as a 10-8 pattern):
w w
w
IV
www
w
vii
www
w
iii
www
w
vi
www
w
ii
www
w
V
www
w
I
w w w w w w w w
&
10
8
10
8
10
8
10
8
w
w
w
w
?
w
w
w
w
w
& ww
?w
ww ww ww w
w w w ww
w w w w
IV
vii
iii
vi
ww ww ww
w w w
w w w
ii
IV
vii
iii
vi
ii
w w w w w w w w
&
10
10
10
10
10
10
1
10
w
w
w
w
?
w
w
w
w
Minor keys work the same as major. However, there is the question as to
whether the 7th note of the scale should be raised to make a leading note.
The answer is that it is not raised when it is not leading to the tonic, and it
is when it does. As a result, it is only raised on the V chord.
&
bbb
? bb
w w
w w
w w
w w
b
&bb
? bb w w w w w w w w
b
b b www ww
b
&
w
? bb w w
b
i
iv
www
w
VII
www
w
III
www
w
VI
www
w
ii
n www ww
w
w w
V
b w w w w w w nw w
&bb
10
8
10
8
10
8
10
8
w
w
w
w
? bb
w
w
w
w
b
b w w w
& b b ww ww ww
? bb w w w
b
i
iv
VII
ww ww ww n w
w w w ww
w w w w
III
VI
ii
ww
w
w
i
etc.
Root position
&
?
IV
&
vii
iii
vi
ii
b b b
bb
iv
b b b
Alternating root position with 1st inversion, starting with root position
?
I
IV6
vii
ii6
vi
ii6
I6
bbb
iv6
VII
III
VII III6
VI
ii
VI
ii6
i6
Alternating root position with 1st inversion, starting with first inversion
&
I6
vii6 iii
?
IV
vi6
ii
V6
bbb
b
bb
i6
iv
VII6 III
VI6 ii
n
V6
c
&
?c
#
#
V/
V/
IV
&
#
#
#
#
V/
V/
n # #
?
V7/
IV
V7/
V/
V7/ V/
V7
# n # n
b
# n # n
&
V7/ IV
8-7
& b
?
V7/ V 8-7/
# n
#
V7/ IV7
&
? b
V7/ V
8-7
n # # n
V7
V7/ V7/
V7/ V7/
V7
#
#
#
#
n #
b b b n
bb
b
i
V/
b b b n n
bb b
V7/
V/
n
#
V/
V/
VI
V7/
V/
V/
VI7
V/
n n
V7
b b b n n b b b # n n n
bb b
V7/ V 8-7/
VI7 V 8-7 /
b b
V7/ V7/
V7/ V7/
VI7 V7/
b b b n
bb n
b
n
#
V7/ V 8-7 /
b b b n n b
bb b
V7
n n
V7
n
n
A lovely example of the 2nd line on this page, but in 4 voices and using inversions (alternating3rd and 1st inversion)
V 2 / IV6
V42 / V6/
V 42 / V6/
V42
I6
V 42 / V6/
V42 / V6/
VI 42 V6/
V2
i6
&
?
IV7
vii 7 iii7
vi7
&
I7
Four voices
ii7
V7
b b b
bbb
i7
iv7
b b b
bbb
4
3
4
3
b b b
bb
?
4
2
6
5
4
2
6
5
b b b
b
bb
ii 7
VI7
Four voices, alternating third inversion with first inversion, giving a stepwise descent in the bass.
&
VII7 III7
Four voices, alternating root position with 2nd inversion, giving a stepwise descent in the bass.
&
V7
Ascending Fifths
This sequence does not generally go past the submediant chord:
&
ii
vi
&
&
7 -
- 6
7 - 6
- 6
7 -
7 - 6
7 -
?
&
?
5
&
?
I
ii
iii
&
IV
V6/ii
ii
V6/iii
iii
V6/IV
IV
&
?
I
ii
iii
IV
&
?
&
?
&
?
I
&
?
&
?
I
V6/ii
ii
V6/iii
iii
V6/IV
IV
#
#
V/ii
ii
V/iii
iii
V/IV
IV
Monte/Mountain/Rising Sequence
N.B. Often only the first 4 chords are used.
Diatonic version:
& ww
? ww
I
ww
ww
IV
& ww
ww
w
w
ii
ww
w
?w
ww
w
w
I6
IV
ww
ww
ww
w
w
ww
ww
iii
vi
ww
w
w
ww
w
w
iii6
vi
w
w
ww
w
w
ii6
Chromatic version (1st chord of each pair is the applied dominant of the 2nd chord).
(This is "Doh a Deer," starting at "Soha needle pulling thread." Notice the ascending semitone motion
in (in this particular voicing) the alto:
& ww
w
?w
I
ww
w
w
(V/IV)
IV
# ww
w
w
V/V
ww
w
w
# ww
w
w
ww
ww
V/vi
vi
ww
ww
vi
And with the first of each pair of in first inversion. Note that the bass now ascends by semitone:
& ww
w
?w
I6 (V6/IV)
w
w
ww
w
#w
ww
ww
w
#w
IV
V6/V
V6/vi
ww
ww
Copyright 2009 David Clenman
Monte
Chromatic version in which the first chord of each pair is an applied dominant 7th of the next chord:
& b ww
w
? w
V7/IV
ww
w
w
IV
w
#w
w
w
V7/V
ww
w
w
w
#w
w
w
ww
w
w
V7/vi
vi
Same, but with the first chord of each pair in 1st inversion, creatinascending semitone motion in bass:
& b ww
? ww
V6/IV
5
ww
ww
IV
ww
ww
ww
V6/V
5
w
#w
ww
ww
ww
V6/vi
5
vi
w
#w
Fonte
(Fountain)
(Sometimes called the Falling Sequence)
w
& w
w
w
w
w
w
w
V/ii
ii
w
& w
# ww
?
w
w
ww
w
w
w
w
w
w
ww
6
V5
w
w
ww
b ww
w
w
w
w
ww
ii
vii7
? # ww
6
V 5 /ii
w
& bw
# ww
?
vii7/ii
w
w
ii
ww
w
w
Write I to V:
&
&
&
&
b
&bb c
? bb c
b
Notes may be repeated, and some of the notes may move in a downward direction, but the overall motion is upwards.
The character often suggests trumpets or horns:
# 6
& # 8
? # # 68
j
J
j
j
It starts either on the first beat of the bar, or with a pickup, and usually ends on a stong beat of the bar.
It does not end on the last beat of the bar:
b
& b 68
? b b 68
j
J
j
J
j
j
J
J
b 3
&b 4
? b b 34
The rocket opening is rarely accompanied. It most commonly appears in octaves, but it may appear just as single notes:
b
&bb c
? bb c
b
If it starts on the first beat of the bar, there may be a full root position tonic chord on the downbeat:
& c
#
& c
B# c
#
?# c
J
J
J
J
J
J
J
The Period
Two phrases are often grouped together into a unit wherein the first phrase ends with a cadence that does not sound final,
and the second phrase ends with a cadence that does sound final:
## 4
& 4
&
##
# # 2 j # j n
& 4
B # # 24 j
If the two phrases begin quite differently, the period is called a contrasting period:
j
3
J J
&b 4
b
& b 42
. .
b
&b
. .
? b b 42 J J J J J
? b b j j
J J
j
J
n .
j
I
j j j j j
J
J J
J J
j J
V7
In music of the Classical era (Haydn, Mozart, Beethoven), the parallel period is more common than the contrasting period.
Note that each phrase generally has two distinct parts:
Mozart K. 576/I
#
& # 68
? # # 68 j
&
##
? ##
J
J
J J .
j
J
#
J
&
j
j ?
j j j
j
..
J
J
&
j .
.
Sometimes the PAC of the second phrase is in another key, typically the dominant or the relative major (modulating period):
#
& # C
#
& # C
Mozart K. 284/III
##
#
&
#
? ## #
Phrase Expansion
There are three ways by which a phrase may be extended in length:
1. Adding to the end of it. This usually means extending or delaying the cadence.
2. Expanding the body of the phrase. Typically done be exact or sequential repeation of a segment, or by adding material.
3. Adding introductory material.
ADDING TO THE END OF A PHRASE: Here are some ways to do this:
& b 43
& b 43
..
..
.
?b
?b
il
chi - tar - ri
no
le
suo - ne - ro,
si,
le
sui - ne - ro,
si,
le
suo - ne - ro.
b 2
. . n .
#
b
& 4
Voi che sa - pe - te
che co - sa e a - mor,
don - ne ve - de - te
s'io l'ho nel cor,
? b b 24 J J J J J j j j j j
J
J J
J J
&b
don - ne ve - de - te
? b b j j
J
J
. .
j
J
s'io
l'ho
nel
cor.
j J
To end the arietta, Cherubino sings the same period as above, except that where it would normally end, Mozart has inserted a
deceptive cadence, after which Mozart repeats the consequent phrase, this time ending with a PAC.
b
n .
.
#
.
b
&
Voi
che sa - pe - te
che co - sa e a - mor,
don - ne ve - de - te
s'io l'ho nel
? b b J J J J J j j j j j
J
J J
b
. .
&b
.
don - ne ve - de - te
s'io l'ho nel cor,
don - ne ve - de - te
s'io l'ho nel
? b j j j
b
J J J J
J J
J
J J
J J
J J
cor,
cor.
& 24
& 24
? j
#
J
Mozart K 279/III
& # n # n
The Sentence
The following is based on the work of Arnold Schoenberg and Willliam Caplin
The sentence is a theme structure that is normally eight measures long.
It begins with a two measure basic idea. This basic idea is made up of a small number of distinct motives.
The two measure basic idea is then repeated, either exactly, or quite similarly.
The repetition emphasizes the basic idea and helps the listener learn and remember it.
This 2 + 2 measure grouping is called the presentation phrase.
The presentation phrase is followed by a four bar continuation phrase that ends with a clear cadence, either on V or on I.
The continuation phrase contains some or all of the following characteristics:
It often draws on only one of the motives found in the basic idea. Sometimes, it doesn't draw on any of them.
The motive used gradually disappears.
Sequence is used.
Harmonic rhythm is faster, and may accelerate.
The material is seems to be grouped into smaller segments than in the presentation phrase. (Structural units are shorter.)
If a sentence ends with a half cadence, it may be repeated, the second time ending with an authentic cadence.
Consider the opening of Beethoven's piano sonata Op. 2 No. 1:
Basic Idea
Presentation
Phrase
? bb b
b
i
n
3
n
V 6
Continuation
Phrase
&
f-
bb b b j .
bb 4
&bb 4
? b b b 44
b
n
3
V4
gg
gg
i6
ii6
PRESENTATION PHRASE
The first two bars present the basic idea. It is built our of two striking ideasa rocket openingand a triplet figure.
The next two bars repeat the basic idea. The repetition in this case is not exact the notes have been altered to fit the
dominant harmonybut it is otherwise essentially the same.
CONTINUATION PHRASE
The melody draws mainly on the triplet motive, which eventually disappears into a cadence.
Sequence is used (mm. 5-6).
Chords change more frequently in the continuation phrase than in the presentation phrase. The music seems to be grouped in
smaller segments (structural units are shorter): the presentation phrase used two bar units, the continuation phrase begins
with one bar units. The result is a feeling of acceleration.
1. EXACT REPETITION
2
&4
& 42
Other than one extra note in the right hand of bar 3, bars 3-4 are the same as bars 1-2.
Some embellishment in bars 3-4 is possible.
2. STATEMENT-RESPONSE REPETITION The repetition harmonically differs from and compliments the first two bars.
Generally, the statment begins with I, and the response begins with V. Some of the more common patterns are:
STATEMENT
m. 1 m. 2
I
I
V
I
V I
I
IV
I
ii
bb 4
&bb 4
? bb 4
bb 4
n
3
& 44
? 4 ww
4
V 6
f-
C+
RESPONSE
m. 3 m. 4
V
V
I
V
I V
V
I
V
I
5
Beethoven Piano Sonata Op. 2 No. 3
# n
w
w
V7
3. SEQUENTIAL REPETITION:
# 2
& 4 # # # #
? # 42
G+
ii 4
2
## 4
& 4
#
& #
#
& #
A'
&
##
Mode Mixture
Definition: Mode mixture, or simply mixture, is the use of notes or chords from the parallel major or minor.
Mixture is also known as borrowing.
IN A MINOR KEY
A piece in a minor key may end with a major tonic chord. (Note
the E n in the example to the right.) The raised third is known as
a tierce de Picardie, or Picardy third. This is the main use of mode
mixture in a minor key.
.
b
& b b
? bb
b
c-:
w
n ww
ii 6 V 8-7
5
IN A MAJOR KEY
Assuming you are in C major, each of the following measures shows the normal triad followed by the alternative triad
available through borrowing from c minor, the parallel minor:
www b www
ii
ii
ww b ww
w bw
iii
bIII
www b www
IV
iv
www b www
www b b www
vi
www b www
bVI
vii
bVII
^
^
^
The most common occurences of mixture in a major key make use of b6. The b6 wants to lead to 5:
&
& b
?
www
IV
vii7 from the minor key is used to lead to I in the major key:
vii7
iv from the minor key. (Often this follows IV and leads to I.)
ii or ii7.
&
^
^
bVI. (This makes use of both b6 and b3.)
&
?
IV
iv
ii 6 V 8-7
5
w
bw
b ww
bVI
One sometimes finds not just a single chord, but an entire section in the parallel minor. In the Classical style, this is how the
minor tonic triad is usually used in a major key.
Note: When two different forms of the same note occur one after
the other, for example 6 and b6, keep the two in the same voice,
and have the lowered note the second of the two.
& b
?
No
Yes
No
&
vi
IV
iv
Ab: vi
C:
bb
IV6
b
b
V6
5
b ww
bb ww
I
&
w
w
?
&
?
&
?
&
?
#w
#w
#w
bw
b ww
It6
&
?
b # ww
b ww
w
w
Ger6
&
?
# ww
b ww
Fr6
w
w
Italian
&
#
b
#
b
It6
It6
C+
bbb #
b
bb
c-
It6
It6
German
&
?
C+
Ger6
bb
Ger6
V6 - 5
4 - 3
bb (# ) n
bbb #
b b b
c-
Ger6
Ger6
V 6 - 5
4 - 3
French
&
?
C+
Fr6
Fr6
V6 - 5
4 - 3
bbb #
bbb
c-
Fr6
Fr6
V6 - 5
4 - 3
RONDO FORM
Rondo form has a recurring A section, known as the refrain, main theme, or rondo theme. Between
these A sections are contrasting sections, known as episodes or couplets.
Example:
Refrain
A
Episode 1
B
Refrain
A
Episode 2
C
Refrain
A
REFRAIN
All statements of the refrain are in the tonic key.
The refrain is a memorable theme that clearly establishes the tonic key. Sometimes there are two or
more themes, one after the other, all in the tonic key.
The refrain ends with a PAC, providing a clear ending point.
Statements of the refrain after an episode may be abridged.
Statements of the refrain after an episode may have different accompaniment patterns.
Statements of the refrain after an episode may be embellished.
EPISODES
Episodes (with one exception noted below) are generally in different keys than the refrain. In addition,
different episodes are generally in keys different from each other.
An episode may have a clear theme structure, or may be more loosely constructed. An episode may
consist of a group of themes, all in the same key.
CODA
A rondo may end with a coda. The coda (from the Latin word for tail) is a concluding section whose
basic function is to reaffirm the tonic key in order to balance out the precedeing variety of keys. It
may also attempt to tie together elements from previous sections.
A coda may be of any length.
It may state new material, and/or refer to previous material.
In the Classical era, most rondos fall into one of the two following categories:
1. five-part rondo or simple: ABACA (typically used for slow movements)
2. seven-part rondo: ABACABA (typically used for lively finales)
1.
ABACA is called simple rondo or five-part rondo. The key scheme is often:
A
Coda
Major
minor
III
other
contrasting
key
2.
Major
minor
III
other
contrasting
key
i or I
The C section is most commonly in IV, though vi and the parallel minor are common.
Serenade
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112
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III
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#3
& 4
Allegretto
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15
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HSMW001A <7>
S
S
#
J
p
j
p
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p
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. . . .
J
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f
B #
f
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f
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13
Vn. I
B#
8
Vn. I
. .
J
j
J
. . . .
J J
J
# J J J
J
J J # J
J
..
..
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16
Vn. I
Vn. II
Va.
Vc.
24
Vn. I
&
Vn. II
&
Va.
Vc.
# # # n
# n . .
#
B#
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Va.
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.
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HSMW001A <7>
n . .
#
T
T
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.
.
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b
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Vn. I
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J
J J
.
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34
Va.
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#
29
Vn. I
&
J J
S
p
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n
#
S
p
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B
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18
. . .
17
40
Vn. I
Vn. II
Va.
Vc.
&
Vn. II
Va.
Vc.
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Vn. II
&
#
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2
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#
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#
&
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50
Va.
#
&
45
Vn. I
.. . . . .
D
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b
b
b
b
b
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b
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HSMW001A <7>
T
b
..
..
b n b
b
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b
b b
18
61
Vn. I
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Vn. II
&
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&
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n b
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n
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Vn. II
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Vc.
n b
b
f
. . . . b
b
b . .
b
n b
b n b
. . . .
b b . .
b
b . . . .
b
# . .
b . .
&
b
#
b
b
&
b
B #
b
b
b
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76
Vn. I
b n b
n b
b
J
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&
n
#
&
n
b
b.
71
Vn. I
T
Ti
b
b
b b
b
b b n b b n b b b
b
f
b
b
b
b b
b
f
n b b b
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n
66
Vn. I
# n
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b
.
b
HSMW001A <7>
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n
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.
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#
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19
81
Vn. I
Vn. II
Va.
Vc.
&
#
&
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b
b
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86
Vn. I
Vn. II
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Vc.
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&
Vn. II
&
Vc.
Vn. II
Va.
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# n . .
n
S
j j n j
n
p
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p
n
S
S
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J J
j
J
J
j j
p
j
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p
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j
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96
Vn. I
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p
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91
Va.
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HSMW001A <7>
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20
101
Vn. I
Vn. II
Va.
Vc.
&
Vn. II
Va.
Vc.
&
Vn. II
Va.
Vc.
Vn. II
Va.
Vc.
?#
#
&
f
#
&
f
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f
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f
#
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118
Vn. I
.
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T
T
&
B#
.
.
.
. .
. . .
p
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p
.
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p
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.
HSMW001A <7>
.
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n
.
.
f
n
f
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.
T
T
T
T
#
&
B # # n
113
Vn. I
#
&
B#
?#
107
Vn. I
. . .
. . .
. . .
f
.
. .
f
21
123
Vn. I
Vn. II
Va.
Vc.
& n
#
& n
B # n
Vn. II
Va.
Vc.
# .
&
?#
Vn. II
Va.
Vc.
&
Coda
# .
&
.
#
B
134
Vn. I
? # n
129
Vn. I
# .
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#
p
#
.
.
.
.
#
&
B#
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. . # .
.
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Vn. II
Va.
Vc.
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#
&
#
&
p
p
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.
. # .
139
Vn. I
. . .
f
# . .
.
f .
.
.
f .
.
.
f
. .
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n . . .
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# .
J n J
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.
HSMW001A <7>
. .
.
..
..
..
..
22
# # n
&
Vn. I
Vn. II
Va.
Vc.
Vn. I
Vn. II
Va.
Vc.
Vn. I
Vn. II
Va.
Vc.
Vn. I
Vn. II
Va.
Vc.
# n
&
.
B#
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&
w .
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B#
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#
&
#
#
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.
HSMW001A <7>
.
. .
.
.
.
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.
.
.
. n .
.
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&
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.
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.
f
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.
144
.
. .
&
C+
Lower it a semitone:
&
bw
&
b b www
&
b b www
&
b b www
C+:
bII6
^
Typical ways to resolve the Neapolitan 6th: Note that b2 always descends towards the leading tone.
b ^2
to V7
^7
C+:
N6
& bb
to V
Neap6
to the cadential 6
4
to vii7/V
&
?
&
bb
Neap6
bb
n
b
#
Neap6
to V4
2
& bb
?
Neap6
N6
ww
w
w
b b b b
bbb
V7
c-:
& bb
^
Note that the b2 falls a diminished 3rd
to the leading note.
6
4
vii7/V
V4
V7
ww
w
w
Neap6
N6
b b b b n
bbb
5
3
ww
w
w
ww
w
w
ww
w
w
ww
w
w
^7
b ^2
b b b b
bbb
Neap6
N6
bbb
bbb
bbb
Neap6
bbb
Neap6
ww
w
w
6
4
#
vii7/V
- 5
- 3
ww
w
w
i
4
2
The Neapolitan 6th is more commonly found in minor keys than in major.
As the Neapolitan 6th is a variant of ii, any chord that leads to ii can lead to the Neapolitan 6th.
copyright David Clenman 2007