Non-Chord Tones (Embellishing Tones)

PASSING NOTE (PASSING TONE) abbreviated PN, PT, or simply P

The passing note bridges the jump between two chord tones by filling it in with stepwise motion. P

& ww
Passing notes are normally metrically weak.
Most common example: the passing note fills in the jump of a 3rd: w
P
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: & ww

# # .
P
& .. .. #
Passing notes may be diatonic or chromatic:

P
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)
NEIGHBOUR NOTE (NEIGHBOUR TONE, NEIGHBOUR, or AUXILIARY) (NN, NT, or N)
N

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

diatonic lower neighbour: & ..

N
b
chromatic upper neighbour: & .
.
N
& . #
.
chromatic lower neighbour:

N
One may also find an accented neighbour: &

DN DN

Double neighbour (DN)
Both the upper and lower neighbours are heard side by
side. Usually the upper neighbour is heard first, but it
&
could be the other way around:

Inc N
Incomplete neighbour: (INC N)
& ...
(One of the chord tones is absent.)
 j
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.

j
ESC
ESCAPE TONE or ECHAPPEE (ESC or ECH)
.
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.

REACHING TONE or CAMBIATA (RT or Camb)

Jump one note too far, then change direction and go by step to the next chord tone. RT

&
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

&
diatonic upper appoggiatura:
APP

&

diatonic lower appoggiatura:

APP

chromatic appoggiatura: & #

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 (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 Suspension Resolution

&
BECOMES

(Originally, the suspension note was tied over from the preparation. Nowadays, we still use the term suspension even if there isn't a tie.)

&

A suspension that resolves upwards is known as a retardation:

PEDAL TONE (or simply PEDAL)

A single note that is sustained or repeated while the chords change. & w
Pedal tones are most often found in the bass on the tonic or dominant note.
Tonic Pedal
David Clenman 2004
 Types of Cadences
AUTHENTIC CADENCE
A cadence in which some form of V or vii resolves to the tonic chord.

PERFECT AUTHENTIC CADENCE (PAC) &
V(7) I

?

Both chords in root position.
Soprano ends on tonic.
V I V I

&
IMPERFECT AUTHENTIC CADENCE (IAC)
An authentic cadence that is not a PAC.
Examples:
?

^
Same as PAC, but soprano doesn't end on 1
V I

&

?
Either the V(7) or the I or both are not in root position:

V6 I

&

?
vii6 to I

vii6 I

HALF CADENCE
A cadence that ends on V &

?
I V

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.
iv6 V

PLAGAL CADENCE &

IV to I
?
IV I

&
DECEPTIVE CADENCE
V to something other than I, almost always vi.
?
David Clenman 2005 V 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 wwww

w
vii7 V6
5
)
vii7 is frequently used in root position, first inversion, and second inversion. It is not often used in third inversion.
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).

Voice leading rules:

Leading tone rises by step.
Seventh of the chord falls by step.
All dissonances involving the bass must resolve correctly
i.e. - If the bass and another voice create a diminished 5th, they resolve inwards by step to create a 3rd.
- If the bass and another voice creaef an augmented 4th, they resolve outwards by step to create a 6th.
Between upper voices, a diminished fifth usually resolves correctly (contrary motion inwards by step to a 3rd), an augmented
fourth may resolve correctly (contrary motion outwards by step to a 6th) or irregularly (usually both voices going by step to
create a perfect fourth.)

c- b ww w ww ww
& b b ww ww w
n ww ww n ww ww
Root position:
? b b n ww ww
b
vii7 i vii7 i vii7 i

b w
& b b n ww w
First inversion resolves to i6:
? bb ww ww
b
vii 6 i6
5

b w w ww ww
&b b w w
Second inversion resolves to i6:
? b b n ww w n ww w
b w w
vii 4 i6 vii 4 i6
3 3

David Clenman 2007

 Accompaniment Patterns

Mozart K. 309/I

.
&c

f
SINGLE VOICE TEXTURE

?c .
No Accompaniment

(Octave Doubling)

# c . .
Haydn: Piano Sonata, Hob. XVI, No. 2, II mm. 1-2

& J

? # c J
TWO VOICE TEXTURE
Melody and Bass Line

# ## # 3 .
Haydn Op. 13, No. 2/III

& 4

? # # # # 43
THREE VOICE TEXTURE

. . # . .
Beethoven Op 10 No. 2/III
#
& 24
j j
& 24
FOUR VOICE TEXTURE

REPEATED NOTES & CHORDS
3
Haydn String Quartet Op. 1 No. 6

b
& b 43
3

3 Voice Texture

? b b 43
Repeated note in bass,
melody harmonized in
3rds or 6ths

Haydn

b
3 Voice Tecture & b 43 . . . 3 #. 3
3

Repeated double notes
in accompaniment ? b b 43

. . .
Mozart K 310/I

&c
j
#
#

? c
4 Voice Texture

### # c
Beethoven Op. 14 No. 1/I

&

? # # # # c
a common use of rests:

# # # #
Beethoven Op. 53/I
#
CHORALE STYLE

&


? ### # #
 ##
Beethoven Op. 10 No. 3/I

&
ASCENDING
BROKEN CHORDS


? ##
#

bb .

Beethoven Op. 22/I

&
? bb

Mozart K. 545/I

&c .
ALBERTI BASS

&c
Bottom Top Middle Top

Mozart K. 309/ III

2 . J
&4 J

& 42
Bottom Middle Top Middle

BASS LINE WITH OFFBEAT REPEATED PITCH (Bass and soprano often in parallel 10ths.

Note that the repeated pitch, here, is actually a sustained dominant.)

#
Mozart K. 284/I

& # J

? ##
#

 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 Repeated pitch (Haydn Symphony No. 88, IV)

#### 4
& 4 Ascending 4th interval (Beethoven Piano Sonata Op. 14, No. 2, I)

& Broken triad (Mozart Piano Sonata K. 545, I)

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:

#
a a b a
b a a a

? # 24

#
a a b

?#
a

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: Beethoven Piano Sonata Op. 10 No. 2, III

j
? 24

#### 4
& 4 Beethoven Piano Sonata Op. 14 No. 1, I

2. Same as above, but one or more intervals may be slightly altered, often in order to fit a different harmony:

b
& b b 44
m. 1 m. 5

n
Mozart Piano Sonata K. 547, I

c-: i V
2005 David Clenman
3. Sometimes intervals are more obviously changed:

(4th has been stretched to a 6th)

#### 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

#
5. The pitches may be inverted:

# . n
& # 44

Mozart Oboe (Flute) Concerto in D, I

6. Rhythmic alteration:
. .
## C w
& J Mozart Symphony No. 35, I

Here is a particularly ingenious example.

Notice how Mozart has imaginatively altered the opening repeated note motive:

. J
Mozart Eine kleine Nachtmusik K. 525 II
.
.
& 44 J J J J J J J J

7. The contour (melodic shape) of the motive might be altered:

&
Other changes are possible as well.

###
Here is a tuneful example from Mozart Piano Concerto K. 488, I that uses several of the above techniques:

.
& J

2005 David Clenman

 Free sheet music supplied by:www.music-scores.com

"Ah, vous dirai-je, Maman" Mozart

Theme and Variations Paris, 1778
KV 265

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 Learning the Descending Diatonic Circle of Fifths
w w
In the key of C major, & w w
w
Play the tonic
Play the note a fifth lower
Play the note another fifth lower ? w w
w
Continue until you reach the tonic again.

Play the same notes you just played, but &

?w w w w w w w w
Use your left hand
Start in the middle of the piano keyboard
Use a zig zag pattern, i.e. down, up, down, up, etc.
(This keeps all the notes within one octave.)

ww www www www

Play the same thing with the left hand, & w www www www www
?w w w w w
and add the following with your right hand:
Play a diatonic root position triad,
using the left hand note as the root. w w w
I IV vii iii vi ii V I

w w w w w w w w
Since the bass is a sequence, we will make the upper voices move &
w w
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,
? w w w w
w
10 8 10 8 10 8 10 8

w
in contrary motion, 10th, octave, 10th, octave, etc. (this is sometimes
referred to as a 10-8 pattern):

w ww ww ww w ww ww ww
& ww w w w ww w w w
?w
Filling in the inner voices gives:

w w w w w w w
I IV vii iii vi ii V I

w w w w w w w w
&
w w w
Especially in two-part writing, one commonly finds the top and

? w w w w
bottom voices a 10th apart throughout, moving in contrary motion 10 10 10 10 10 10 1 10
(sometimes referred to as a 10-10 pattern):
w
I IV vii iii vi ii V I
 w w
Minor keys work the same as major. However, there is the question as to & bbb w w
w w
whether the 7th note of the scale should be raised to make a leading note.

? bb
The answer is that it is not raised when it is not leading to the tonic, and it

b w w
is when it does. As a result, it is only raised on the V chord.

b
&bb
? bb w w w w w w w w
b

b b b www ww www
www www n www ww
& w www
w
? bb w w w
w w
w w w
b
i iv VII III VI ii V i

b w w w w w w nw w
&bb
w w w w
? bb w w w
10 8 10 8 10 8 10 8

b w

b w w w ww ww ww n w
& b b ww ww ww w w w ww ww
w
? bb w w w w w w w w
b
i iv VII III VI ii V i

etc.

copyright David Clenman 2004

 Descending Fifths (diatonic)

Root position

b b b
&
n


?
bb b

I IV vii iii vi ii V I i iv VII III VI ii V i

b b b
Alternating root position with 1st inversion, starting with root position

n
&
?
bbb
I IV6 vii ii6 vi ii6 V I6 i iv6 VII III6 VI ii6 V i6

Alternating root position with 1st inversion, starting with first inversion

& bbb

? b
bb
n
I6 IV vii6 iii vi6 ii V6 I i6 iv VII6 III VI6 ii V6 i
 Descending 5ths with Applied Chords

# # b b b n n
Root position triads

c
& # # n
# #
?c

bb



b
I IV V/ V/ V/ V/ V I i V/ V/ V/ VI V/ V i

#
b b b n n
b #
Alternating 7th chords with triads (3 voices)

& b # n # # n n n
?

bb b
V7/ IV V7/ V/ V7/ V/ V7 I V7/ V/ V7/ V/ VI7 V/ V7 i

# n # n
b b b n n b b b # n n n
All 7th chords (3 voices)

& b # n # n

?


bb b




8-7 8-7
V7/ IV V7/ V 8-7/ V7/ V / V7 I V7/ V 8-7 / V7/ V 8-7/ VI7 V 8-7 / V7 i

# n b b b n n b b b
All 7th chords (3 voices)

& b # n # # n
n

#

n n
?

bb b
V7/ IV7 V7/ V7/ V7/ V7/ V7 I V7/ V7/ V7/ V7/ VI7 V7/ V7 i

# # b b b n n
& n
A lovely example of the 2nd line on this page, but in 4 voices and using inversions (alternating3rd and 1st inversion)

#
? b # n # n bb n b # n
b
4 4
V 2 / IV6 V42 / V6/ V 42 / V6/ V42 I6 V 42 / V6/ V42 / V6/ VI 42 V6/ V2 i6
2010 David Clenman
 Descending Fifths (diatonic) with 7th Chords

All seventh chords, three voices (Note that the top two voices alternate between 3rd and 7th of the chord.)

b b b n
&
?

bbb

I7 IV7 vii 7 iii7 vi7 ii7 V7 I i7 iv7 VII7 III7 VI7 ii 7 V7 i

b b b
Four voices

&
n

?

bbb

Four voices, alternating root position with 2nd inversion, giving a stepwise descent in the bass.

b b b n
&

? bb
b
7 4 7 4
3 3

Four voices, alternating third inversion with first inversion, giving a stepwise descent in the bass.
b b b
&






n

? b

bb
4 6 4 6
2 5 2 5

2004 David Clenman

Ascending Fifths
This sequence does not generally go past the submediant chord:

&

?
I V ii vi

Chain of 7-6 Suspensions

One sometimes finds a series of first inversion chords descending by step.
This often occurs in a three voice texture, with the roots in the top voice:

&

The top voice may be delayed, creating a chain of 7 - 6 suspensions:

&



7 - 6 7 - 6 7 - 6 7 - 6 7 - 6 7 - 6 7 - 6
 Ascending 5-6 Sequence

& Root-positiont triads ascending by step in parallel

motion.
? Whoops! PARALLEL 5ths!

I ii iii IV

&
Fix the parallel 5ths by making the 5th of each
?
5 - 6 5 - 6 5 - 6 5 chord rise a step before the other voices do.

& #
Chromatic version: Accidentals have been added

?
so that the main chords are approached with applied

# # dominants.

I V6/ii ii V6/iii iii V6/IV IV

&

?
Let's start again, but this time with 4 voices.
Whoops! PARALLEL 5ths & 8ves!

I ii iii IV

&

?
We'll fix the parallel 5ths the same way we did

before.

&

?
We can fix the parallel octaves by changing

the tenor like this.

& #

Same as the previous line, only accidentals have been

?
added, as before, turning every second chord into the

# # applied dominant of the next chord.

I V6/ii ii V6/iii iii V6/IV IV

&

?
Here are the last 2 examples again, only with the
bass and tenor switched.

& #
#
? #


I V/ii ii V/iii iii V/IV IV

2004 David Clenman

 Monte/Mountain/Rising Sequence
N.B. Often only the first 4 chords are used.
Diatonic version:

& ww ww ww ww ww ww
w ww w ww
? ww ww
w w
I IV ii V iii vi

ww ww
& ww ww
Often the first chord of each pair is in 1st inversion:

ww ww
w w w w w w
?w w w w w w
I6 IV ii6 V iii6 vi

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 ww # ww ww # ww ww
w w w w w ww
?w w w w w
I (V/IV) IV V/V V V/vi vi

ww
And with the first of each pair of in first inversion. Note that the bass now ascends by semitone:

& ww ww ww ww ww

w w w ww w ww
?w w #w #w
I6 (V6/IV) IV V6/V V V6/vi vi

Copyright 2009 David Clenman

2 Monte

Chromatic version in which the first chord of each pair is an applied dominant 7th of the next chord:

w w ww
& b ww ww #w ww #w
w w w w w w
? w w w w w w
V7/IV IV V7/V V V7/vi vi

Same, but with the first chord of each pair in 1st inversion, creatinascending semitone motion in bass:

& b ww ww ww ww ww ww
w ww w ww
? ww ww #w #w
V6/IV IV V6/V V V6/vi vi
5 5 5
 Fonte
(Fountain)
(Sometimes called the Falling Sequence)

w w w w
& w w w w
w
? # ww ww w
The fonte is the following pattern:

w w
V/ii ii V I

w w w w
& w w w w
# ww ww w ww
Inversions may be used.

w
The dominant chords may have 7ths.
?
6 6
V 5 /ii ii V5 I

w w w
& bw w b ww w
# ww ww w
w ww
Diminished 7th chords may be used

?
instead of dominant 7ths.

vii7/ii ii vii7 I

Copyright 2010 David Clenman

 Pachelbel's Canon Sequence

&
Write I to V:

?

&

?
Copy what you just wrote,

but a 3rd lower:

&
We could extend the sequence by

?
copying the pattern yet another 3rd lower:

&
A variant of this is to have every second

chord in 1st inversion. Notice how this
creates a descending scale in the bass:
?

2004 David Clenman

 The Rocket Opening
The Rocket opening, commonly used in the Classical era, is an upward arpeggiation of the tonic chord, sometimes used

b
as an opening idea. It makes a clear statement of the key:

&bb c


? bb c
Mozart Piano Sonata in c K. 457

b

Notes may be repeated, and some of the notes may move in a downward direction, but the overall motion is upwards.

# 6 j
The character often suggests trumpets or horns:

& # 8 j

? # # 68 j

Mozart Piano Sonata in D K. 476
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 j j

j

J

? b b 68 j Haydn String Quartet in Bb Op. 1, No. 1

J J
J
It is typically 2 bars long, but is sometimes 4 bars long.
If it starts on the 1st beat of the bar, it normally starts on the tonic note.
If starting with a pickup, it may start with the tonic note, but more often starts witht the dominant.

b 3
It may end with any note of the chord, but 5th and 3rd are more common than root:

&b 4

? b b 34
Mozart Piano Sonata in Bb K. 570

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
Beethoven Op. 2, No. 1

If it starts on the first beat of the bar, there may be a full root position tonic chord on the downbeat:
#
& c J J

#
& c J J

B# c
Mozart Eine kleine Nachtmusik K. 525

J J
?# c
J J 2005 David Clenman
 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
Beethoven, Symphony No. 9, Op. 125/IV

& 4 j
.
##
V

& j
.
I

Such a structure is called a period.

The first phrase, the one whose cadence doesn't sound final, is called the antecedent.
The second phrase, the one whose cadence does sound final, is called the consequent.

Generally, the antecedent begins on I and ends either on V or with an IAC; the consequent ends with a PAC.
If the antecedent ends on V, and the consequent on I, the effect may suggest a question and answer.

If the two phrases have the same or similar beginnings, the period is called a parallel period:

# # 2 j # j n
Beethoven Trio Op. 8

& 4

B # # 24 j j #
j
#
V I

If the two phrases begin quite differently, the period is called a contrasting period: Gluck Orpheus and Eurydice

3 j
&b 4 J J

A period may have one or more antecedent phrases followed by

Mozart "Voi che sapete"

n .
one or more consequent phrases:
b . . #
& b 42
from The Marriage of Figaro

? b b 42 J J J J J j j j j j
J J J J J
b . .
V V7

&b

? b b j j j j J
J J J
2005 David Clenman
I
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:

# j J J .
Mozart K. 576/I

& # 68 j J j

? # # 68 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):

Mozart K. 284/III
#
& # C

#
& # C

## #
&

#
? ## #

2005 David Clenman

 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:

1. Repeat the cadence.
Mozart Piano Sonata K. 332/I

& b 43

?
& b 43 .. ..

Mozart The Marriage of Figaro Act I Scene 1
.
2. Delay the PAC by first using one or more IACs.

?b
J
?b
il chi - tar - ri - no le suo - ne - ro, si, le sui - ne - ro, si, le suo - ne - ro. -

3. Delay the PAC by first using a deceptive cadence.

Here is the opening of Cherubino's arietta (little aria) Voi che sapete from Mozart's opera the Marriage of Figaro.

b 2 . . n . #
Note that it is a period consisting of two antecedent phrases followed by a consequent phrase:

b
& 4
? b b 24 J J J J J j j j j j
Voi che sa - pe - te che co - sa e a - mor, don - ne ve - de - te s'io l'ho nel cor,

J J J J J
b
&b . .
? b b j j
don - ne ve - de - te
j
s'io l'ho nel
j J
cor.

J J J
To end the arietta, Cherubino sings the same period as above, except that where it would normally end, Mozart has inserted a

b . n . #
deceptive cadence, after which Mozart repeats the consequent phrase, this time ending with a PAC.

& b .
? b b J J J J J j j j j j
Voi che sa - pe - te che co - sa e a - mor, don - ne ve - de - te s'io l'ho nel cor,

J J J J J
b
. .
&b .
? b j j j j

don - ne ve - de - te s'io l'ho nel cor, don - ne ve - de - te s'io l'ho nel cor.

b J J J J J J J J J J J
2005 David Clenman
EXPANDING THE BODY OF THE PHRASE
In the following parallel period, the antecedent phrase is 4 bars long, but the consequent phrase is 6 bars.
Two additional bars have been added in the middle of the consequent phrase.

j
Mozart K 279/III

& 24 #

j ? j
& 24

j

#
J

|

& # n # n

? j

2005 David Clenman

 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 Repetition of Basic Idea

. .
Presentation
Phrase
bb 4 n n
&bb 4

n
3

? b b b 44
3

n
b
f- i V 6
5

bb b b j .
. gg
Continuation
Phrase
n gg U
&
j
n

n
U

3

? bb b
3

b
i V4 i6 ii6 V
3

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.
THE PRESENTATION PHRASE IN MORE DETAIL:

The presentation phrase presents the basic idea twice. Bars 3-4 of the presentation phrase are a repetition of bars 1-2.
This repetition takes three forms:

1. EXACT REPETITION Mozart Piano Sonata K. 330

2
. j
. j
&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 RESPONSE
m. 1 m. 2 m. 3 m. 4
I V
I V V I
I V I V I V
I IV V I
I ii V I

.
Beethoven Piano Sonata Op. 2 No. 1

bb 4 . n n
&bb 4

n n
3

? bb 4
3

bb 4
f- i V 6
5
Beethoven Piano Sonata Op. 2 No. 3

& 44
# n
? 4 ww w
4
w
C+ I V V7 I

3. SEQUENTIAL REPETITION: Beethoven Piano Sonata Op. 14 No. 2

# 2

& 4 # # # #
n
? # 42 n

G+ I ii 4
2
 Small Ternary Form

The small ternary consists of three parts:

The first section (A) is a period or sentence or other similar structure. It ends with a PAC in the home key or, if the section
modulated, in the new key.
Part two (B) is a contrasting section that typically emphasizes the dominant and ends on V
Part three (A') is a restatement, often abridged, of part one. It ends with a PAC in the home key.`

## 4
A
j
& 4 .
#
& # .
j

#
B
& #

A'
##
& j
.

2003 David Clenman

 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.

b n
& b b w
IN A MINOR KEY

A piece in a minor key may end with a major tonic chord. (Note n ww
the E n in the example to the right.) The raised third is known as
? bb w
b
a tierce de Picardie, or Picardy third. This is the main use of mode
mixture in a minor key.

. c-: i ii 6 V 8-7 I
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

www b b www www b www

available through borrowing from c minor, the parallel minor:

www b www ww b ww www b www www b www

& www b www w bw
I i ii ii iii bIII IV iv V v vi bVI vii bVII

^ ^ ^
The most common occurences of mixture in a major key make use of b6. The b6 wants to lead to 5:

&
vii7 from the minor key is used to lead to I in the major key:
? b

vii7 I

& b www
?
iv from the minor key. (Often this follows IV and leads to I.)

w
IV iv I

b
&
ii or ii7.
?


I ii 6 V 8-7 I
5

& bw
w
b ww
^ ^
bVI. (This makes use of both b6 and b3.)
?
IV V 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 n


b
b
?
No No Yes

MODE MIXTURE AND MODULATION

A borrowed chord may act as a pivot chord in a modulation. For example:

& b bb b b ww
b bb ww
?

C: I vi IV iv
Ab: vi IV6 V6 I
5

2003 David Clenman

 Constructing Augmented 6th Chords
There are a few different ways to construct Augmented 6th chords. They all give you the same
results, so use whichever you find easiest. Here's one.

& w
a. Find the dominant note of whatever key you're in.

? w
(For this example, we'll use C major.) Put it in both
treble and bass clefs:

b. In front of the treble dominant note, write the note that

& #w w
is a semitone below.

? w
(Use a different letter name for it, i.e. not Gb, but F#):

c. In front of the bass dominant note, write the note that

is a semitone above.
(Use a different letter name for it, i.e. not G#, but Ab):
& #w w
Note that the interval between the two new notes

? bw w
(between the Ab and F#) is an augmented 6th. All the
different types of augmented 6th chords will have
these notes. When these notes resolve, they go to
the dominant notes that you have written.

d. To make an Italian 6th, add the note that is a major 3rd

& #w w
above the bottom note:

? b ww w
It6

David Clenman 2012

2 Constructing Augmented 6th Chords

e. To make a German 6th, start with the Italian 6th,

and add the note that is a perfect 5th above the
& b # ww w
bottom note:

? b ww w
Ger6

f. To make a French 6th, instead of adding a note that is

& # ww w
a perfect 5th above the bottom note, add a note that

? b ww w
is an augmented 4th above it:

Fr6
 Resolving Augmented Sixth Chords

Italian

& # #
bbb #
# n
n
b b
? b
bb
C+ It6 V It6 V c- It6 V It6 V

Only 3 different pitches. Often used in 3-part writing.

The note that's not part of the augmented 6th interval resolves down by step.
In 4-part writing, always double the note that's not part of the augmented 6th invterval (in this example, the C.)
Since they can't both resolve down by step (parallel octaves!), one resolves down by step, and the other resolves up by step.
If the soprano has one of them, it resolves down by step.

German

& # # bbb # #
n n
?
bb bb (# ) n b b b

c-
C+ Ger6 V Ger6 V6 - 5 Ger6 V Ger6 V 6 - 5
4 - 3 4 - 3
Sounds like a dominant 7th chord.
When going to V, parallel 5ths occur. Provided they are not between the soprano and bass, they are allowed.
The German 6th often goes to V 6 - 5. This gets rid of the parallel 5ths.
4-3

bbb #
French

& # # #
n n
? bbb
b b



C+ Fr6 V Fr6 V6 - 5 c- Fr6 V Fr6 V6 - 5
4 - 3 4 - 3

The French 6th generally goes to V, but may go to V6 - 5

4 - 3

David Clenman 2003

 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 Episode 1 Refrain Episode 2 Refrain

A B A C A

Many combinations are possible: ABACA, ABACABA, ABACADA, ABACBA, etc.

While rondos usually end with the A section, not all do. (Example: Mozart Oboe/Flute Concerto in
D/III)
Each section may itself be a smaller form, such as binary form.

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.

TRANSITIONS AND RETRANSITIONS

Episodes and statements of the refrain may have transitional passages between them. These are called
transitions when leading to an episode, and retransitions when leading back to a refrain in the tonic.
The function of a transition is to lead you from one section to another. As such, they tend to have a
restless quality and be modulatory. Use of sequence is common.
Transitions tend not to have clear theme structure. They are often without clear melodic structure, and
are frequently built out of broken chord figures, scales, or other passagework.

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 B A C A Coda

Major I V I other I I
contrasting
minor i III i key i i

Mozart tends to use IV for the C section

Haydn tends to use the parallel minor for the C section.

2. ABACABA is called 7 part rondo. The key scheme is often:

A B A C A B A
Major I V I other I I I
contrasting
minor i III i key i i or I i

The C section is most commonly in IV, though vi and the parallel minor are common.
 1

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1756 - 1791
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4

&
f
Vn. I

& . j j r
.

Vn. II

.
f
B . J
f
Va.

?

f
Vc.

. # #
& .. .. # # n n
A

8

J
p
Vn. I

& .. ..
J
p
Vn. II

B .. ..
p
Va.

? .. ..

p
Vc.

. n
# # # n n .
.
J J J J
11

&
f
Vn. I
cresc.

& j
# . n
f
Vn. II

f p

cresc.

B

Va.

f f
?
cresc.


f p
Vc.
cresc. f
HSMW001A <7>
 9

.
.. .. . . . . . . .
B

15

&
p
Vn. I

& .. ..

j . . . .
. . . . #
Vn. II

p.

B

.. .. . . .

. . . .

p
Va.

. . . .
? .. .. . . . .
Vc.
p

. . # . . # j . .
C
. . .
& # # n #
18

Vn. I J .

& . . . j j j ..
Vn. II
n b . n . . . . .
. . . . . . b . .
B j j j ..
Va.
. . #
. . . . . .
? . . j . . .
Vc.
J J .

b n # . . . . n . . . . # n . . . .
n # #
21

Vn. I & J

& # . . . . # j j n J # . n . .
Vn. II
. . . n . #
. . b . . . . . . .
B . . j J
Va.
J
. . . . . . # . . .
? . . J # J
Vc.
J

. . # . # . n
# # # # . J # . J # . .
25

Vn. I &

& # J j
n . # . . n .
Vn. II J . # . . # . . . J

B J J # J j # #
Va.
. . . .
? # J J j # .j
Vc.
J . .

HSMW001A <7>
 10

n . . .
. J J J J
D
J J J J
30

Vn. I &

j j j j j j j j j
Vn. II & n
. . .
.
Va. B n

?
Vc.
n . .

. . r
J J J
. J J bbb
34

&
f
Vn. I

& . j .
j r
bbb


Vn. II

f .
B . J bbb
f
Va.

?

bbb
f
Vc.

T T T
. . .
E
b
& b b .. n n
39

J J
p
Vn. I

b
& b b ..
p
Vn. II

B b b b .. n n n
p
Va.

T T
? b b .. . j
. j

Vc. b n n
p
T . T
b . . . . b . T n

F
&b b J ..
41

J J

Vn. I

b
&b b .. b

Vn. II

Va. B bbb .. b n
. T
? bb b . j . n J
b b j .

Vc.

HSMW001A <7>
 11

. T
T
nT b T T
b #
&b b J n
44

Vn. I J
b n b
&b b n
n
#
Vn. II

n # n n
B bbb n n b
T #
. T Ti
Va.

. #T
T
T
b
? bb # J b
Vc. b

T
. #
T
. . T

T
.
b # #
&b b J J J J
47

Vn. I J

b
&b b
n n b n b
n #

Vn. II

B bbb n
Va.
n n b # n n #
T T T
? bb j .
j .
j .
j
Vc. b n n

. .
b n n n n J . J J J J
G
&b b J
50

J
p
Vn. I

b n
& b b # n n j j
j
. .
Vn. II

p
b n
B b b n # n n
Va.
J
? bb n j
b . n n n n
p
Vc.

. . .
& J J
J J J
. J J
53

f
Vn. I

& .j j
. j
j
.
f
Vn. II

.

B
f
Va.

?

f
Vc.

HSMW001A <7>
 12

. n
# # # #
r
n
H

57

& J
p
Vn. I

&
r
J
p
Vn. II

B . J
p
Va.

?

p
Vc.

. n # # # n n .
. J J
61

& J J
f
Vn. I
cresc.

& j
# . n
f
Vn. II

f p
cresc.

B

f
Va.

f
?
cresc.

f p f
Vc.
cresc.

b


. n . .
65

&
f p
Vn. I

& . . .
f p
Vn. II

B
#

f p
Va.

?
# w
f p
Vc.

. J J J .
& J J J J
J
69

Vn. I

&
J

Vn. II

w w .
Va. B
J
? j

w
w j j

Vc.

HSMW001A <7>
 13

III
Menuetto

#3 . . . j

Allegretto

& 4
f
Violin I

# .
Violin II & 43 . . j

f . . .
B # 43 #
f
Viola

? # 43 . . .
n
#
f
Violoncello

#
..
5

Vn. I &

#
..
Vn. II &
n
Va. B# ..

?# ..
Vc.

# #
# n n #
A
& ..
9

p
Vn. I

#
cresc.

& .. # #
n n
#
p
Vn. II

B # .. #

cresc.
b
p
Va.

cresc.
? # ..
p
Vc.
cresc.

# . . . n U ##
..
13

&
f
Vn. I

#
. . n .. # #
& .
f.
Vn. II

. n
B# . .. # #
f
Va.

. .
?# . .. # #
u
f
Vc.

Fine
HSMW001A <7>
 14

. #
#
Trio
## .
17

Vn. I &
##
sotto voce

&
p
Vn. II

B ##
p
Va.

? ## . .

p. .
Vc.

## # # n n n # n n
B
.. ..
21

Vn. I &
f
#
Vn. II & # .. ..


f
B ## .. ..
f
Va.

. . .
? ## . . .. ..

f
Vc.

# # . n . # . n
& #
26

Vn. I

#
sotto voce

& # # n
p
Vn. II

B ## # n #
p
Va.

? ## . . .
.
. .
Vc.

## # . # # # n n # n n ..
31

Vn. I &
#
& # ..

Vn. II

Va. B ## ..
. . .
? ## . . ..
Vc.
Menuetto da Capo

HSMW001A <7>
 15

IV
T
Rondo
. . .
# C . . .

.
Allegro
& .
p
Violin I

#
& C ..


Violin II

p
B# C ..
p
Viola

?# C ..
p
Violoncello

T T
#
1
..
5

Vn. I &
# ..
&


Vn. II

Va. B#
..

Vc.
?#
..

. . . .
# J J J J
8 2

&
f
Vn. I

# . . . .
&
f
Vn. II

. . . . .
B #
f
Va.

?# . . . .

f
Vc.

# . . J J
#
A

13

& J J J
S p
Vn. I

# . . j j
& # J J J
J
p
Vn. II

S
J J # J
B # . .
J

J J
S p
Va.

? # . .

Vc.

HSMW001A <7>
 16

# # # n #
#
n J #

18

& J J J J
S p
Vn. I

# # # j j j
& n
j j #
#
Vn. II

S p
# j #
B # n j j j # J J
J
S p
Va.

?# J J J # J
J J
S p
Vc.

# n . . . .
#
. .
. .
#
n . .
#
24

Vn. I &
#
&
. . . . # . . # . n .
Vn. II

. .
B#
# # . .
Va.

# .
.
?# b
Vc.

# n . . # . # . B
T
. #
29

Vn. I &
# #
& # n . #
.
Vn. II

b
B # # . .
Va.
#

Vc.
? # b

T T T
# . . T . . .
. #
34

Vn. I &
# .
& # . . . . . . n

Vn. II

# . . . . .
B # . .
Va.

# n
Vc.
?#

HSMW001A <7>
 17

# T T

C
#
40

Vn. I &
# #
Vn. II &
# .

Va. B # # n
#

?#
Vc.

. .
# # # . . # . .
.
45

&
f
Vn. I

p
#
# . .
& #
. . p
Vn. II

f . .
B# # # . .

p
Va.

f
. .
?#

.
p
Vc.

# . .

n . ..
50 1

Vn. I &
# ..
&
# n
Vn. II

Va. B # n ..

Vc.
?# ..

b T b
# .. . . . . b b
& . .
D
b
b
2

.
Vn. I

f p
# .. . . . .
& . . b
b n b
. b b
Vn. II

f . . . . . . p
B # . .. b b
b n b b
b
p
Va.

f . . . . .
.
?# . .. b b b b b
p
Vc.

HSMW001A <7>
 18

. . b Ti T
# n .
b b b n
b b n b
61

&
f
Vn. I

# b
& n b b b b b b

Vn. II

B # b b b b b n b b n b b b
n b f
Va.

? # b b b b
Vc. b b b
f

b n b b . . . . b
E
# J J J J b b . .
66

Vn. I & b
# b n b b n b n b
&
f b b
Vn. II

B # b b b. n b n b b
Va. b
?# b b n b b n b b
b
Vc.

. . . . . . . .
# n n . . . . n . . b b . . #
71

Vn. I & n b
#
& b

b
n



n
Vn. II

Va. B # n
n






n

Vc.
?# #

b . . . . b
# . . b . . . . b . . b
76

& . . b
#
Vn. I

# b . . b . . b
& b

b
. . b
#
Vn. II

B #
b

b
b . . b . . b
Va. . . b #
b . . . .
?# b b . . b #
Vc.

HSMW001A <7>
 19

# b j j j
# # n
F
b n n J
81

&
Vn. I
S p J
# j j j
& b j j n j #
Vn. II
n n
S p
B# n b j j n J
n J J J

p
Va.

n b S
Vc.
?#

# n j j j
J #
86

& J
S p
Vn. I

# j j

& j j j

n p
Vn. II

S #
B# j n j j j j j

# # S Jp n
Va.

?# j j j
J J J
S p
Vc.

# n . . b

91

Vn. I & . .
#
&
. .
Vn. II

Va. B#
n . .

Vc.
?# b

. G T
# . . n
& b
96

Vn. I

#
&

Vn. II

b
B#
Va.
. .

? # b
Vc.

HSMW001A <7>
 20

T T T T
# . .

101

Vn. I & . . . .
#
&
n
Vn. II

B#
Va.

?# n
Vc.

T T
#
H

107

Vn. I &
#
&


Vn. II

B # # n

Va.

?#
Vc.

. . . . . . .
# . . . . .
&
J

113

. . .
f
Vn. I

p
# . . .
& . . . .
.. . .
.
Vn. II

f . .
.. . . p
B# . . . . . .
n
f
Va.

p .
?# . .
. .
Vc.

f p

# . . . n

118

& n
. . . . . .
Vn. I

f
#
&
n n
. . .
Vn. II

f
B#

. . .
Va.

f
?# .
. .
Vc.

HSMW001A <7>
 21

# # . J n J ..
123

& n . . . . .
#
Vn. I

p f
#
. . # . n . . . ..
& n n # . .
# .
Vn. II

. . f .
B # n # . . .
# n . b .
.
..
Va. #
f .
.
Vc.
? # n
#
. ..
f

. T
# . . . . . .
Coda

&
129

Vn. I
p
# . . . .
&


Vn. II

. . . . p
#
B
p
Va.

. . . .
?#
p
Vc.

T T
#

134

Vn. I &
#
&

Vn. II

B#

Va.

. .
Vc.
?# .

#

139

Vn. I &
#
Vn. II &

Va. B#
. . . . . . # . .
Vc.
?# . .

HSMW001A <7>
 22

.K .
# # n . . . .


144

&

f
Vn. I

# . . . . # .
& # n

f
Vn. II

. . .
B# w . .
f
Va.

n
?#





f
Vc.

.
# . .
.
& .
Vn. I

# . . n . # . . . n .
& .
.
Vn. II

. . . .
B# . .

Va.

Vc.
?#

# . . .
& . . .

Vn. I

#
&

Vn. II

Va. B #

?# . .
Vc.
. . . .

.
# . .

&

Vn. I

#
&

Vn. II

Va. B #

?# .


Vc.
. .

HSMW001A <7>
 Neapolitan 6th (bII6)

& w
Find the second degree of the scale:
?
C+

& bw
Lower it a semitone:
?

Build a major triad on it:

& b b www
?

& b b www
Put it in first inversion:
?

& b b www
Double the third of the chord:
? w
C+: bII6

copyright David Clenman 2006

 ^
Typical ways to resolve the Neapolitan 6th: Note that b2 always descends towards the leading tone.

b ^2 ^7 b ^2 ^7

& bb ww b b b b n ww
w w
^

to V7 Note that the b2 falls a diminished 3rd
? w bbb w
to the leading note.

C+: N6 V7 I c-: N6 V7 i

& bb ww b b b b n ww
w w
?
w bbb w
to V

Neap6 V I Neap6 V i

& bb ww bbb b n ww
w w
?
bbb
to the cadential 6
4
w w
Neap6 V
6 - 5 I Neap6 V
6 - 5 i
4 - 3 4 - 3

& bb n ww bbb b n n ww
b w w
? # #
bbb
to vii7/V

w w
Neap6 vii7/V V I Neap6 vii7/V V i

& bb b b b b n
to V4
?
bbb

2

4
Neap6
N6 V4 Neap6
N6 V
2 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