Professional Documents
Culture Documents
Triads Starting On Lowest Note
Triads Starting On Lowest Note
M2= 2 halfsteps
m3= 3 halfsteps
M3= 4 halfsteps
P4= 5 halfsteps
Aug4: Dim5: TriTone= 6 halfsteps
P5= 7 halfsteps
m6= 8 halfsteps
M6= 9 halfsteps
m7= 10 halfsteps
M7= 11 halfsteps
Cadences
Cadence – two chords that make up the end of a phrase
V-I – Authentic Cadence
V7-I – Authentic Cadence
Conclusive – stronger
Perfect Authentic Cadence (PAC)
1. Both chords of cadence are in root position
2. The top voice is Do in the last chord
Imperfect Authentic Cadence (IAC)– anything that is not this (PAC) it is an imperfect authentic cadence
Half Cadence – x to a V chord H.C.
Deceptive Cadence – V to a VI (vi) D.C
Plagal Cadence – Some IV to some I
Phrygian Half Cadence
1. Minor
2. iv6 to V
Melody
Range – Low to High
Interval Structure
Conjunct Motion – My Country Tis of Thee
Disjunct Motion – Star Spangled Banner
Gesture/Contour
Arch
Inverted Arch
Ascending
Descending
Motive – Small idea
Repeat
Vary
Create something new
Sequence – Numbers are the same
Real Sequence – The exact Transposition
Tonal Sequence – Each note is raised the same interval
Embellishing Tones / Non – Chord Tones
Passing Tones – Arrive from step
Leave by a step (in the same direction) / \
Unaccented/accented
Chromatic/Diatonic
Neighbor Tone – Arrive from a step
Leave by a step (in the opposite direction) v
Step/Leap Combo
Appogiatura (App) – Arrives from a leap
Leaves by a step (in the opposite direction)
APPOGIATURA MUST BE ACCENTED
Escape Tone – Arrives from a step
Leaves by a leap (in the opposite direction)
ESCAPE TONE MUST BE UNACCENTED
Double Neighbor – Same note (Original, one down from original, one up from original, back to
original) ((or vice versa))
ANTICIPATION – Arrive from a step
Leave to the same note EARLY (Unaccented)
SUSPENSION – Arrive from the same note
Leaves by a step LATE (Accented)
Period
2 phrases
1. sdfalksdf
2. More Conclusive
Parallel – Begins in a similar way
Contrasting - opposite of parallel
Less conclusive (not a period) = Phrase group – Same level of conclusiveness
HARMONY II
Open position
Closed position
Parallel Movement
o Two voices move the same amount in the same direction
Similar Movement
o Same direction but different amounts
Oblique Movement
o One voice stays the same
Contrary Movement
o Opposite directions
Counterpoint
o Melodic line
o Countermelody
****NO PARALLEL FIFTH/OCTAVES…EVVVVVER!!!!!!!!!!!!****
Doubling
Spacing
o SA
o AT
Must be octave or less
o TB
Doesn’t matter
DO NOT DOUBLE TENDENCY TONES!!!!
Major and Minor Triads
o Double the bass in root position or 2nd inversion
o 1st inversion dbl the Soprano or Bass
Augmented or Diminished
o Be in 1st inversion double the bass
Voice crossing
Voice overlap
Root motion of 4th or 5th
o 4th or a 5th
o Use a common tone
o Other two voices move by step
Root motion of 3rd or 6th
o Keep common tones (2)
o Other voice step-wise
Root motion of 2nd
o There are no common tones
o Voices move contrary to the bass
Adding Suspensions in part writing
o Look for a second
Rules for Part writing with inversions
o No P8 or P5
o Do not double the leading tone
o In 1st inversion double the Soprano or the Bass
Except if the leading tone is in the bass
o In 1st in version diminished chord double the bass
o Avoid unequal fifths
o Spacing in SAT
Less than an octave
o Voice crossing and voice overlap
o Avoid melodic +2,+4, dim 5
o Leading tone must resolve to ‘Do’ in SB only
Guidelines to Part writing with inversions
o Keep common tones
o Stepwise
o Avoid large leaps
o Move voices contrary to the bass
2nd Inversions
o RARE
Cadential 6/4
o I 6/4 – 5
Keep common Tones
Passing 6/4
Ti wants to go to Do
Fa wants to go to Ti
7th of the chord ALWAYS resolves down a step
Summary of Part-Writing Rules
Strict
1. Avoid Parallel octaves, perfect fifths, and unisons
2. Never double the leading tone of the scale
3. Avoid augmented 2nds and augmented 4ths between notes of the same voice
Sometimes Broken
1. If a chord has a 7th, the 7th should resolve down a step
2. The leading tone should resolve to the tonic when it is in SB
3. Unequal 5ths should be used sparingly
4. Spacing between adjacent voices should not exceed an octave in SAT.
5. Avoid Crossing voices
6. Do not overlap two adjacent voices
7. Do not write pitches outside the range of a particular voice.
8. Do not move in the same direction to perfect intervals in SB, unless S is stepwise.
9. Resolve the bVI down if in Soprano or Bass
Doubling
Position Chord Type Double
Root M and m Root
1st inversion M and m Soprano or Bass (except V6)
2nd inversion M and m Bass
Secondary Dominance
1. “This chord is V of What (x)?”
2. “x is what scale degree of original key?”
3. Bottom Roman Numeral is Interval from original key to “x”
Tonicization – to make a chord that is not in the tonic key sound like it belongs in the tonic
V/ii – ii (Lower Roman Numeral)
Secondary L.T. chords
“This chord is the seventh scale degree of what (x)?”
“x is what scale degree of the original key?” `
Mm7 Chords (Major)
V7/IV C7 C E G Bb 1 3 5 b7 Do Mi Sol Te
V7/ii A7 A C# E G 6 #1 3 5 La Di Mi Sol
V7/iii Bb7 Bb D F Ab 7 #2 #4 6 Te Re Fa Le
V7/V D7 D F# A C 2 #4 6 8 Ra Fi La Do
V7/vi E7 E G# B D 3 #5 7 2 Mi Si Ti Rw
V7/iv C7 C E G Bb 1 #3 5 7 Do Mi Sol Te
V7/VII F7 F A C Eb 4 #6 1 3 Fa La Do Me
V7/III Bb7 Bb D F Ab 7246 Te Re Fa Le
V7/V D7 D F# A C 2 #4 #6 1 Re Fi La Do
V7/VI Eb7 Eb G Bb Db 3 5 7 b2 Me Sol Te Ra
vii°7/ V F# A C Eb #4 6 1 b3 Fi La Do Me
vii°7/ii C# E G Bb #1 3 5 b7 Di Mi Sol Te
vii°7/iii D# F# A C #2 #4 6 1 Ri Fi La Do
vii°7/IV E G Bb Db 3 5 b7 b2 Mi Sol Te Ra
vii°7/vi G# B D F #5 7 2 4 Si Ti Re Fa
viiØ7/ V F# A C E #4 6 1 3 Fi La Do Mi
viiØ 7/ii C# E G B #1 3 5 7 Di Mi Sol Ti
viiØ 7/iii D# F# A C# #2 #4 6 #1 Ri Fi La Di
viiØ 7/IV E G Bb D 3 5 b7 2 Mi Sol Te Re
viiØ 7/vi G# B D F# #5 7 2 #4 Si Ti Re Fi
vii°7/III D F Ab Cb 2 4 6 b1 Re FA Le Da
vii°7/V F# A C Eb #4 #6 1 3 Fi La Do Me
vii°7/iv E G Bb Db #3 5 7 b2 Mi Sol Te Ra
vii°7/VI G Bb Db Fb 5 7 b2 b4 Sol Te Ra Fe
vii°7/VII A C Eb Gb #6 1 3 b5 La Do Me Se
Harmony III
Pivot Chord – the chord before the first chord that is not in the original key
o Find the pivot chord, back up one chord and find that roman numeral in both keys
In the key of C Major (0#s)
o G Major (1#)
Closely Related key
o I-V and V becomes the new one
o C to F
o C to A minor
o C to E minor
o C to D minor
C d e F G a bº
G a b C D e F#º
Neapolitan 6 Chords
o Major triad on bII in 1st inversion in a minor key
o Double the bass in a Neapolitan Chord
o b2 resolves to #7
o 4 goes to 5 in the bass
o 6 goes to 5
o 4 goes to 2
A6 chord
o b6 goes to 5
o #4 goes to 5
Italian A6 chord
Double unaltered note
#4
1
b6
French A6 Chord
#4
1
2
b6
German A6
o MUST GO TO A I 6/4
#4
1
b3
b6
Common tone º7 or Embellished º7 chords
o Use letters as RN
o Looks like #ii º7 goes to I and #vi º7 goes to V
How Do you know what key you’re in?
o Clue Chords
Mm7 (V7)
Any triad in second inversion (I or i6/4)
º7 (vii º7)
Aug 6
o Accidentals outside the key
o Cadence