Common-Tone Chords

4. Verdi, “Rigoletto,” Act I, Prelude, mm. 1-10. Provide a RN/FB analysis only. (14 marks)

Verdi, Rigoletto, Act I Prelude

B. Verdi, Rigoletto, Act I, Prelude
 Common-Tone Chords:
Neighbouring or Passing Harmonies

~that are~

Inherently Non-Functional Themselves

~but only either~

Prolong a Functional Harmony

or

Pass from one Functional Harmony to Another

 So:

They are Neighbouring and Passing Chords

~Just like neighbouring and passing six-fours~

…but they are chromatic..
Neighbouring Common-Tone Chords:
Passing and Back-Relating Common-Tone Chords:
 Some Important Notes about CT-Chords:

-Diminished-Sevenths and Augmented-Sixths

-The Common-Tone is always the ROOT!!

-Common-Tone Diminished-Sevenths always have

scale-degrees #2/b3, #4, and 6 above the root

-Common-Tone Augmented-Sixths always have

scale-degrees #4, and b6 above the root…the third pitch
changes based on the kind of augmented-sixth

-Analyze as “CTx6” or “CTo7”

 -Use Arrows for Passing and Back-Relating
CT-Chords; But not for Neighbouring
CT-Chords

Voice-Leading Issues:
-Voice Leading by Step at Least out of Them

-Follow the Voice-Leading Trajectory as Chromatic

Neighbour Notes:

i.e., #4–5, (b)6–5, #2–3

 3

4. Verdi, “Rigoletto,” Act I, Prelude, mm. 1-10. Provide a RN/FB analysis only. (14 marks)

Verdi, Rigoletto,
Verdi,
B. Verdi, Rigoletto, Act I, Prelude Rigoletto, Act
Act II Prelude
Prelude

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Schubert, Walz, D 365, no. 31

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 Romeo and
Tchaikovsky, Romeo
Tchaikovsky, and Juliet,
Juliet, mm.
mm. 251–63
251–63

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