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AP MUSIC THEORY White Oak High School – Mr. Morton

PART TWO: DIATONIC TRIADS

Tonal Harmony Chapters 5-12 PRINCIPLES OF VOICE LEADING

Chapter 5: Voice Leading

The compositional process, being entirely creative, is not easily understood

Composers think about melody, harmony, rhythm, etc.

◦ A complete analysis of a composition takes everything in to account

The next part of our semester will concentrate on the harmonic aspect, since it is this aspect that most clearly delineates tonal music from other types!


Basic vocabulary of tonal harmony is

triads and seventh chords

◦ Harmonic Progression: the way in which

chords are selected

◦ Voice Leading/Part Writing: the way in

which chords are produced by motions of

individual musical lines

Counterpoint: the combining of relatively

independent musical lines


What are we going to be looking at in

terms of voice leading?

◦ How does a composer write out a given

succession of chords for some combination of

performers?

◦ How does he or she decide in which direction

each vocal or instrumental line should go?


The style of voice leading will depend on

the composer, the musical effect desired,

and the performing medium

◦ For example, it is easier to play a large

interval on the piano than it is to sing it

As a result, there are certain voice-leading

norms that most composers follow most

of the time


The Melodic Line

◦ Rhythm

◦ Harmony

◦ Contour (shape)

◦ Leaps

◦ Tendency Tones


The Melodic Line

◦ Rhythm

Simple

Durations equal to or longer than the duration of

the beat

Final note should occur on a strong beat (i.e. Beat 1

or Beat 3)


The Melodic Line

◦ Harmony

Every melody note should belong to the chord that

is to harmonize it

EXAMPLE

If we have a V chord in the key of C major, what notes could

we use in the melody?


The Melodic Line

◦ Contour

Melody should be primarily conjunct (stepwise)

Shape of the melody should be interesting but clear

and simple with a single focal point

Focal Point: the highest note of the melody

Examples 5-1a, 5-1b, and 5-1c (pg. 74)


The Melodic Line

◦ Leaps

Avoid augmented intervals, 7ths, and intervals larger

than a P8

Diminished intervals may be used if the melody

changes by step immediately after the interval.

A melodic interval larger than a P4 is usually best

approached and left in the direction opposite the

leap.

When smaller leaps are used consecutively in the

same direction, they should outline a triad


The Melodic Line

◦ Tendency Tones

7 – strong tendency to move to 1

EXCEPTION: scale-wise line descending from 1 (1-7-6-5)

4 – often moves down to 3


Independent Practice (in class)

◦ Complete Self-Test 5-1 (Part A & B) in

Tonal Harmony Textbook

Independent Practice (at home)

◦ Complete Exercise 5-1 (Part A) in Tonal

Harmony Workbook


Tonal Harmony Chapters 5-12 NOTATING CHORDS/VOICING TRIADS


Notating Chords

◦ Musical Score: tool used by a composer, conductor, or analyst which shows all of the parts of an ensemble arranged one above the other

◦ Full Score: all or most all of the parts are notated on their own individual staves

◦ Reduced Score: score notated at concert pitch on as few staves as possible

◦ Any musician should be able both to read and to prepare a full score

Choice of full or reduced score depends partly on the sort of musical texture that the exercise will use


Notating Chords

◦ Note Stems

When notating more than one part on a single staff,

be sure that the stems of the top part always point

up and those of the bottom point down, even if the

parts have crossed


Voicing a Single Triad

◦ Voicing: how a chord is to be distributed or

spaced

Voicing has a great deal of influence on its aural

effect

EXAMPLE 5-7 (pg. 77)


Voicing a Single Triad (Open vs. Close)

◦ Close Structure: less than an octave

between the soprano and tenor voices

◦ Open Structure: an octave or more

between the soprano and tenor voices

◦ For any of these structures, there can be

more than octave between the tenor and bass

voices

◦ EXAMPLE 5-8


Voicing a Single Triad (Rules)

◦ Cross Voicing: where voice parts cross each

other

◦ Do not allow any part to cross each other at

any time!

JUST SAY NO!

◦ EXAMPLE 5-9/5-10



◦ Spacing:

When writing for three or more parts, avoid overly

spacious sonorities by keeping adjacent upper parts

within an octave of each other (excluding the bass)

There should not be more than an octave between

each of the upper voices

EXAMPLE 5-11



◦ Range

◦ When writing for vocal ensembles, do not

exceed the following ranges:



◦ Complete Self-Test 5-2 (Part A & B),

(Part C 1-4) in Tonal Harmony Textbook


◦ Study for your Quiz!


Tonal Harmony Chapters 5-12 PARALLEL MOTION

Chapter 5: Parallel Motion

In tonal music, it is important to consider the relationships between any voice in the texture and every other voice in the texture

There are 5 possible relationships between any two voices (Example 5-13)

◦ Static

◦ Oblique

◦ Contrary

◦ Similar

◦ Parallel


Static: neither voice/part moves

Oblique: only one voice/part moves

Contrary: both voices/parts move but in

opposite directions

Similar: both voices/parts move in the

same direction, but by different intervals

Parallel: both move in same direction by

the same interval


When the texture contains more than two voices, there will be more “pairs of voices to look at

◦ 3-voice texture = 3 pairs

◦ 4-voice texture = 6 pairs

Soprano & Alto

Soprano & Tenor

Soprano & Bass

Alto & Tenor

Alto & Bass

Bass & Tenor


Basic goal in voice leading in tonal music

is to maintain the relative independence

of the individual part

◦ Voices moving in parallel motion must be

given special attention (Example 5-15)


One must avoid the following when dealing with voice-leading

◦ Parallel/Consecutive 5ths

◦ Parallel/Consecutive 8ves

◦ Unequal 5ths (P5 to o5, or vice versa)

◦ Direct (or hidden) 5ths or 8ves

◦ These are known as objectionable parallels When two parts that are separated by a P5 or P8, or

their octave equivalents, move to new pitch classes thare separated by the same interval

Examples 5-16 to 5-20


Why must we avoid these?

◦ 5ths and 8ves are the most stable of intervals,

and to link two voices through parallel motion

interferes with their independence

◦ Parallel 3rds and 6ths do not interfere as

much with independence

◦ Avoidance of parallels of all types was less

strictly maintained in instrumental music than

in vocal music



◦ Complete Self-Test 5-3 (Part A, C) in Tonal

Harmony Textbook


◦ Complete Exercise 5-3 in Tonal Harmony

Textbook


Tonal Harmony Chapters 5-12 ROOT POSITION PART WRITING W/REPEATED ROOTS

Chapter 6: Root Position Chords

Today we begin to write MUSIC!

Our first efforts at tonal composition will

explore the restricted environment of

root position triads.


There are 4 different intervals that can

separate the roots of any two chords:

◦ 2nd apart (same as 7th apart)

◦ 3rd apart (same as 6th apart)

◦ 4th apart (same as 5th apart)

◦ Same roots-a repeated chord

What does this remind you of that we

learned about earlier in the semester?


Throughout this chapter, the conventions for

writing these types of root position chords

in 3- and 4-voice texture will be presented

◦ These are not RULES, but instead are tested

strategies for successful part writing!

◦ If followed, you will avoid parallels or other

textural problems

◦ There will be times where the melody or other

factors make these conventions impossible to

follow, but this is fairly uncommon


Note Doubling/Tripling

◦ Can become a major issue in part-writing!

◦ REMEMBER: When we refer to a note being

doubled or tripled, we mean that two or

three of the parts are given that same pitch

class, although not in the same octave

◦ Can be the root, third, or fifth that are

doubled/tripled.

◦ EXAMPLE (Bach excerpt pg. 86)


Root Position Part-Writing with Repeated Roots

Four-Part Textures

◦ All parts of the triad are usually present

◦ The root is usually doubled.

◦ The leading tone (7) is almost never doubled.

WHY?

◦ The final I chord is sometimes incomplete, consisting of a 3rd and tripled root.

◦ EXAMPLE 6-1


Other considerations…

◦ When a root position triad is repeated the

upper voices may be arpeggiated freely, as

long as spacing conventions are followed

◦ The bass may arpeggiate an octave

◦ EXAMPLE 6-1



◦ Complete Self-Test 6-1 (Part A) in Tonal

Harmony Textbook


◦ Complete Exercise 6-1 (Part A) in Tonal

Harmony Textbook


Tonal Harmony Chapters 5-12 ROOT POSITION PART WRITING WITH ROOTS A 4TH & 5TH APART


One of the most fundamental root

movements in tonal music is that of the

descending P5, or ascending P4

Part-writing principles in this root

movement are identical to those used

with the ascending P5, or descending P4

One must still be concerned with spacing,

parallelism, and the resolution of 7 to 1

when it occurs in the melody


Four-Part Textures

◦ Common Tone and Stepwise

Keep the tone that is common in both

chords in the same voice

Remaining parts move by step in the same

direction

Ascending step-wise motion for root movement of a P5

down

Descending step-wise motion for root movement of a P5 up


Four-Part Textures

◦ Common Tone and Stepwise


Four-Part Textures

◦ Similar Motion by 2nd or 3rd

All three upper voices move in the same

direction, with no leap larger than a 3rd

Motion will be descending for a root movement of

a P5 down (or P4 up)

Motion will be ascending for root movement of a

P5 up (or P4 down)

It is acceptable for the 7 scale degree of a scale to

not resolve to 1, if it is in an inner voice (EX. 6-3c)


Four-Part Textures

◦ Tertian Leap, Common Tone, Stepwise

This method is not as smooth as the others…useful

for changing between open and close structure

Keep in the same voice the tone that is

common between both chords

Voice that has the 3rd in first chord leaps to

provide the 3rd in the second chord

Remaining voice moves by step

It is acceptable for the 7 scale degree of a scale to

not resolve to 1, if it is in an inner voice



◦ Complete Self-Test 6-2 (Part A 1-2) in



◦ Complete Exercise 6-2 (Part A 1-2), (Part

B) in Tonal Harmony Textbook


Tonal Harmony Chapters 5-12 ROOT POSITION PART WRITING WITH ROOTS A 3rd & 6TH APART


Four-Part Textures

◦ Two Common Tones and Stepwise

Use this assuming that the first root position triad

has a doubled root

Keep in the same voice the two upper notes which

have tones in common with the second chord

Remaining voice moves by step

Motion will be upwards for roots a descending 3rd apart

Motion will be downwards for roots an ascending 3rd apart



◦ Complete Self-Test 6-3 (Part A #2) in Tonal

Harmony Textbook



Textbook


Tonal Harmony Chapters 5-12 ROOT POSITION PART WRITING WITH ROOTS A 2nd & 7TH APART


Four-Part Textures

◦ Contrary to the Bass

If the root is doubled in the first chord, the voice

leading is quite simple

If the bass moves up by step, the upper voices

move DOWN to the nearest chord tone

If the bass move down by step, the upper

voices move UP to the nearest chord tone

EXAMPLE 6-8


Four-Part Textures

◦ Most of the progressions seen using this bass

movement will be a V-chord moving to a VI-

chord

This is known as a deceptive progression, which

you will learn about later

This type of progression creates some

problems…


Four-Part Textures

◦ One must pay particular attention to the

resolution of the 7 in this progression

Downward resolution to the 6 is ok, if the 7 is in

the inner voices

Not acceptable in the minor mode because it creates an

augmented 2nd

EXAMPLE 6-9

If 7 is in the outer voices, it must be resolved up to

the tonic



◦ Complete Self-Test 6-4 (Part A, 4-5) in




Textbook


Tonal Harmony Chapters 5-12 HARMONIC PROGRESSION & THE SEQUENCE

Chapter 7: Harmonic Progressions

In order to compose convincing tonal

music, one must learn which chord

successions are typical of tonal harmony

Why is it that some chord successions

seem to “progress,” to move forward to a

goal, whereas others tend to wander, to

leave our expectations unfulfilled?

EXAMPLE 7-1


The first example was composed following the principles that will be discussed in this chapter.

◦ Sounds more like tonal harmony

The chords of the second example were chosen at random

◦ Gives it freshness

This chapter will explore this phenomenon, but first we must discuss a topic that concerns melody as well as harmony


One of the most important means of

achieving unity in tonal music is through

the use of a sequence

◦ Sequence: a pattern that is repeated

immediately in the same voice but that begins

on a different pitch class


There are different types of sequences:

◦ Tonal Sequence: keeps the pattern in a

single key

Modifiers of the intervals (major, minor, etc.) will

probably change

EXAMPLE 7-2A

◦ Real Sequence: transposes the pattern to a

new key; also known as modulating sequences

EXAMPLE 7-2B


It is important to understand the

difference between sequence and

imitation

◦ Real Imitation: when the repetition of a

pattern occurs in a different voice or

instrument

EXAMPLE 7-3

Are there any examples of a sequence?

What has been modified in the sequence in m. 3 in

the second violin?


Modified Sequence: where the

repetitions of a pattern are neither tonal

nor real

Circle of Fifths Progression: consists

of a series of roots related by descending

fifths (and/or ascending 4ths)

◦ Most of the 5ths (and/or 4ths) will be perfect,

but if a progression goes on long enough, a

dim. 5th (or Aug. 4th) will appear


EXAMPLE 7-5

◦ Examine the bass line and the circle of fifths

progression.

◦ Are all of the fifths perfect? If not, which ones

are different?

Even though the chords in this example

are in root position, if some or all of them

were inverted, it would still contain a

circle of fifths progression


Sequential progressions involving the

circle of fifths are frequently found in 20th-

century popular music and jazz

◦ EXAMPLE 7-6

◦ Similar to Example 7-5, it includes a dim. 5th in

the root movement, which is not all

uncommon in circle of fifths progressions


The root progression of a 5th down (or a

4th up) is the most basic progression in

tonal harmony, whether or not it occurs

in the context of a sequence

The circle of fifths progression offers

a useful memory aid in learning

harmonic function


Harmonic Progression (I and V)

◦ Since the most basic progression is root

movement by a descending 5th, this make it

the strongest of all root movements (V-I)

◦ The ultimate harmonic goal of any tonal piece

is the tonic triad

Everything is trying to get to the I chord

Often the goal of many formal subdivisions as well

What does this mean?



◦ The tonic triad is most often preceded by a V

(or V7) chord.

V7 and I together are the most essential elements

of a tonal work

◦ It is not difficult to find examples of good

compositions that use just I and V chords

EXAMPLE 7-7 by Mozart

Pick out a measure and see if all of the notes not in

parentheses are in the chord.



◦ Not all dominant and tonic chords have the

same significance

◦ EXAMPLE 7-7

mm. 27-30: contains a large I-V progression; opening

tonic is prolonged by the use of the relatively weak

V6-5 chord in m. 28

mm. 31-34: tonic prolonged through means of the

V6-5, V4-3, and i6 chords

Which dominant chord near the end do you think

is the most important? Why?



◦ EXAMPLE 7-7

Overall, we could simplify the harmonic progression

of this example to a deeper harmonic structure

of…

i V | i V i |||



◦ Complete Self-Test 7-1 (Part D) in Tonal

Harmony Textbook



Textbook


Tonal Harmony Chapters 5-12 HARMONIC PROGRESSIONS (II & VI CHORD)


Harmonic Progression (II Chord)

◦ If we extend our circle of fifths progression

backward one step from the V chord, we have

the following progression:

[ ii ] ---- [ V ] ---- (1)

◦ The diagram shows the normal function of ii

as a pre-dominant chord

◦ Progresses to V and of V to progress to I

◦ Many phrases contain only a I--ii--V--I

progression


Harmonic Progression (II Chord)

◦ [ ii ] ---- [ V ] ---- (1)

◦ EXAMPLE 7-8/7-9

◦ Compare and contrast these two examples


Harmonic Progression (VI Chord)

◦ One more step in the circle of fifths brings us

to the vi chord:

[ vi ] ---- [ ii ] ---- [ V ] ---- (1)

◦ If these chords are put in root position, this

progression represents an ostinato

EXAMPLE 7-10

EXAMPLE 7-11 (same example in minor)



◦ Another fifth backward brings us to the iii chord:

[ iii ] ---- [ vi ] ---- [ ii ] ---- [ V ] ---- (1)

◦ It is often assume that the iii chord is frequently encountered and that they should be included in their exercises…not the case, at least in the major mode

When the 3 scale degree is used in a bass line it is usually as a I6 and not a iii chord

The III chord in minor is used more frequently



◦ When a iii chord does occur and it follows

the natural descending 5ths progression, it will

go to vi

◦ [ iii ] ---- [ vi ] ---- [ ii ] ---- [ V ] ---- (1)

◦ EXAMPLE 7-12/7-13

◦ iii chord is great for writing a 1-7-6 soprano

line



◦ Complete Self-Test 7-1 (Part H, even) in




Textbook


Tonal Harmony Chapters 5-12 HARMONIC PROGRESSIONS (VII & IV CHORD)


Harmonic Progression (VII Chord)

◦ Another fifth backward brings us to the VII

chord:

[ iii ] ---- [ vi ] ---- [ ii ] ---- [ viio/V ] ---- (1)

◦ The viio goes to a iii in sequential passages, but

it usually acts as a substitute for a V chord

V and viio are so closely related that moving from

one to the other is not considered to be a

“progression”



◦ In sequential circle-of-fifths passages the goal

of viio is to resolve to iii…any other time it

resolves to a I chord

◦ If viio and V are used next to each other, V will

usually follow viio since it is the stronger

sound

◦ The most common use of viio is in first

inversion between two positions of the tonic

triad



◦ The most common use of viio is in first inversion

between two positions of the tonic triad

I---viio6--- I6 or I6---viio6--- I

Great for creating a 6-7-1 soprano line

EXAMPLE 7-15

◦ Sometimes this progression creates a voice

exchange between the bass and an upper voice

Voice Exchange: where a voice line outlines 1-2-3 and

the other mirrors it with 3-2-1

EXAMPLE 7-14


Harmonic Progression (IV Chord)

◦ Another fifth backward brings us to the IV

chord, the last chord missing from our

diagram:

[ iii ] ---- [ vi ] ---- [ IV/ii ] ---- [ V/viio ] ---- (1)

◦ The IV chord has a pre-dominant function,

moving directly to V or viio

It may also expand the pre-dominant area by

moving to ii or iio6 before to V or viio


Harmonic Progression (IV Chord)

◦ In a different role, IV may also move directly

to a I chord, often called a plagal progression

EXAMPLE 7-16


Common Exceptions

◦ To complete our chart of chord functions, we

must add 2 more things

V-vi (deceptive progression)

iii-IV (EXAMPLE 7-13)

◦ These additions help complete the normative

functions for MAJOR keys

[ iii ]---[ vi ]---[ IV/ii ]---[ V/viio ]---(1)


The Minor Mode

◦ Most chords in the minor mode function the

same as in the major mode, except for the III

chord

◦ The III chord represent the relative major key,

and minor music likes to drift in that direction

[VII]---[ III ]---[ VI ]---[ iv/iio ]---[ V/viio ]---(1)


The Minor Mode

◦ Depending on the minor key (natural,

harmonic, or melodic), the 6 and 7 scale

degrees will produce chords of different

quality and function

◦ Additionally, the minor v chord does not have

dominant function…it usually serves as a

passing chord

EXAMPLE 7-18


Harmonic Sequences

◦ There are a few things to remember about

harmonic sequences…

◦ Rules on pg. 114

◦ EXAMPLE 7-19

Which chords progression is not considered to be

a normal chord function in a-f?


Harmonizing a Simple Melody

◦ Since we have only discussed root position

chords for part-writing, any melody should be

harmonized using these chords

◦ For the best results, avoid using any root

position diminished triads


How to Harmonize a Simple Melody

◦ Begin by selecting the chords for the very beginning and for the last 2-3 chords

◦ Write out the possibilities for each remaining chord, remembering that every melody note could serve as the root, 3rd, or 5th of a triad

◦ Compose the rest of the bass line, trying to create a good harmonic progression while avoiding parallel or direct 5ths and 8ves with the melody Think about using contrary motion where it is possible

◦ Fill in the rest of the inner voices, using the strategies from Chapter 6 to avoid part-writing errors



◦ Complete Self-Test 7-1 (Part B), (Part F

#3) in Tonal Harmony Textbook



Textbook


Tonal Harmony Chapters 5-12 CADENCES

EQ: WHAT IS A CADENCE?

WHAT ARE THE

DIFFERENT CADENCES

FOUND IN MUSIC?

Tonal Harmony Chapters 5-12 CADENCES

Chapter 10: Cadences

Understanding tonal harmony requires

more than knowledge of chord functions

and voice leading

One must also consider musical form…

◦ Musical Form: the ways in which a

composition is organized to create a

meaningful musical experience for the listener


As mentioned earlier, the ultimate goal of

a tonal composition is the final tonic triad

However, there will also be many interior

harmonic goals found within a piece

◦ Sometimes produced at a regular rate (i.e.

every four measures)

Cadence: a harmonic goal or ending


Some cadences sound more or less

conclusive (or final)

Some leave us off balance, feeling the

need for the music to continue

Locating cadences is very easy

◦ Listen for a harmonic goal

◦ Often there is a slow down created by longer

note values…(sometimes there is not a slow

down, but there still is a cadence)


Classifying Cadences (Major & Minor)

◦ Authentic Cadence: a tonic triad preceded by some form of V or viio chord

◦ There are 2 types of authentic cadences:

Perfect Authentic Cadence (PAC): consists of a V-I (or V7-1) progression, both in root position and with the 1 scale degree in the soprano

PAC is the most final sounding of all cadences

Most tonal compositions end with a PAC, but others can be found throughout a piece

EXAMPLE 10-1



◦ Imperfect Authentic Cadence (IAC):

defined as any authentic cadence that is not a

PAC

PAC, but with 3 or 5 scale degree in the soprano

EXAMPLE 10-2

Either or both the V-1 chords are inverted

EXAMPLE 10-3

Some form of viio-I, the viio substituting for a Vchord

EXAMPLE 10-4



◦ The root position IAC is the most final

sounding of the three IAC types

◦ Some compositions may end with this type of

cadence

◦ The other types are limited to interior

cadences



◦ Remember, not EVERY V-1 progression

constitutes an authentic cadence.

◦ Only when the I chord seems to serve as the

goal of a longer passage (usually at least a few

measures)

◦ This also applies to other cadences types



◦ Deceptive Cadence (DC): when the ear expects a V-1 authentic cadence, but hears V-? instead

The question mark is usually a submediant triad (vi)

◦ A deceptive cadence produces a very uneasy feeling, and would never be used to end a tonal work

◦ DC is used to not end, but extend a phrase a few more measures until the end

◦ EXAMPLE 10-5



◦ Half Cadence (HC): cadence that ends with a

V chord, which is preceded by any other chord

Common type of unstable or “progressive” cadence

EXAMPLE 10-6

◦ Phrygian Half Cadence: special name given to

the iv6-V HC in minor

Name refers to a cadence in the period of modal

polyphony (before 1600), but does not mean it is in the

Phrygian mode

EXAMPLE 10-7



◦ Plagal Cadence: a cadence that involves a

IV-1 progression

◦ Not considered as important as authentic

cadence, even though they are final sounding

◦ Usually added on as a kind of tag, following a

PAC

◦ EXAMPLE 10-8


Classifying Cadences Overview

◦ Authentic Cadences

Perfect

Imperfect

◦ Half Cadence

Phrygian HC

◦ Deceptive Cadence

◦ Plagal Cadence


Cadences & Harmonic Rhythm

◦ As a general rule, the last chord of a cadence

usually falls on a stronger beat than the chord

that precedes it

This assumes that the harmonic rhythm (the rate

at which the chords change) is faster than one

chord per measure

Examples (pg. 159)



◦ Checkpoint pg. 160

◦ Complete Self-Test 10-1 (Part A #1-2) in



◦ Complete Exercise 10-1 (Part A #1-3) in



Tonal Harmony Chapters 5-12 MOTIVES AND PHRASES

Chapter 10: Motives and Phrases

Motive: the smallest identifiable musical

idea

◦ Pitch Pattern

◦ Rhythmic Pattern

◦ Or Both

Rhythm is probably the stronger and

easily more identified when it reappears

later in a composition


It is best to use the word motive to refer

only to those musical ideas that are

“developed” in a composition

Developed: worked out or used in

different ways

EXAMPLE: Beethoven’s Symphony No. 5


Phrase: a relatively independent musical idea which ends in a cadence

Sub-phrase: a distinct portion of a phrase

◦ Not considered a phrase because it is too short to seem independent or it does not end in a cadence

◦ Sub-phrase = melodic event

◦ Phrase = harmonic event

◦ EXAMPLE 10-9


There is a good deal of subjectivity in identifying phrases

What sounds like a phrase to one listener might be a sub-phrase to another

Phrases might often be extended by a deceptive progression (V-vi) followed by an authentic cadence

Also be extended by repetition of the cadence

◦ EXAMPLE 10-10


Phrase Elision: where the last note of

one phrase serves as the first note of the

next one

◦ Sometimes creates ambiguity as to where the

phrase starts/ends

◦ EXAMPLE 10-3


Mozart’s An Die Freude

◦ Written when Mozart was 11 years old

◦ Do we change key at all? Are there other

tonal areas that are emphasized?

◦ Do we hear any motives?

◦ Where are the different phrases?


Tonal Harmony Chapters 5-12 PERIOD FORMS

Chapter 10: Period Forms

Certain patterns for organizing phrases or

groups of phrases can be found over and

over again in music

One such pattern is the larger structural

unit called the period


A period typically consists of two phrases

in an antecedent-consequent (question-

answer) relationship

◦ I went to the store, and I bought a bunch of

groceries.

Relationship usually created by means of a

stronger cadence at the end of the

second phrase


Phrase 1 (IAC) Phrase 2 (PAC)

Phrase 1 (HC) Phrase 2 (PAC/IAC)

PERIOD

PERIOD


By definition, phrase endings of a period

must be different

◦ If both phrases are identical, the result is not a

period but a repeated phrase

◦ Repetition is important in music, but it does

not contribute to growth of a musical form


Parallel Period: two phrases begin with

similar or identical material

◦ EXAMPLE 10-12

◦ EXAMPLE 10-13 (sequential relationship)

A (HC) A’ (PAC)

PARALLEL PERIOD


Contrasting Period: two phrases begin

with material that is not similar

◦ EXAMPLE 10-14

A (HC) B (PAC)

CONTRASTING PERIOD


A common way of expanding a two-

phrase period is to repeat either the

antecedent or consequent phrase

◦ Also possible to repeat both (AABB)

Three-Phrase Period: three different

phrases in one period

◦ AAB, or ABB

◦ EXAMPLE 10-15


Double Period: consists typically of 4 phrases in two pairs, the cadence at the end of the pairs being stronger than cadence at end of the first pair

◦ Each half consists of a pair of phrases, instead of one

◦ First pair will not form a period according to our original definition

◦ A repeated period is not the same as a double period (require contrasting cadences)


Phrase 1 Phrase 2

(HC) Phrase 1

Phrase 2 (PAC/IAC)

DOUBLE

PERIOD ANTECEDENT CONSEQUENT

Phrase 1 Phrase 2

(IAC) Phrase 1

Phrase 2 (PAC)

DOUBLE

PERIOD

ANTECEDENT CONSEQUENT


Double periods can be called parallel or

contrasting, according to the material that

begins each of the two halves

◦ Similar = Parallel

◦ Different = Contrasting

◦ EXAMPLE 10-16

What kind of double period is this example? Parallel

or Contrasting?


EXAMPLE 10-16

A (HC) B (HC) A’ (HC) B’ (PAC)

DOUBLE

PERIOD ANTECEDENT CONSEQUENT


Sometimes phrases will seem to belong

together structurally, but they do not

constitute a period or double period

◦ Most likely the final cadence is not the

strongest one

◦ Common in transitional passages that connect

more significant areas of music

◦ We use the term phrase group for these

areas


The Sentence

◦ Most important distinguishing feature of the

period is the weak-strong cadence pattern

◦ There are ways to employ musical features

other than cadence patterns to create larger

structural units

◦ One such unit is called the sentence


The Sentence

◦ Characterized by the immediate repetition or

variation of a musical idea, followed by motion

toward a cadence

EXAMPLE 10-17

A A’ HC/IAC/PAC


The Sentence

◦ Relationship between beginning material and

its variant might be repeated, repeated and

ornamented, use the same harmony and

transpose the melody, or form a sequential

progression (EXAMPLE 10-18)

A A’ HC/IAC/PAC


The Sentence

◦ Second half of the sentence may be shorter,

longer, continue to use motives from the

initial idea, or introduce new material

◦ Most cases, this material will create a drive or

momentum toward the final cadence

A A’ HC/IAC/PAC



◦ Complete Self-Test 10-1 (Part C #2) in




Textbook


Tonal Harmony Chapters 5-12 TRIADS IN FIRST INVERSION

Chapter 8: First Inversion Triads

EXAMPLE 8-1

◦ Listen to the following example, paying

attention the bass line

◦ What do you think?

EXAMPLE 8-2

◦ Listen to the following example paying close

attention to the bass line

◦ What do you think? Is it better than the

previous example? Why?


The bass line in the previous example is

improved through inverted chords

◦ Harmony and melody are the same, but the

inverted chords have created a more

interesting contour

◦ Most phrases include one inverted chord


Purpose of First Inversion Triads

◦ To improve the contour of the bass line

◦ To provide a greater variety of pitches in the

bass line

◦ To lessen the weight of V and I chords that do

not serve as the goals of harmonic motion


One way in which first inversion chords

originate is through bass arpeggiation

◦ Use only inversion symbols when you see a

bass arpeggiation

EXAMPLE 8-2

◦ Accompaniment figures in keyboard music

often involve faster arpeggiations

EXAMPLE 8-3, 8-4

Textural reduction


Parallel Sixth Chords

◦ Most passages have a reasonable amount of

root position and first inversion triads

BUT some call for a number of first inversion

chords, especially in sequences

Chords in this way do not function in the usual

fashion…seen as passing chords

Connect a chord at the beginning to some chord at

the end

EXAMPLE 8-9


Part-Writing First Inversion Triads

◦ All inverted triads should include all members of the chord

One will have to be doubled as usual

◦ Usually best not to double leading tone

◦ Try to double the third in first inversion triads

◦ Possible to double fifth as a last resort

◦ Never substitute a vi6 for a vi after a V chord

Sounds like a mistake

EXAMPLE 8-7



◦ Complete Self-Test 8-1 (Part A #2), (Part

C #1) in Tonal Harmony Textbook



Textbook


Tonal Harmony Chapters 5-12 TRIADS IN SECOND INVERSION

Chapter 9: Second Inversion Triads

Second inversion triads are not used in

the same way as first inversion triads

Should not be substituted for a root

position triad in the same way

Why?

◦ The interval between the lowest voice in the

texture is sounding the bottom pitch of a P4

◦ Interval of a 4th was considered dissonant

◦ EXAMPLE 9-1


Second inversion triads should be used in specific places in music

Bass Arpeggiations

◦ Involve a root position triad, first inversion triad, or both

◦ EXAMPLE 9-2

◦ Melodic Bass Bass has melodic role rather than supporting role

Any number of inverted chords may result

No need to include inversion symbols in these cases

EXAMPLE 9-3


Six-Four chords tend to be used in three

different areas

◦ The Cadential Six-Four

◦ The Passing Six-Four

◦ The Pedal Six-Four


The Cadential Six-Four

◦ Utilized at a cadence point

◦ Precedes the V chord

◦ Does not act as a tonic triad, but has a dominant function

◦ Occurs on either a stronger beat than V, or on a stronger portion of the beat

◦ EXAMPLE 9-4, 9-5

◦ EXAMPLE 9-6 (dramatic representation of the delaying character of a cadential six-four)


The Passing Six-Four

◦ Utilized in harmonizing the middle note of a

three-note scalar figure in the bass (passing)

◦ May be ascending or descending

◦ Any triad can be used as a passing six-four (V

and I more common)

◦ Usually falls on a weak beat


The Passing Six-Four

◦ Roman numeral put in parentheses to show

weak nature

◦ Parallel sixths and a voice exchange are

commonly found in passing six-four chords

◦ Longer step-wise motions in the bass use

passing six-four chords

◦ EXAMPLE 9-8, 9-9, 9-10


The Pedal Six-Four

◦ Serves as a way of elaborating a static root

position triad by moving the 3rd and 5th of the

triad up by step and down by step to their

original position

EXAMPLE 9-11


The Pedal Six-Four

◦ Movement similar to a pedal point, thus it is

called a pedal six-four

◦ Either involve a I-IV6/4-I or V-I6/4-V

◦ Falls on a weak beat

◦ Roman numeral put in parentheses to show

weak nature


Part-Writing Second Inversion Triads

◦ In inverted chords think about doubling the

note in the bass voice

First Inversion Triads: the 3rd is doubled

Second Inversion Triads: the 5th is doubled

Exceptions to this rule are rarely encountered

◦ The other voices move smoothly as possible

(by step) both into and out of the six-four

chord



◦ Complete Self-Test 9-1 (Part A #3), (Part

C #1) in Tonal Harmony Textbook



Textbook


Tonal Harmony Chapters 5-12 NONCHORD TONES PART 1

Chapter 11: Nonchord Tones 1

Many of the examples in the preceding

chapters contained notes that did not

belong to the chord as analyzed

◦ Put in parentheses to show their embellishing

quality

Nonchord Tone (NCT): a tone, either

diatonic or chromatic, that is not a

member of the chord


Nonchord tones might occur throughout

its duration

If the harmony changes before the tone

does, it might be a NCT for only a

portion of it duration

One must analyze the chords before one

can label a NCT, but the process is nearly

simultaneous


Classifying Nonchord Tones

◦ One way of classifying NCT is the way they are approached and left

Passing Tone (P)

Neighboring Tone (N)

Suspension (S)

Retardation (R)

Appoggiatura (APP)

Escape Tone (E)

Neighbor Group (N. Gr)

Anticipation (ANT)

Pedal Point (PED)


Other terms used in the description of

nonchord tones include:

◦ Accented/Unaccented (on beat/off beat)

◦ Diatonic/Chromatic

◦ Ascending/Descending

◦ Upper/Lower

We will begin to look at NCT that onlt

involve stepwise motion


Passing Tones

◦ Approached by step, Left by step in the

same direction

◦ Used to fill in the space between two other

tones

May belong to the same or to different chords

May be NCT as well

◦ Space between is usually a 3rd, and passing

tone is given whatever scale degree lies in

between


EXAMPLE 11-1

◦ The B4 in m. 6 is used to fill in the space

between C#5 and A4

Accented, diatonic, descending passing tone

EXAMPLE 11-3

◦ Passing tone sometimes fills the space

between two notes that are only a M2 apart

(m. 56/58)

◦ Two passing tones can fill the space of a larger

interval (m. 59/61)


Neighboring Tones

◦ Approached by step, Left by step in the opposite direction

◦ Used to embellish a single tone, heard both before and after the neighboring tone

May appear above the tone (upper neighbor)

May appear below the tone (lower neighbor)

May be diatonic or chromatic

◦ EXAMPLE 11-4

All are accented because they fall on stronger metrical positions than the notes they resolve to

Diatonic vs. Chromatic


Suspensions

◦ Approached by the same tone, Left by

step down

◦ Holds on to, or suspends, a chord tone after

the other two parts have moved to the next

chord

◦ Primary source of dissonance on the accented

beat in much tonal and pretonal music

Almost always fall on accented beats or accented

portions of the beat


Suspensions

◦ Preparation: the tone preceding the suspension (same pitch)

◦ Suspension may or may not be tied to its preparation

◦ Resolution: the tone following the suspension, and lying a 2nd below it

◦ Preparation and resolution are almost always chord tones

Prep can sometimes be a NCT

◦ EXAMPLE 11-5


Suspensions

◦ Suspensions are also categorized by the

harmonic intervals created by the suspended

tone and the resolution

Harmonic interval above the bass created by the

suspension and the resolution

◦ EXAMPLE 11-5

7-6 Suspension

◦ EXAMPLE 11-6

Common Suspensions


Suspensions

◦ Names of most suspensions remain constant,

even if compound intervals are involved

11-10 is a 4-3 suspension

◦ Exception (9-8 suspension)

Really is a 2-1 suspension; however these are more

uncommon

Use only a 2-1 suspension if it is truly a 2-1

suspension


Suspensions

◦ Bass Suspension (2-3 suspension)

When the bass is suspended, the interval is

calculated between the bass and the part most

dissonant (generally a 2nd or 9th above)

◦ Suspension with Change of Bass

When a suspension occurs in an upper voice, the

bass will sometimes move on to another chord

tone at the same time the suspension resolves

EXAMPLE 11-7


Suspensions

◦ Suspensions are often embellished…i.e. other

tones, some chord tones and NCT may

appear after the suspended tone but before

the true resolution

◦ Some chord tones can be treated as

suspensions

◦ EXAMPLE 11-9


Suspensions

◦ Chain of Suspensions

When the resolution of one suspension serves as

the preparation for another

EXAMPLE 11-9


Retardations

◦ Approached by same tone, Left by step

up

◦ Much of what has been said about

suspensions applies to retardations

◦ May occur anywhere in passage, but more

common at cadences in the Classical style,

where they appear in combination with

suspension

EXAMPLE 11-10



◦ Complete Self-Test 11-1 (Part A #3) in




Textbook


Tonal Harmony Chapters 5-12 NONCHORD TONES PART 2


All of the NCT discussed so far are

approached and left by step

The following nonchord tones we will

discuss involve leaps

◦ Appoggiaturas

◦ Escape Tones

◦ Anticipations

These tend to be more obvious to the

listener


Appoggiatura (incomplete neighbor)

◦ Approached by leap, left by step in the

opposite direction

Ascending leap, descending step

Descending leap, ascending step

◦ EXAMPLE 12-1, 12-2


Escape Tone (incomplete neighbor)

◦ The reverse of the appoggiatura

◦ Approached by step, left by leap in the opposite direction

Ascending step, descending leap

Descending step, ascending leap

◦ Usually shorter than a beat, unaccented, and diatonic

◦ Often used in a sequence to ornament a line

◦ EXAMPLE 12-3


Neighbor Group (cambiata/changing

tone)

◦ A combination of 2 nonchord tones

Escape Tone and Appoggiatura

◦ EXAMPLE 12-4


Anticipation

◦ Anticipates a chord that has not been reached

◦ Approached by step or leap, left by the

same tone (step or leap)

◦ The NCT can not be common to the chord it

is anticipating

EXAMPLE 12-5

EXAMPLE 12-6 (Picardy Third)

◦ Picardy Third primarily used in the Baroque

Period


Anticipation

◦ EXAMPLE 12-7

3 Different Anticipations

Only 1 is the NCT

◦ Free Anticipation

Approached and left by leap

EXAMPLE 12-8


Pedal Point

◦ Begins as a chord tone

◦ Changes to NCT as harmonies around

it change

◦ Ends as a chord tone when harmonies

come back in agreement with it

◦ Pedal point is not decorative

Harmonies around it seem to embellishing the

pedal point

◦ EXAMPLE 12-9


Pedal Point

◦ Term comes from when an organist would be

called on to sustain a single pitch with a pedal

while continuing to play moving lines

◦ Sustained pitch is usually tonic or dominant,

and passage usually includes the triad a P4

above…hence the pedal six-four chord

Tonic (C) – Triad (F major)

Dominant (G) – Triad (C major)



◦ Complete Self-Test 12-1 (Part A #4) in




Textbook

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