How to Build a Chord Progression

Tonic Expansion Dom. Prep.V I

(or vi/I6/? for EC)

cadence

I V I

I I

I

I

I

VIivI I I VV

I IV I V I

V I

ct 7 I

IV I I V IIV V

ii or: V /V V

V IV or: ii

V ii or:

ii7 or: V7/V

IV I

I

I vii 7 I

V I

I

I vi I

IV I

I

I V I

I V I

I vii I

I vii I

64

43

43

6 6

6

6

7

6

6 64

6

65

6

6

6

6

o

65

6o

I V I 642

))

Fa -

Sol -

Do

bass

line

Re

- Sol

- D

o ba

ss li

neFa

- So

l - L

aor

: Fa

- Sol

- M

i

o

o

V7

I

I

I

vi or: I6

I

I

1 23

4

Do-Mibassline

Pedal bassNeighborbass line

Fifth-relatedbass line

Arpeggiated bass:Tonic

Bass Arp.Sub-dominant

Bass Arp.

Type Ia Type Ic

Type Ib

Type IVaType IVb ii

V/V

Stop herefor HC

Stop herefor PAC or IAC.

I

6 - 54 - 3

2008 Daniel B. Stevens (stevens@udel.edu)University of Delaware

6(5)

6(5)

8 - 7

V cad. :64

I 6 - 54 - 3 V cad. :64

6

(5)

Two EC options:

Dissonance Treatment and Voice-leading Prohibitions for Chorale Bass Lines Dissonance Treatment:

7thsThe following refers to the correct resolution of bound, essential dissonances.Unessential dissonances are not bound and may resolve freely.

In a 7th, the top note is bound and needsto resolve down by step.

Voice-leading Prohibitions:

7 3

4ths In an aug. 4th, the interval tends toEXPAND, which is not surprising, since thisinterval is the inversion of the dim. 5th.

P4ths Rather than repeat the bass note in the same register, it can be

more effective to repeat it down the octave.NOTE: Dissonant P4ths must occur on a strongbeat such as b. 1 or b. 3 (in common time.)

4 3

4 3

2nds

In a 2nd, either the top or bottom voicecan resolve, and they usually do so bystep. Most often, the bottom note resolvesdown by step. (In your initial work, alldissonant 2nds must resolve in this way.)

2

3 3

5ths In a dim. 5th, the top note needs to resolvedown by step and the bottom note upby step, so that the interval CONTRACTS.

4 6

O

5 3

+

Notice that the only place that w

e can formthe aug. 4th and dim

. 5th in the major scale is

between the sub-dom

inant and leading-tone (scale-degrees). G

iven the explanation of these scale-degrees as tendency tones in the first part of C

h. 5 in your textbook, can yousee w

hy these dissonant intervals need to expand and contract as they do?

3 3from:

At this moment, the soprano moves downbut the bass delays, creating a dissonance thatwe would call a bass suspension.

Consecutive 5ths and 8ves Direct (Hidden) 5ths and 8ves

by similarmotion:

by contrarymotion:

5 5

8 8

5 5

8 8 3 8 3 8 8 5 8

Oneexception:

(V I)

(often happens atcadences...)

Our inner ear fillsin the intervals!

by Dr. Daniel Stevens

or:

The top note must resolve down by stepover the same bass note.

Direct 5th/8ve = When two voices move insimilar motion into a perfect 5th or 8ve.

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Riemenschneider Chorales for MUSC 195 Project

To learn from Bach, we must ask the right questions:

1. How does Bach approach the cadences harmonically and melodically? 2. How much conjunct (stepwise) versus disjunct (containing skips) motion is used? 3. similar, contrary, oblique motion (especially between outer voices)? 4. rhythmic interest (in bass) and rhythmic imitation between soprano and bass? 5. approach large intervals, and how are they resolved? 6. dissonant intervals, and how are they resolved?

Observations:

1. Cadences

Melody notes [Melody notes rel. to Hptchd]

Chorale number Harmonic Progression used [relative to current heptachord]

^5^3 [^8^6] #11 VI [IIV]

^5^3 #6 VI

^3^2 #1 (x3) IV

^2^1 #1 (x2); #11; #6 ii65VI

^2^1 #6 iidm65VI

^3^1 [^7^5] #1; #11 IIV [VI]

^7^8 #11 (x2) VI

^2^3 #11 V43I

^2^3 #6 VI

^7^8 #11 V43I

^4^3 #11 vii7I

^7^8 #11 VVIIVI

^4^3 #11 ii7vii65V7I

^7^8 [(^7)^5] #11 vii43I6ivI [(vii43)V6iV]

^4^2 #11 iiV

Chorale #1 for Class Practice

7

2

Chorale #2 for class practice

6

2

Chorale #1 draft

6

2

Chorale #2 draft

6

2

Chorale Project HandoutQuestions and Cadence Observations_Chorales1, 6, and 11How to Build a Chord ProgressionChorale 3 draft_for use in classChorale 4 draft_for use in classChorale 1 draftChorale 2 draft

Dissonant Treatment and 5th-8ve handout