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DISCOVERING HARMONY Cadences to Chromaticism: The Complete Harmony Reference Book

Donna Goodwinâ&#x20AC;?Wilson

Cadences to Chromaticism

The Complete Harmony Reference Book

Donna Goodwin-Wilson

Cover Design:

Allison Goodwin-Wilson Used with permission from the artist

Copyright ÂŠ 2015, 2018 by Donna Goodwin-Wilson Email address: discoveringharmony506@gmail.com All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, without written permission from the author.

TABLE OF CONTENTS Circle of Fifths………………………………………………………………………….... 1 Triads on Scale Degrees………………………………………………………………….. 2 Doubling………………………………………………………………………………….. 4 Special Progressions………………………………………………………………………. 5 Cadences………………………………………………………………………………….. 6 Non-Chord Notes…………………………………………………………………………. 8 Chords…………………………………………………………………………………… 10 Suspensions……………………………………………………………………………….. 12 Major Key Progression Chart…………………………………………………………….. 14 Minor Key Progression Chart…………………………………………………………….. 15 Modulation With Pivot Chords…………………………………………………….. ……. 16 Use of III and VII in the Minor Key ……………………………………………………. 19 Related Keys……………………………………………………………………………… 20 Figured Bass……………………………………………………………………………… 21 Keyboard Style…………………………………………………………………………… 22 Sequences………………………………………………………………………………… 23 Dominant 9ths, 11ths and 13ths………………………………………………………….. 24 Leading Note Seventh Chords…………………………………………………………… 25 Applied Dominants………………………………………………………………………. 26 Diatonic Seventh Chords…………………………………………………………............ 28 Modal Mixture……………………………………………………………………............ 30 Neopolitan Sixth Chord…………………………………………………………….......... 31 Common Tone Diminished Seventh Chords…………………………………………….. 32 Augmented Sixth Chords………………………………………………………………… 34 Diminished Seventh Chords……………………………………………………………… 36 Modulation to Remote Keys……………………………………………………………… 38 Chorale Style……………………………………………………………………………… 39

Chromatic Harmony Chart………………………………………………………………… 40 Root Quality Chord Symbols……………………………………………………………… 44 Melodic Development Ideas………………………………………………………………. 45 16 Bar Melody - No Modulation………………………………………………………….. 46 16 Bar Melody With Modulation…………………………………………………………. 47 Melody Writing Checklist………………………………………………………………… 48 Baroque Dances…………………………………………………………………………… 49 Structural Analysis Forms………………………………………………………………… 50 Sonata Form………………………………………………………………………………. 51 Rondo Form……………………………………………………………………………….. 52 Compound Ternary Form…………………………………………………………………. 53 Fugue Terminology……………………………………………………………………….. 54

CIRCLE OF FIFTHS

TRIADS ON SCALE DEGREES

TRIADS ON SCALE DEGREES SUMMARY

DOUBLING

Major Key

Minor Key

Doubling Instructions

I, IV, V

i, iv, V

use all the notes or double root, no 5th

triple root if preceded by complete V

double root or 3rd

double 3rd if directly after V or V

double root if not following V or V

I , IV , V

i ,iv ,V

double 3rd

vii

double 3rd

chords

double 5th, that is, the bass note

iii

III

double root

double root or 5th

double root

iii

III

double 3rd

use all notes or double root, no 5th

SPECIAL PROGRESSIONS V and inversions

3rd (LN) rises and 7th falls

V - I

incomplete V (double root, no 5th); complete I

V - I

complete V ; incomplete I (triple root, no 5th)

V - I

both chords complete; LN(3rd of V ) falls a 3rd in alto or tenor

V - I

7th of V rises a step; I doubles the 5th; rising resolution

V - IV

V must be in root position; 7th of V is a common tone; double the 5th of IV ; stationary resolution

I - vii

- I

soprano moves opposite to bass (e.g. In C+, I - vii - I C-D-E in soprano matches with E-D-C in bass)

ii and ii

7th is prepared in the same voice in the previous chord; 7th falls by step; 7th may be approached by step from above

I - iii - IV

soprano line is falling 8-7-6 (notice LN is falling)

iii - V

same bass note; all voices step down or have common notes; resembles the cadential chord

CADENCES V - I

V - i

Perfect

V - I

V - i

Perfect

I - V

i - V

Imperfect

ii - V

- V

Imperfect

ii - V

- V

Imperfect

IV - V

iv - V

Imperfect

vi - V

VI - V

Imperfect

Note: Imperfect cadences never end with V .

IV - I

iv - i

Plagal

V - vi

V - VI

Deceptive

V - vi

V - VI

Deceptive

Note: In deceptive cadences, double the 3rd of vi (VI), and use the contrary motion principle, except the LN must rise.

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THAT IS WHY WE TEACH MUSIC!

NON-CHORD NOTES Passing note

- up or down - between 2 chord notes a 3rd apart - two may occur harmonically in 3rds or 6ths - may use two in a row between tonic and dominant notes of the key

Neighbour note

- up or down a step from the chord note and then back to the same chord note - two may occur harmonically in 3rds or 6ths

Accented passing note

- passing note is in a metrically stronger position than the chord note - neighbour note is in a metrically stronger position than the chord note

Accented neighbour note

Incomplete neighbour Appoggiatura

chapp e Anticipation

Suspension

- also called a cambiata - arrives by leap on a dissonance - leaves by step to the chord note - a cambiata which falls on the beat

- also called an escape tone - arrives by step on a dissonance - leaves by leaping down a 3rd to a chord note - arrives before its harmony on the weak part of a beat - is restated on the beat with the chord to which it belongs

- prepared as a chord note in the previous chord - suspension is the dissonance (non-chord note) in the next chord - resolves downward by step to the note it displaced (no chord change) - exception is a leading note suspension which resolves up

CHORDS Cadential

common notation V looks like I â&#x20AC;&#x201C; V( ) notes of the act like appoggiaturas decorating V( )

Passing

I - V - I I - V - I IV - I - IV IV - I - IV soprano moves opposite to bass one inner voice is common notes other inner voice shows lower neighbour note movement

Neighbouring

I - IV - I V - I - V two voices move like upper neighbour notes

Arpeggio

built on I, IV or V preceded by another inversion of the same chord followed by: - another inversion of the same chord OR - a chord built on the bass note a step up or down from the bass note

SUSPENSIONS Preparation

suspension note sounded in the same voice as a chord tone in the previous harmony

Suspension

non-chord note; often tied over from previous chord

Resolution

suspension resolves by step (usually downward) to the note that it displaced

9 – 8 is usually supertonic to tonic 7 – 8 is usually LN to tonic 4 – 3 is very common over a root position chord 7 – 6 is very common over a first inversion chord a) The note of resolution must not be present in another voice against the suspension unless it is in the bass. b) Double and triple suspensions are fine provided their resolutions form a proper chord.

MORE ON SUSPENSIONS Upward suspensions (best used as semitones): a) 7 - 8 is usually LN to tonic b) 2 - 3 is never alone; usually combines with 7 - 8 c) 5 - 6 is less common

Bass Suspensions: d) These always resolve downward and alone. e) Never sound the resolution note against the suspension.

Ornamental Resolutions: f) Insert another note of the chord of resolution g) Resolution note, neighbour note, resolution note h) Cambiata semitone below the resolution note

MAJOR KEY PROGRESSION CHART

Tonic

Pre-dominant

I (I ) I( ) – IV( ) – I(

vi (vi )

Dominant

IV (IV )

ii (ii )

V (V

IV – I – IV

V (

I – iii – IV

IV – I – IV

vii

I – iii – ii6

Arpeggio IV

I – vii – I I – vii – I I–V –I I –V –I Arpeggio I

)

Tonic

)

V iii – V( ) iii – V V–I –V Arpeggio V

I (I ) vi IV I – IV – I I – IV – I I–I –I (arpeggio )

MINOR KEY PROGRESSION CHART

Tonic i (i )

Pre-dominant VI (VI )

Dominant

iv (iv )

ii (ii )

V (V

i( ) – iv( ) – i( )

iv – i – iv

V (

i – III – iv(ii )

iv – i – iv

vii

i – III – V

Arpeggio iv

i – vii – i i–V –i

Tonic

)

V IIIx – V( ) III – V V–i –V Arpeggio V

i (i ) VI iv i – iv – i i – iv – i i–i –i (arpeggio )

MODULATION TO THE DOMINANT The pivot chord:



chord common to both keys



must have identical spelling in both keys



V – I must establish the old key before the pivot



V – I must establish the new key after the pivot

CHORD

TONIC KEY C+

I ii iii IV V vi vii

C D E F G A B

E F G A B C D

DOMINANT KEY G+

G A B C D E F

G B D A C E B D F C E G D F A E G B F A C

PIVOTS TONIC

DOMINANT

iii

*vi

* favoured Baroque pivot

MODULATION TO THE RELATIVE MAJOR CHORD

TONIC KEY d-

RELATIVE MAJOR F+

i iio III iv V VI

I ii iii IV V vi

D F A E G B F A C G B D A C E B D F

F A C G B D A C E B D F C E G D F A

viio VII

viio —

C E G C E G

E G B —

PIVOTS

TONIC MINOR i o

ii III iv VI

RELATIVE MAJOR =

= = = = =

viio I ii IV V

MODULATION TO THE DOMINANT MINOR CHORD

TONIC KEY d-

DOMINANT MINOR a-

i iio III iv V VI

D F A E G B F A C G B D A C E D F

A C B D C E D F E G F A

viio

C E G C E G

G B D G B D

PIVOTS

TONIC MINOR i III VII

DOMINANT MINOR = = =

iv VI III

E F G A B C

USE OF III AND

RELATED KEYS Related keys: * are one key on each side of the home key on the circle of 5ths * include both major and minor keys Major Key Example:

Related keys to A + using the circle of 5ths correspond to the root/quality names of the triads built on the scale degrees. (V) E+ c(iii)

(I) A+ f(vi)

(IV) D+ b(ii)

Minor Key Example: (harmonic and natural minors)

Related keys to b- using the circle of 5ths correspond to the root/quality names of the triads built on the scale degrees of the natural minor scale. (VI) (III) G+ D+ eb(iv) (i)

( VII) A+ f(v) 20

FIGURED BASS Figured bass is a system of musical shorthand in which chords are indicated by figures placed below the bass line. Figure Shown no figure

Full Figure

Meaning

Figures give intervals above the bass part. root position triad first inversion triad second inversion triad root position 7th chord 1st inversion 7th chord nd

2 inversion 7th chord rd

3 inversion 7th chord

The quality of the interval is determined by the key signature. If the interval is to be altered with an accidental, then that accidental is named with the corresponding figure. An accidental alone is applied to the note a 3rd above the bass note. Figures are written in descending order, but this does not necessarily reflect the placement of the notes on the staff. Dashes below a stationary bass show part movement. (see (a) below) Dashes below a moving bass show that upper parts are stationary. (see (b) below)

KEYBOARD STYLE Play or write one note in the left hand. Play or write three notes in the right hand. The three right hand notes should be in close position (not more than an octave). Each voice still follows correct voiceleading. Doubling Notation: This example shows the necessity for double note heads and dual stem direction.

Series of First Inversions: Bass part is stepping up or down the scale. Two upper parts are fine, creating a 3 part texture instead of the usual 4 parts. Four part texture resumes after the string of first inversions.

DIATONIC SEQUENCES Name of Sequence

More Information

Descending Fifths do - fa - ti - mi

* down a 5th, up a 4th * most common sequence * IV - vii sometimes left out * minor key uses VII and III * may alternate root position and first inversion chords

Ascending Fifths do - sol - re - la

* up a 5th, down a 4th * root position chords * ends in a plagal cadence * major key often leaves out iii - vii * minor key often leaves out ii - VI

Descending Thirds do - sol - la - mi Pachelbel Sequence

* excellent harmonization of descending steps melody * start with descending 3rds, then insert passing first inversion chords or * down a 4th, up a 2nd ending with IV - I (Pachelbel) * minor key uses minor v and major III

Ascending Fourths do - fa - re - sol

* up a 4th, down a 3rd * ends at iii - vi * all root position chords * best in major keys

Ascending 5-6 or Ascending 2nds

* ascending stepwise bass * alternating root position and 1st inversion chords using the same bass note for both chords * minor keys use VII and III

Examples

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

I - V - ii - vi - IV - I i - V - III - VII - iv - i I - V - vi - iii - IV - I - ii - V (sequence breaks on the V chord) i - v - VI - III - iv - i I - V - vi - iii - IV - I

I - IV - ii - V - iii - vi

I - vi - ii - vii - iii - I I - VI - ii - VII - III - i

DOMINANT 9THS, 11THS AND 13THS Functional Chord Symbol Any diatonic 9th - V Minor 9th in a major key - V

Any diatonic 13th â&#x20AC;&#x201C; V

C+ V

Root/Quality Chord Symbol

Four Notes Used

Voiceleading

Other

9 in soprano 9th falls by step LN rises to tonic 7th falls by step

* not strong as a final cadence * major key uses major or minor 9th * minor key uses minor 9th only

Any major -G Any minor 9 - G7( 9)

root 3rd (LN) 7th 9th

G11

root 5th 7th 11th

11th in soprano 11th common tone 7th falls by step

* can often be analyzed as a non-chord note rather than an 11th

root 3rd (LN) 7th 13th

13th in soprano 13th falls a third to the tonic LN rises to the tonic 7th falls by step

* strong final cadence * deceptive resolution works well * can be used with the cadential chord

9th th

Any major 13th - G13 Any minor 13th - G

i V

LEADING NOTE SEVENTH CHORDS

1. 2. 3. 4.

Major key vii with 7th becomes vii , no accidental, diatonic 7th chord. Minor key vii with 7th becomes vii , no accidental, diatonic 7th chord. Major key CAN use vii ; an accidental is needed to lower the 7th of the chord. Minor key CANNOT use vii

closes to a 3rd.

APPLIED DOMINANTS The numbers in the following list apply to musical examples on the following page. 1. Any major or minor triad can have its own dominant, creating a temporary tonic. 2. The applied dominant may take many different forms: V

vii

APPLIED DOMINANT EXAMPLES

C+ a)

V of ii

V of iii

vii

of IV

of V

V/ii

V /iii

vii /IV IV

/V V

V i iii (e-)

vii I IV (F+)

ii (d-)

vii

vii /vi

vii

vii of vi

vii of IV

-------------

vii /vi vi

vii /IV IV

V/vi VI/vi

vii

vii I IV (F+)

V VI vi (a-)

V (G+)

vi (a-)

iii

i vi (a-)

DIATONIC SEVENTH CHORDS Root Quality Symbols:

Functional Symbols:  Roman numeral (plus or x) show the quality of the triad.  The 7th is diatonic, that is, as it occurs in the given key.  The 7th is almost always shown in the functional chord symbol as simply a 7.  The notation in this book assumes harmonic minor. In the natural minor the Roman numeral reflects most lowered leading notes. However, the functional symbol needs to account for the lowered root of VII , and for the lowered 7th of i .

      

Note: The chords in rectangles are very rarely used.

7 means major triad plus minor 7th m7 means minor triad plus minor 7th maj7 means major triad plus major 7th m 7 means minor triad plus major 7th

F+

In diatonic 7ths, except V , vii and vii , the 7th must be prepared and fall by step.

a- i

III

The raised 6th is used to avoid an augmented 2nd in the bass part.

G+ I

When the diatonic 7th cannot be prepared with a common note in the previous chord, it must be approached in the same voice by step from above.

VII

III

The diatonic 7th progression VII - III is equivalent to V - I in the relative major key.

e- i

VII

III

This is an example of diatonic sevenths used in a descending 5ths sequence.

MODAL MIXTURE Modal mixture means the use of notes from the tonic minor while in the tonic major key. For example, in C major there are no sharps or flats, but the tonic minor, c minor, contains three flats which can be used to alter the chords in C major. Chords marked with an X are rarely or never used.

The Roman numeral tells the quality of the chord built on each diatonic note of the scale. An accidental is required in front of the Roman numeral if the root of the chord has been altered by using a note borrowed from the tonic minor. For example: iv in C+ means a minor triad built on the subdominant VI means a major triad built on the lowered submediant In minor keys, this book assumes the harmonic minor. Therefore: vii is a diminished triad built on the raised 7th of the key VII is a major triad built on the subtonic When or are used in front of the Roman numeral, this book uses to mean the root is raised a semitone and to mean the root is lowered a semitone. These symbols do not necessarily correspond to the actual accidental used in the music. In the minor key, the only chord borrowed from the major is the major tonic chord, which is commonly called the Tierce de Picardie. It is most often indicated as I

NEOPOLITAN SIXTH CHORD         

Built on the lowered supertonic Same chord in the tonic major and minor keys More common in the minor key Used only in first inversion Bass note is doubled Root always in the soprano Root falls a diminished 3rd to the leading note Moves to dominant harmony Cross relation between the lowered supertonic in N and the regular supertonic present in the chord of V, characteristic in this progression  Can be tonicized with an applied dominant

V /V

D+ V

vii /V

COMMON TONE DIMINISHED SEVENTH CHORDS        

Built on the raised supertonic or raised submediant Used in major keys only Notation is ii ii

Acts as a neighbouring chord and has weak harmonic function

Art thou troubled? Music will calm thee, Art thou weary? Rest shall be thine, Music, source of all gladness, Heals thy sadness at her shrine, Music, music, ever divine, Music music calleth with voice divine. - G. F. Handel

AUGMENTED SIXTH CHORDS

Name

Symbol

Composition

Resolution

Progression

Other

Italian Augmented Sixth Chord

It6

Built on lowered submediant Add: +3rd, +3rd, x6th

Augmented 6th interval opens to an octave

Moves to V or to

Same chord in major and tonic minor keys

German Augmented Sixth Chord

Ger6

Built on lowered submediant Add: +3rd, p5th, x6th

Augmented 6th interval opens to an octave

Does not move directly to V Moves to V

Same chord in major and tonic minor keys Sounds like a dominant 7th chord In major keys there is a rising chromatic semitone (this is sometimes avoided by writing the p5th as a doubly augmented 4th) Can be used with the x6th interval inverted; it is then named Ger 3

French Augmented Sixth Chord

Fr6

Built on the Augmented 6th lowered submediant interval opens to an Add: +3rd, x4th, octave x6th

Moves to V or to V

Same chord in major and tonic minor keys

AUGMENTED SIXTH CHORD EXAMPLES

C+

It6

Ger6

c - Fr6

Ger 3

(D is doubly augmented 4th instead of perfect 5th)

Augmented sixth chords can also be built on the lowered supertonic in both major and minor keys. These chords move to the tonic instead of the dominant.

DIMINISHED SEVENTH CHORDS There are only three diminished 7th chords. Inverting a diminished 7th chord and enharmonically renaming the notes when necessary create a new diminished 7th. Therefore, from only three diminished 7th chords, the diminished 7th from every possible key can be named.

vii of:

C+

E+

-----

G+

F+

A+

-----

vii of:

D+

C+

E+

G+

B+

-----

D+

F+

A+

-----

B+

C+

-----

MORE ON DIMINISHED SEVENTHS To take this a step further, these three diminished 7th chords occur in every key as the chords vii , vii /IV and vii /V. For example:

A+ vii Line A

vii /IV Line C

vii /V Line B

b - vii Line B

vii /iv Line A

vii /V Line C

Because of these relationships a diminished 7th chord can be used to modulate to any key. Using the two keys shown above, the diminished 7th pivot chords could be: A major

b flat minor

vii /iv

vii /IV

vii /V

vii

When modulating, the pivot chord always uses the spelling of the chord in the new key.

MODULATION TO REMOTE KEYS 1. Pivot chords can be diatonic in one key and altered in the other or altered in both keys. 2. Accidentals are everywhere! Keep track! 3. Using N as a pivot chord, the N should belong to the â&#x20AC;&#x153;sharperâ&#x20AC;? key, that is, the key with more sharps or less flats: C+ N

C+ IV

4. Using Ger6 as a pivot, use the spelling of the new key: Keys a semitone apart:

C+ Ger6

C+ V

D+ V

B+ Ger6

Keys a tritone apart: C+ Ger6

C+ V /V

G + V /V

F + Ger6

5. Move around the circle of fifths to get to a new key, for example, moving from D+ to F+: D+

V of V of V of V of I A7 - D7 - G7 - C7 - F

F+

CHORALE STYLE  Each phrase ends with a fermata and a cadence. Choose the keys and cadence chords for each phrase ending first.  Passing notes are very common, often in two voices at the same time in 3rds or 6ths.  Chords generally change every quarter note, but sometimes on the eighth note. A half note is often harmonized with two chords.  Neighbouring notes are frequent.  Anticipations are usually in the soprano and especially at the final cadence.  Sevenths are often used as passing notes resolving down by step.  In minor keys the final tonic chord is often major. (Tierce de Picardie)  Appoggiaturas and suspensions are also common.  ii

, vi

and IV

are frequently occurring diatonic 7th chords.

 Applied dominants are used when they tonicize closely related keys.  Neopolitan Sixth and Augmented Sixth chords are rarely used in Bach’s chorales.  Diminished 7th chords were commonly used by Bach.  Final cadences are often decorated with cadential passing 7ths and anticipations.

, suspensions,

CHROMATIC HARMONY CHORD V/V

VOICE-LEADING

PROGRESSION

3rd rises diatonic semitone or falls chromatic semitone

V/V - V or V I -V

Major triad pivot, for example: V/V in C+ = I in D+, IV in A+, V in G+/g- or VI in f -

3rd as above 7th falls

V /V - V

V /V (chromatic) old key = V (diatonic) new key V (diatonic) old key = V /V (chromatic) new key

V /V 7th common note Leave out 5th

V /V

MODULATION

     

V /V -

Leave out the 5th Major key uses major or minor 9th Minor key uses minor 9th only 3rd as above 7th falls 9th in soprano falls a step

V /V - V - I - V

Major key, minor 9th enharmonically changed rises a semitone

V /V - V - I

    

V /V - V (but not in a minor key due to cross relation)

Leave out 5th, 9th, 11th 3rd as above 7th falls 13th in soprano 13th falls a 3rd

V /V = V /V in tonic major and minor

V /V (chromatic) old key = V (diatonic) new key V (diatonic) old key = V /V (chromatic) new key

V /V cannot move to I

CHORD

VOICE-LEADING

PROGRESSION

vii /V

All voices resolve by step

Moves to dominant harmony: vii /V - V - I - vii

V /IV

 3rd as above  7th falls or rises a chromatic semitone  Root position may leave out the 5th, but inversions use all notes

V /IV -

vii /IV

All voices resolve by step

vii /IV - IV Also resolves to any other diminished 7th chord

    

Built on the raised submediant Double 5th of V or V Auxiliary movement Dominant common tone Major key only

    

Built on raised supertonic Double 5th of I or I Auxiliary movement Tonic common tone Major key only

ii (ct )

V (V , V ) - I vii /V - V N -V -I IV

V -

I I

ii ii

- V - V

- I - I

MODULATION

Use the notation of the new key.

V /IV = V in subdominant key V /IV = V /V in flattened LN key

Use notation of the new key.

CHORD

VOICE-LEADING

PROGRESSION N

 Major triad built on the lowered supertonic  Double bass note  Root in soprano  Root falls a 3rd

- V (no 5th) - I - vii /V (cross relation OK)

MODULATION

As a pivot chord, N belongs to the ‘sharper’ key.

N - V - I Pathetic cadence most often in a minor key Resolves to V

It6 Fr6 Ger6

It6 Fr6 Ger6 ii (in major key)

 Built on lowered submediant  Same chord in major and tonic minor keys  Augmented 6th interval opens to an octave  No inversions except Ger6 in 3rd inversion - Ger 3  3rd interval closes to an octave

ii before an augmented 6th chord causes a cross relation Ger6 = V is a pivot to keys a semitone apart Ger6 does not go directly to V, but to

Ger6 = V /V is a pivot to keys a tritone apart

V Always use the notation of the new key.

 Built on lowered supertonic  Same formation as above

I - Aug6 - I uses Aug6 as a neighbouring chord

 Diminished, therefore use first inversion  7th often added ( )

- V - V

Common modulation to the subdominant key: II Ger6 = VI Ger6

CHORD

VOICE-LEADING Acts like V - I

PROGRESSION V/vi - vi

V/vi Auxiliary movement iv (in major key)

VI (in major key)

VII (in major key)

VII (in minor key)

Like IV Pre-cadential

MODULATION

IV - V /vi - IV with doubled 5th in IV Plagal cadence: iv - I

Major triad, so can be used as a pivot if chromatic in one key and diatonic in the other.

Pivot chord must be diatonic in one key if chromatic in the other.

VI - N - V - I V - I relationship Same as VI in the tonic minor key

As a pivot chord, again a major triad as above. V - VI new deceptive cadence VII - III V - I relationship VII - III (V - I in the relative major) VII = V of the relative major VII - V VII - V , V

ROOT/QUALITY CHORD SYMBOLS Chord Type

Spelling

Root/Quality Symbol

Major

FAC

Minor

FA C

Augmented

FAC

Faug

Diminished

FA C

Fdim or F

Major/Minor 7th Chord

FACE

Minor/Minor 7th Chord

FA CE

Fm7

Half diminished 7th Chord

FA C

Diminished 7th Chord

FA C E

Major 7th Chord

FACE

Fmaj7

Dominant 9th Chord

F A (C) E G

Dominant minor 9th Chord

F A (C) E G

F7( 9)

Dominant 11th Chord

F (A) C E (G) B

F11

Dominant 13th Chord

F A (C) E (G) (B ) D

F13

Dominant minor 13th Chord

F A (C) E (G) (B ) D

F7( 13)

Italian Augmented 6th Chord

FAAD

FIt6

German Augmented 6th Chord

FACD

FGer6

French Augmented 6th Chord

FABD

FFr6

To indicate a chord in inversion, write the name of the chord as above followed by a slash, then the name of the bass note of the inversion. For example: F7 in first inversion would be F7/A F in second inversion would be F/C Fm7 in third inversion would be Fm7/E

MELODIC DEVELOPMENT IDEAS 1.

Repetition

Repeat up a 5th or down a 4th

Repeat up a 2nd

Repeat with rhythmic and/or melodic variation using non-chord notes

Inversion

Continue in a similar style

Four More Ideas for Building Melody 1.

Chord outlines

Motives in sequence

Same rhythm, new melody

Same melody, new rhythm

TERMINOLOGY FOR PHRASES 1. Period – generally 8 measures long containing two phrases, antecedent and consequent. 2. Antecedent and Consequent Phrases – a pair of phrases usually the same length, often four bars each. The antecedent phrase ends in a weaker cadence and the consequent in a more conclusive cadence. 3. Parallel Period – consists of two phrases using repetition but differing at the cadences. 4. Contrasting Period – consists of two phrases not so similar in design as the parallel period, again differing at the cadences. 45

16 BAR MELODY - NO MODULATION 1.

Name the key.

Lay out the bars for the piece. Especially watch for repeat signs and pickups.

Square bracket the phrases. Don’t forget that the pickup (if there is one) will apply to every phrase.

Try to identify the type of dance indicated by the opening. Consider the tempo of the dance while deciding an appropriate harmonic rhythm.

Put in the cadence chords: Cadence 1 – imperfect in the home key Cadence 2 – perfect in the home key Cadence 3 – imperfect in the home key Cadence 4 – perfect in the home key

Analyze all the motives of the given opening.

Write implied harmony for the four phrases, keeping approximately the same harmonic rhythm.

Rewrite the opening of the first phrase at the start of phrase 4. (This creates a rounded binary form.)

Complete the melody using the motives and your implied progression.

10.

Add chord symbols, bass part and cadence name at each cadence.

11.

Use the “Melody Writing Checklist”, page 48, to check your work.

16 BAR MELODY WITH MODULATION Bars 1 – 4

Imperfect or perfect in tonic key

Tonic key

Bars 9 – 12

Moves from tonic major to dominant major or tonic minor to relative major or dominant minor Moves back to tonic

Bars 13 – 16

Tonic key

Bars 5 – 8

Phrase 1:

Imperfect in the tonic key Perfect in the tonic key

Complete in style Study the given opening closely:      

Phrase 2:

Perfect in the new key

outlining chords? stepwise movement? non-chord notes accented or not accented? harmonic rhythm? characteristic leaps? rhythmic motives?

Answering phrase Techniques for answering:      

repetition 5th higher or 4th lower rhythmic or melodic variation up a 2nd inversion similar style

Entire phrase may be written in the new key New leading note must be approached from above Phrase 3:

Typical sequence spot (see sequence progressions page 22) Applied dominant sequences are also effective here

Phrase 4:

Repeat the beginning of phrase 1 for rounded binary form Cadence often identical to the cadence ending phrase 2

Use the “Melody Writing checklist”, page 48, to check your work. 47

MELODY WRITING CHECKLIST 1.

Are the melodic endings of sections A and B closed (2-1 or 7-8)?

Do all the LNâ&#x20AC;&#x2122;s rise melodically?

If a modulation occurs, is the new LN approached from above?

Have melodic augmented intervals been avoided? (augmented 2nds and 4ths are the ones to look for, and especially in the minor key)

Is the harmonic rhythm mostly consistent?

Does the implied harmonic progression make sense?

Can all non-chord notes be accounted for?

Does the phrase follow a shape through the natural rise and fall of pitch?

Is the melodic span a perfect octave or less? Does the melody never move more than one octave in the same direction?

10.

Is there unity through repetition of rhythmic and melodic motives?

11.

Is there interest and variety in the motives?

12.

Are new motives used more than once?

13.

Have the necessary rests been included in the bass clef?

14.

Are the stems of notes going in the right direction?

BAROQUE DANCES DANCE

METER

CHARACTERISTICS

TEMPO MARKINGS

4/4 or 2/4

Stately and dignified Usually a 16th note anacrusis Often a continuous flow of 16th notes

Allegretto Moderato Allegro moderato

Bourree

4/4 or 2/2

Quick duple time\Rhythmic and bright Steady quarter notes Usually a quarter note anacrusis

Vivace Allegro Allegro vivace

Courante

3/4, 3/2 or 3/8

Means â&#x20AC;&#x153;runningâ&#x20AC;? Quick triple time Even flow of running 8th notes

Allegro Vivo

Gavotte

4/4 or 2/2

French dance Usually two quarter note upbeats Mainly steady quarter notes

Allegro Vivace Allegro moderato

Gigue

6/8

May begin with an anacrusis Running 8th notes Very brisk tempo

Allegro Vivace Presto

Minuet

3/4 or 3/8

Elegant and graceful Unhurried tempo

Moderato grazioso Allegretto grazioso

Sarabande

3/4 or 3/2

Emphasis on the second beat Begins on the downbeat Very slow and solemn

Andante espressivo Lento Sostenuto

Allemande

STRUCTURAL ANALYSIS FORMS FORM

Symmetrical Binary

Asymmetrical Binary

Rounded Binary

Ternary

STRUCTURE

2 Sections ‘A’ and ‘B’ Each section is repeated Sections are equal in length

2 sections ‘A’ and ‘B’ Each section is repeated ‘B’ is longer than ‘A’ Greater tonal development in ‘B’

2 sections ‘A’ and ‘B’ Each section is repeated Portion of ‘A’ returns as part of ‘B’, but is altered to stay in the tonic key

3 section structure ‘A’ returns after ‘B’ and is identical to the first ‘A’ Return of ‘A’ may be a da capo Return of ‘A’ may be fully written out First ‘A’ and ‘B’ are repeated, but return of ‘A’ is not

DIAGRAM

KEY STRUCTURE

: A :: B : A=B

‘A’ moves from: *major to dominant or *minor to relative major or *minor to dominant minor

: A :: B :

same as symmetrical binary

: A :: B A’ :

same as symmetrical binary

A≠B

: A :: B : Fine

Da capo

: A :: B : A 

‘A’ must end in the home key because it is the end of the piece ‘B’ can be in the key of: *the dominant if ‘A’ is major *the relative minor or dominant minor if ‘A’ is minor

SONATA FORM This form is an evolution of rounded binary form and is also called: First Movement Form Sonata â&#x20AC;&#x201C; Allegro Form EXPOSITION (A)

DEVELOPMENT (B)

RECAPITULATION (A )

Theme 1 in tonic key Bridge - purpose is to change keys - move to dominant key if home key is major - move to relative major or dominant minor if home key is minor - often grows out of theme 1 material Theme 2 in the new key - may be contrasting in character to theme 1 Codetta - purpose is to emphasize the new key - cadential in nature

- modulatory - develops material from the exposition - sometimes introduces new material - ends with dominant preparation, a prolonged emphasis on the V chord, often including a dominant pedal point, preparing for the return of theme 1 in the home key

Theme 1 in tonic key Bridge - altered because the key change does not happen Theme 2 in the tonic key Codetta - reinforces the tonic key - same material as end of Exposition Coda - further expansion of ideas before ending the movement

This is a guideline for Sonata Form. Although each movement in sonata form follows this general outline, each sonata form also has its own uniqueness and may stray from exact compliance with the outline. Try to identify each movementâ&#x20AC;&#x2122;s unique traits within the defined structure of Sonata Form

RONDO FORM The main idea (A) opens the piece and returns at least two more times, always in the home key. Between statements of A, there are contrasting sections called episodes. There are two basic types of rondo:

A1 B A2 C A3 A1 B1 A2 C A3 B2 A4 A: Main Theme  is always in the tonic key  can be any length  can have a form of its own, such as symmetrical binary, asymmetrical binary or rounded binary  can be identical in each statement or can be slightly varied B: Episode    

is often in a new key, sometimes with a new key signature usually has some new material like A, can have a form of its own B2 is often a transposed version of B1

C: Episode  presents new material  can have its own form  usually in a new key, sometimes with a new key signature Transition: short modulating passage between sections which may include a dominant preparation if returning to the home key Coda: may be based on thematic material from the other sections or may contain new material 52

COMPOUND TERNARY FORM This form has three smaller binary forms within a larger ternary form. It is also called: Minuet and Trio Form

A1 Minuet - often in one of the binary forms - ends with a perfect cadence in the tonic key B Trio - contrasting in character - may be in a new key, either a closely related key or a tonic minor or major - ends with a perfect cadence in the new key or an imperfect cadence in the tonic key, that is, the home key of the Minuet - often in one of the binary forms A2 Minuet - exact or slightly varied repeat of A1 - sometimes the repeat is written out, but often a Da capo al Fine is indicated at the end of B

Transitions are short sections with the purpose of modulating to a new key, or back to the tonic key. Some Minuet and Trio forms include a short coda.

FUGUE TERMINOLOGY Exposition This section of the fugue alternates subject and answer, while also alternating tonic and dominant key areas. The subject (or answer) usually appears once in each voice. Subject The subject is a short melody or theme with well-defined characteristics. The initial statement is unaccompanied. Answer This is the subject but transposed up a 5th or down a 4th into the dominant key area. A real answer is an exact transposition. A tonal answer contains some slight alteration of the intervals. Countersubject The countersubject is the counterpoint that accompanies the first entry of the answer and is used regularly with the subject or answer throughout the fugue. It is written in invertible counterpoint so that it may be heard above or below the subject. Not every fugue has a countersubject. Some fugues may have more than one countersubject. Codetta Codetta refers to a connecting passage generally composed of motives from the subject or countersubject. It is used in the exposition of the fugue between entrances of the subject or answer. Redundant Entry There is sometimes one extra entry of the subject or answer still in the tonic or dominant keys established in the exposition. Counterexposition The counterexposition is formed by continued entries of the subject and/or answer in the keys of the exposition. If all voices enter again, it is called a complete counterexposition. If any voices are absent, the counterexposition is called incomplete. Stretto A stretto is the overlapping of entries of the subject and/or answer. A second voice enters before the previous one has completed its statement. If all voices are involved, this is a complete stretto. Otherwise it is called incomplete.

Middle Section In this section of the fugue the subject is stated in different keys and motives from the exposition are treated with various compositional techniques in episodes. Episode A modulating passage usually built out of a motive or motives from the subject or countersubject and frequently written in sequence. An episode does not contain an entry of the subject or answer. Augmentation The subject or answer written in rhythmic values increased by a certain factor. Diminution The subject or answer written in rhythmic values decreased by a certain factor. Melodic Inversion The subject moves in the same intervals but the opposite direction. Final Section This is the shortest section of the fugue. It has an entry or entries of the subject in the tonic key. Coda This is the concluding segment of the fugue. Pedal Point The bass note (either tonic or dominant) is sustained or repeated while the harmony continues to change above it. These frequently occur in the coda. Voice Splitting In the coda, the number of voices may be increased so as to give a richer harmonic texture at the end. Tierce de Picardie The ending tonic chord in a minor key may be altered to make it major.

CADENCES TO CHROMATICISM This handbook summarizes all levels of harmony. It is a valuable and convenient resource for practical reference, useful for anyone who has studied, or who plans to study, harmony. Covers basic, intermediate and advanced harmony

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Succinct charts and tables

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Clear summaries and examples

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Excellent study guide for review

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Handy reference book to keep on the shelf

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