lesson 7 inverted chord progressions - declan plummer · •a passing chord harmonises a passing...
TRANSCRIPT
Dr. Declan PlummerLesson 7: Pre-Cadential Chords & Inverted Chord Progressions
GRADE 6 MUSIC THEORY
Pre-Cadential Chords1. Deciding what chords to use as pre-cadential chords is determined by
what chords go well together; what chords are implied by the melodic line; and personal taste. You must use good judgement and remember to follow voice-leading and harmonisation guidelines.
2. First, work out what is the implied cadence from the melody, and where the pre-dominants begin. The remaining phrase is the pre-cadential material. Cadence
with Pre-DominantsPre-Cadential
Material
prepared
I ii V I 65I V I
Strong 3 - 2 - 3 in the soprano part suggests a I - V - I chord progression.
3 2 3
I ii V I65I V vi
Strong 3 - 2 - 1 in the soprano part suggests a I - V - vi chord progression.
3 2 1
Strong 3 - 3 - 2 in the soprano part suggests a I - 1 - V chord progression.
I ii V I 65I I V7
3 23
prepared
prepared
First Inversions
1. First inversion chords are used in pre-cadential material to:
• give a smoother voice-leading by increase variety of bass pitches
• avoid consecutives
• provide more interesting music by creating instability in the bass line, which is then resolved.
• to lessen the importance of V and I when they are not part of cadences
I I6 V
2. For a chord I in first inversion (I6) it is possible to double the 3rd, since the chord has a passing function: the harmony is moving from chord I to chord V and chord I6 facilitates this movement!
3. The doubled 3rds are moving in contrary motion
4. No consecutives result from doubling the 3rd here!
First Inversions
I I6 V
1. Passing
• A passing chord harmonises a passing note between a chord and its inversion.
• It is a special type of pre-cadential progression which mostly uses the leading note chord (viio), in first inversion (viio6).
• It is used mostly with the tonic chord in a 1 - viio6 - I6 progression.
• The bass note of chord viio6 functions as a passing note. The 3rd of the chord should be doubled! Never double the root of chord viio.Why?
First Inversion Progressions63
I viio6 I6
3 2 163
Because the root of chord viio is the leading note of the key, which wants to rise (lead) to the tonic: doubling the root means both notes want to rise to the tonic and you have consecutive octaves!
I6 viio6 I
321
I6 viio6 I
The standard passing 6-3 progression (I - viio6 - I6) can be reversed (I6 - viio6 - I) which can produce other strong soprano movements:
• 3-2-1 = I - viio6 - I6 (standard passing 6-3)
• 1-2-3 = I6 - viio6 - I (standard passing 6-3 reversed)
• 8-7-8 = I6 - viio6 - I (always this order for 8-7-8 movement)
878
I viio I6
3 2 12. Neighbouring
• A neighbour chord harmonises a neighbour note between two pitches that imply the same chord.
• It is a special type of pre-cadential progression which mostly uses the dominant (V), or tonic (I) chords in first inversion (V6 / I6).
a) The Dominant chord is used with the tonic chord (1 - V6 - I).
• Creates a strong 3 - 2 - 3 in the soprano part. Also works with 3-2-1 soprano part.
• The bass note functions as a neighbour note.
First Inversion Progressions63
3 2 3
I V6 I
63
3. Neighbouring
b) The Tonic chord is used with the subdominant chord (IV - I6 - IV).
• Creates a 6 - 5 - 4 in the soprano part
• Not as a strong as the 1 - V6 - I progression, so it is not used as much.
• The bass note functions as a neighbour note.
First Inversion Progressions63
IV I6 IV
6 5 4
Second Inversion Progressions1. Passing
• A passing chord harmonises a passing note between a chord and its inversion.
• It is a special type of pre-cadential progression which mostly uses the dominant (V), or tonic (I) chords in second inversion (V / I ).
a) The dominant chord is used with the tonic chord (16 - V - I).
• Creates a strong 8 - 7 - 8 in the soprano part
• The bass note functions as a passing note.
64
64
64
64
I6 V I 64
878
64
Second Inversion Progressions
• Like the passing progression, the passing progression can also be reversed!
I6 V I 64
878 878
I V I6 64
64
63
Second Inversion Progressions
2. Passing
b) The tonic chord is used with the subdominant chord (IV - I - IV).
• Creates a 4 - 3 - 4 in the soprano part
• Not as a strong as the 16- V - I progression, so it is not used as much.
• The bass note functions as a passing note.
64
64
IV I IV6 64
434
64
Second Inversion Progressions
IV I IV6 64
434
IV6 I IV64
434
• Like the passing progression, this passing progression can also be reversed!
64
63
3. Neighbouring
• The dominant chord bass note functions as a neighbour note between two tonic chords.
• All the other notes except the d o m i n a n t a l s o m o v e i n neighbouring motion
• Similar qualities to a pedal
64
Second Inversion Progressions
I V I 64
64
4. Pedal • Generally avoided in chorales!
• The bass doesn’t move (like a pedal note)
• It usually appears as an elaboration of a root position tonic chord
• Can create static outer voices
• The middle voices (alto and tenor) function as a neighbour notes, rising and falling by step.
64
Second Inversion Progressions
I IV I 64
I6 viio6 I
878
I6 V I 64
878
3 2 3
I V6 I
I V I 64
878
Passing 6-3
Neighbouring6-3
Neighbouring6-4
Passing 6-4
Cadences With Inversions1. The chords used at cadences should always be in root position.
2. In this course, there are only two exceptions to this rule: • the passing progression • the cadential
V IV I6 viio6 I
63
63 6
4
3. Passing at a cadence - we’ve actually seen before!
• Chord viio6 acts as a substitute to chord V7
• Described as a leading note IAC
Leading Note IAC!
878
4. The Cadential
• uses two chords: I (frequently), and IV (rarely)
• The cadential chord is always followed by a root chord using the same bass note.
• The 6th moves to the 5th The 4th moves to the 3rd
Cadences With Inversions
64
64
64
64
I V I 64
53
3 2 1
5. The Cadential
• uses two chords: I (frequently), and IV (rarely)
• The cadential chord is always followed by a root chord using the same bass note.
• The 6th moves to the 5th The 4th moves to the 3rd
Cadences With Inversions
64
64
64
64
V IV I 64
53