mus 201a handouts package

8/10/2019 Mus 201A Handouts Package

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There may be more than one passing note in a row, for example,when the jump from one chord tone to the next spans the interval of a fourth:

Passing notes may be diatonic or chromatic:

diatonic upper neighbour:

The passing note bridges the jump between two chord tones by filling it in with stepwise motion.Passing notes are normally metrically weak.

If a voice moves away from a chord tone by step and then back, the non chord tone is a neighbour note.Neighbour notes are normally metrically weak.

diatonic lower neighbour:

chromatic upper neighbour:

Double neighbour (DN)Both the upper and lower neighbours are heard side byside. Usually the upper neighbour is heard first, but itcould be the other way around:

Incomplete neighbour: (INC N)(One of the chord tones is absent.)

Most common example: the passing note fills in the jump of a 3rd:

One may also find passing notes that are metrically stronger than the tones before and after.These are referred to as accented passing notes (APN).

One may also find an accented neighbour:

chromatic lower neighbour:

Non-Chord Tones (Embellishing Tones)

NEIGHBOUR NOTE (NEIGHBOUR TONE, NEIGHBOUR, or AUXILIARY) (NN, NT, or N)

PASSING NOTE (PASSING TONE) abbreviated PN, PT, or simply P

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ANTICIPATION (ANT)

An anticipation states a note of the next chord just before the chord changes.It is metrically weak. Generally sounds best in the soprano.

diatonic upper appoggiatura:

diatonic lower appoggiatura:

chromatic appoggiatura:

SUSPENSION (SUSP, SUS)

A suspension is a note that was consonant, but that remained stationary when other voices moved,and is now dissonant. It then resolves by step. Suspensions are metrically strong.

A suspension that resolves upwards is known as a retardation:

ESCAPE TONE or ECHAPPEE (ESC or ECH)

Go by step in the wrong direction, then change direction and jump to the next chordtone. Echapps are metrically weak. Generally sounds best in the soprano.

REACHING TONE or CAMBIATA (RT or Camb)

Jump one note too far, then change direction and go by step to the next chord tone.Reaching tones are metrically weak. Generally sounds best in the soprano.(Note: This is NOT the same as the cambiata studied in first semester counterpoint.)

APPOGGIATURA

In the eighteenth and nineteenth centuries, the term appoggiatura referred to any metrically strong non chord tone that was nottied over from a previous note. Almost always, the appoggiatura resolved by step. One can think of the appoggiatura this way: In

place of the chord tone, sound the note a step above or below, then resolve by step to the chord tone.

Nowadays, many theorists define the appoggiatura in a more restrictive fashion. The new definitionstates that the appoggiatura is a metrically strong non-chord tone that is approached by leap andresolves by step:

(Originally, the suspension note was tied over from the preparation. Nowadays, we still use the term suspension even if there isn't a tie

BECOMES

David Clenman 2004

PEDAL TONE (or simply PEDAL)

A single note that is sustained or repeated while the chords change.Pedal tones are most often found in the bass on the tonic or dominant note.

Preparation Suspension Resolution

ANT

ESC

RT

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Tonic Pedal


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PERFECT AUTHENTIC CADENCE (PAC)V(7) I Both chords in root position. Soprano ends on tonic.

Examples: Same as PAC, but soprano doesn't end on 1

Either the V(7) or the I or both are not in root position:

vii6 to I

AUTHENTIC CADENCE A cadence in which some form of V or vii resolves to the tonic chord.

Types of Cadences

PHRYGIAN CADENCE A particular type of half cadence iv6 to V in minor In four voices, for the smoothest voice leading, the fifth of the iv6 chord is doubled.

PLAGAL CADENCE IV to I

David Clenman 2005

HALF CADENCE A cadence that ends on V

DECEPTIVE CADENCE V to something other than I, almost always vi.

IMPERFECT AUTHENTIC CADENCE (IAC)An authentic cadence that is not a PAC.

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Root position:

Second inversion resolves to i6:

First inversion resolves to i6:

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Voice leading rules: Leading tone rises by step.

Seventh of the chord falls by step. All dissonances involving the bass must resolve correctly i.e. - If the bass and another voice create a diminished 5th, they resolve inwards by step to create a 3rd. - If the bass and another voice creaef an augmented 4th, they resolve outwards by step to create a 6th. Between upper voices, a diminished fifth usually resolves correctly (contrary motion inwards by step to a 3rd), an augmented fourth may resolve correctly (contrary motion outwards by step to a 6th) or irregularly (usually both voices going by step to create a perfect fourth.)

vii7 is frequently used in root position, first inversion, and second inversion. It is not often used in third inversion.

vii7

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vii7 contains the leading tone and has a dominant function. (N. B.: the root, third, and fifth of vii7 are the same as the third, fifth, and seventh of V7. Only the seventh of vii7 is differen But if you lower it a semitone, it is the root of the dominant seventh chord.)

)

Any chord that can lead to V can lead to vii7 (or an inversion, depending on voice leading).

The seventh of vii7 should be approached as a common tone or by step.

vii7 resolves to i (or an inversion, depending on voice leading).

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Accompaniment Patterns

SINGLE VOICE TEXTURE

No Accompaniment

(Octave Doubling)

TWO VOICE TEXTUREMelody and Bass Line

THREE VOICE TEXTURE

FOUR VOICE TEXTURE

Mozart K. 309/I

Haydn: Piano Sonata, Hob. XVI, No. 2, II mm. 1-2

Haydn Op. 13, No. 2/III

Beethoven Op 10 No. 2/III


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REPEATED NOTES & CHORDS

a common use of rests:

4 Voice Texture

Beethoven Op. 53/

Beethoven Op. 14 No. 1/I

Mozart K 310/I

Haydn String Quartet Op. 1 No. 6

Haydn

3 Voice Tecture

Repeated double notes

in accompaniment

3 Voice Texture

Repeated note in bass,

melody harmonized in

3rds or 6ths

CHORALE STYLE


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Bottom Top Middle Top

Mozart K. 545/I

Mozart K. 284/I

Mozart K. 309/ III

BASS LINE WITH OFFBEAT REPEATED PITCH (Bass and soprano often in parallel 10ths.Note that the repeated pitch, here, is actually a sustained dominant.)

ASCENDING

BROKEN CHORDS

Beethoven Op. 10 No. 3/I

Beethoven Op. 22/


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A motive is a short, melodic and/or rhythmic musical idea. It is typically 2 to 4 notes in length.

Examples of motives:

A movement is usually based on a small number of motives. The motives usually appear prominently at the beginning of themovement, and are building blocks from which much of what follows is constructed. As an example, the opening melody ofHaydn's Symphony No. 88, IV is built out of two motives. They are labeled here as a and b:

Motives may be varied in a number of ways and still retain enough of their identity to be recognizable. Some possibilities:

1. A motive may start on different pitches:

2. Same as above, but one or more intervals may be slightly altered, often in order to fit a different harmony:

Repeated pitch (Haydn Symphony No. 88, IV)

Ascending 4th interval (Beethoven Piano Sonata Op. 14, No. 2, I)

Broken triad (Mozart Piano Sonata K. 545, I)

The Motive

Beethoven Piano Sonata Op. 10 No. 2, III

Mozart Piano Sonata K. 547, I

Beethoven Piano Sonata Op. 14 No. 1, I

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5. The pitches may be inverted:

Other changes are possible as well.

4. Notes may be added to a motive without destroying its identity. In the following example, two passing notes are added to m. 4:

6. Rhythmic alteration:

Here is a tuneful example from Mozart Piano Concerto K. 488, I that uses several of the above techniques:

7. The contour (melodic shape) of the motive might be altered:

3. Sometimes intervals are more obviously changed:

Mozart Oboe (Flute) Concerto in D, I

Mozart Symphony No. 35, I

Here is a particularly ingenious example.Notice how Mozart has imaginatively altered the opening repeated note motive:

Mozart Eine kleine Nachtmusik K. 525 II

(4th has been stretched to a 6th)


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In the key of C major, Play the tonic Play the note a fifth lower Play the note another fifth lower Continue until you reach the tonic again.

Play the same notes you just played, but Use your left hand Start in the middle of the piano keyboard Use a zig zag pattern, i.e. down, up, down, up, etc. (This keeps all the notes within one octave.)

Play the same thing with the left hand,and add the following with your right hand: Play a diatonic root position triad, using the left hand note as the root.

Especially in two-part writing, one commonly finds the top and

bottom voices a 10th apart throughout, moving in contrary motion(sometimes referred to as a 10-10 pattern):

Since the bass is a sequence, we will make the upper voices movesequentially, as well. There are a few ways to do this. One of the mostcommon is to have the top voice start a 10th above the bass and alternate,in contrary motion, 10th, octave, 10th, octave, etc. (this is sometimesreferred to as a 10-8 pattern):

Learning the Descending Diatonic Circle of Fifths

Filling in the inner voices gives:


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Minor keys work the same as major. However, there is the question as towhether the 7th note of the scale should be raised to make a leading note.The answer is that it is not raised when it is not leading to the tonic, and itis when it does. As a result, it is only raised on the V chord.

etc.

copyright David Clenman 2004


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Descending Fifths (diatonic)

Root position

Alternating root position with 1st inversion, starting with root position

Alternating root position with 1st inversion, starting with first inversion


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Descending 5ths with Applied Chords

Root position triads

2010 David Clenman

Alternating 7th chords with triads (3 voices)

All 7th chords (3 voices)

All 7th chords (3 voices)

A lovely example of the 2nd line on this page, but in 4 voices and using inversions (alternating3rd and 1st inversion)


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Descending Fifths (diatonic) with 7th Chords

All seventh chords, three voices (Note that the top two voices alternate between 3rd and 7th of the chord.)

Four voices

Four voices, alternating root position with 2nd inversion, giving a stepwise descent in the bass.

Four voices, alternating third inversion with first inversion, giving a stepwise descent in the bass.

2004 David Clenman

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Chain of 7-6 Suspensions

The top voice may be delayed, creating a chain of 7 - 6 suspensions:

One sometimes finds a series of first inversion chords descending by step.This often occurs in a three voice texture, with the roots in the top voice:

This sequence does not generally go past the submediant chord:

Ascending Fifths

- - - - - - -


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Ascending 5-6 Sequence

Root-positiont triads ascending by step in parallelmotion.

Whoops! PARALLEL 5ths!

Fix the parallel 5ths by making the 5th of each

chord rise a step before the other voices do.

We can fix the parallel octaves by changingthe tenor like this.

Chromatic version: Accidentals have been added

so that the main chords are approached with applieddominants.

Let's start again, but this time with 4 voices.Whoops! PARALLEL 5ths & 8ves!

We'll fix the parallel 5ths the same way we didbefore.

- - -


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2004 David Clenman

Same as the previous line, only accidentals have been

added, as before, turning every second chord into the

applied dominant of the next chord.

Here are the last 2 examples again, only with the

bass and tenor switched.


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Same, but with the first chord of each pair in 1st inversion, creatinascending semitone motion in bass:

Chromatic version in which the first chord of each pair is an applied dominant 7th of the next chord:

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Fonte(Fountain)

(Sometimes called the Falling Sequence)

Copyright 2010 David Clenman

Inversions may be used.The dominant chords may have 7ths.

Diminished 7th chords may be usedinstead of dominant 7ths.

The fonte is the following pattern:

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Pachelbel's Canon Sequence

A variant of this is to have every second

chord in 1st inversion. Notice how this

creates a descending scale in the bass:

Write I to V:

Copy what you just wrote,

but a 3rd lower:

We could extend the sequence by

copying the pattern yet another 3rd lower:

2004 David Clenman


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Mozart Piano Sonata in D K. 476

Beethoven Op. 2, No. 1

The Rocket opening, commonly used in the Classical era, is an upward arpeggiation of the tonic chord, sometimes usedas an opening idea. It makes a clear statement of the key:

It starts either on the first beat of the bar, or with a pickup, and usually ends on a stong beat of the bar.It does not end on the last beat of the bar:

Haydn String Quartet in Bb Op. 1, No. 1

Notes may be repeated, and some of the notes may move in a downward direction, but the overall motion is upwards.The character often suggests trumpets or horns:

The rocket opening is rarely accompanied. It most commonly appears in octaves, but it may appear just as single notes:

The Rocket Opening

It is typically 2 bars long, but is sometimes 4 bars long.If it starts on the 1st beat of the bar, it normally starts on the tonic note.If starting with a pickup, it may start with the tonic note, but more often starts witht the dominant.It may end with any note of the chord, but 5th and 3rd are more common than root:

If it starts on the first beat of the bar, there may be a full root position tonic chord on the downbeat:

Mozart Eine kleine Nachtmusik K. 525

2005 David Clenman


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The Period

Two phrases are often grouped together into a unit wherein the first phrase ends with a cadence that does not sound final,and the second phrase ends with a cadence that does sound final:

Such a structure is called a period.

The first phrase, the one whose cadence doesn't sound final, is called the antecedent.

The second phrase, the one whose cadence does sound final, is called the consequent.

Generally, the antecedent begins on I and ends either on V or with an IAC; the consequent ends with a PAC.

If the antecedent ends on V, and the consequent on I, the effect may suggest a question and answer.

If the two phrases have the same or similar beginnings, the period is called a parallel period:

If the two phrases begin quite differently, the period is called a contrasting period:

A period may have one or more antecedent phrases followed by

one or more consequent phrases:

Beethoven, Symphony No. 9, Op. 125/IV

Beethoven Trio Op. 8

Gluck Orpheus and Eurydice

Mozart "Voi che sapete"

from The Marriage of Figaro


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Sometimes the PAC of the second phrase is in another key, typically the dominant or the relative major (modulating period):

In music of the Classical era (Haydn, Mozart, Beethoven), the parallel period is more common than the contrasting period.

Note that each phrase generally has two distinct parts:

Mozart K. 576/I

Mozart K. 284/II


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Phrase Expansion

There are three ways by which a phrase may be extended in length:

1. Adding to the end of it. This usually means extending or delaying the cadence.

2. Expanding the body of the phrase. Typically done be exact or sequential repeation of a segment, or by adding material.

3. Adding introductory material.

1. Repeat the cadence.

2. Delay the PAC by first using one or more IACs.

ADDING TO THE END OF A PHRASE: Here are some ways to do this:

Mozart Piano Sonata K. 332/I

Mozart The Marriage of Figaro Act I Scene

3. Delay the PAC by first using a deceptive cadence.

Here is the opening of Cherubino's arietta (little aria) Voi che sapete from Mozart's opera the Marriage of Figaro.

Note that it is a period consisting of two antecedent phrases followed by a consequent phrase:

To end the arietta, Cherubino sings the same period as above, except that where it would normally end, Mozart has inserted a

deceptive cadence, after which Mozart repeats the consequent phrase, this time ending with a PAC.


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EXPANDING THE BODY OF THE PHRASE

In the following parallel period, the antecedent phrase is 4 bars long, but the consequent phrase is 6 bars.Two additional bars have been added in the middle of the consequent phrase.

Mozart K 279/II

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The Sentence

PRESENTATION PHRASE

The first two bars present the basic idea. It is built our of two striking ideasa rocket openingand a triplet figure.

The next two bars repeat the basic idea. The repetition in this case is not exact the notes have been altered to fit the dominant harmonybut it is otherwise essentially the same.

CONTINUATION PHRASE

The melody draws mainly on the triplet motive, which eventually disappears into a cadence. Sequence is used (mm. 5-6).

Chords change more frequently in the continuation phrase than in the presentation phrase. The music seems to be grouped in

smaller segments (structural units are shorter): the presentation phrase used two bar units, the continuation phrase begins

with one bar units. The result is a feeling of acceleration.

Consider the opening of Beethoven's piano sonata Op. 2 No. 1:

The sentence is a theme structure that is normally eight measures long.

It begins with a two measure basic idea. This basic idea is made up of a small number of distinct motives.

The two measure basic idea is then repeated, either exactly, or quite similarly.

The repetition emphasizes the basic idea and helps the listener learn and remember it.This 2 + 2 measure grouping is called the presentation phrase.

The presentation phrase is followed by a four bar continuation phrasethat ends with a clear cadence, either on V or on I.

The continuation phrase contains some or all of the following characteristics:

It often draws on only one of the motives found in the basic idea. Sometimes, it doesn't draw on any of them. The motive used gradually disappears.

Sequence is used.

Harmonic rhythm is faster, and may accelerate.

The material is seems to be grouped into smaller segments than in the presentation phrase. (Structural units are shorter.)

If a sentence ends with a half cadence, it may be repeated, the second time ending with an authentic cadence.

f-6

5

Presentation

Phrase

ContinuationPhrase

4

3

Basic Idea Repetition of Basic Idea

The following is based on the work of Arnold Schoenberg and Willliam Caplin


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4

.

j

.

j

.

j

Small Ternary Form

The small ternary consists of three parts:

The first section (A) is a period or sentence or other similar structure. It ends with a PAC in the home key or, if the sectio modulated, in the new key.

Part two (B) is a contrasting section that typically emphasizes the dominant and ends on V Part three (A') is a restatement, often abridged, of part one. It ends with a PAC in the home key.`

A

B

A'

2003 David Clenman


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b

b

b

b

b

b

i ii V

w

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I

w wI i w wii ii w wiii bIII w wIV iv

w w

V v

w w

vi bVI

w w

vii bVII

vii7

I

IV iv

w

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I

I

ii V I

IV V

w

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bVI

w

Mode Mixture

iv from the minor key. (Often this follows IV and leads to I.)

ii or ii

7.

^ ^

bVI. (This makes use of both b6 and b3.)

8-7

6

5

6

5

8-7

Definition: Mode mixture, or simply mixture, is the use of notes or chords from the parallel major or minor.

Mixture is also known as borrowing.

IN A MINOR KEY

A piece in a minor key may end with a major tonic chord. (Notethe E in the example to the right.) The raised third is known as

a tierce de Picardie, or Picardy third. This is the main use of mode

mixture in a minor key.

.

IN A MAJOR KEY

Assuming you are in C major, each of the following measures shows the normal triad followed by the alternative triadavailable through borrowing from c minor, the parallel minor:

The most common occurences of mixture in a major key make use of b6. The b6 wants to lead to 5:

vii7 from the minor key is used to lead to I in the major key:

n

c-:

^ ^ ^


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I vi

IV ivvi

IV6 V

w

w

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I

One sometimes finds not just a single chord, but an entire section in the parallel minor. In the Classical style, this is how the

minor tonic triad is usually used in a major key.

MODE MIXTURE AND MODULATION

A borrowed chord may act as a pivot chord in a modulation. For example:

C:Ab:

6

5

Note: When two different forms of the same note occur one afterthe other, for example 6 and b6, keep the two in the same voice,

and have the lowered note the second of the two.

No No Yes

2003 David Clenman


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It6

Constructing Augmented 6th Chords

David Clenman 2012

There are a few different ways to construct Augmented 6th chords. They all give you the same

results, so use whichever you find easiest. Here's one.

a. Find the dominant note of whatever key you're in.

(For this example, we'll use C major.) Put it in both

treble and bass clefs:

b. In front of the treble dominant note, write the note that

is a semitone below.

(Use a different letter name for it, i.e. not Gb, but F#):

c. In front of the bass dominant note, write the note that

is a semitone above.

(Use a different letter name for it, i.e. not G#, but Ab):

Note that the interval between the two new notes

(between the Ab and F#) is an augmented 6th. All the

different types of augmented 6th chords will have

these notes. When these notes resolve, they go to

the dominant notes that you have written.

d. To make an Italian 6th, add the note that is a major 3rd

above the bottom note:


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?

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Ger6

?

w

w

w

w

Fr6

2 Constructing Augmented 6th Chords

e. To make a German 6th, start with the Italian 6th,

and add the note that is a perfect 5th above the

bottom note:

f. To make a French 6th, instead of adding a note that is

a perfect 5th above the bottom note, add a note that

is an augmented 4th above it:


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&?

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b b b

# b

It6

V

#b

It6

V

#

It6

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#

It6

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&?

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bb b

# bb

Ger6

V

# b #b

Ger6

n V

#

Ger6

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#

Ger6

n V

&?

bbb

b b b

#b

Fr6

V

#b

Fr6

V

#

Fr6

n V

#

Fr6

n V

French

German

Italian

Only 3 different pitches. Often used in 3-part writing. The note that's not part of the augmented 6th interval resolves down by step. In 4-part writing, always double the note that's not part of the augmented 6th invterval (in this example, the C.)

Since they can't both resolve down by step (parallel octaves!), one resolves down by step, and the other resolves up by step.If the soprano has one of them, it resolves down by step.

Sounds like a dominant 7th chord. When going to V, parallel 5ths occur. Provided they are not between the soprano and bass, they are allowed. The German 6th often goes to V 6 - 5. This gets rid of the parallel 5ths. 4 - 3

Resolving Augmented Sixth Chords

C+ c-

C+ c-

C+ c-

6 - 54 - 3

6 - 54 - 3

6 - 54 - 3

6 - 54 - 3

The French 6th generally goes to V, but may go to V6 - 5 4 - 3

( )

David Clenman 2003


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RONDO FORM

Rondo form has a recurring A section, known as the refrain, main theme, or rondo theme. Between

these A sections are contrasting sections, known as episodes or couplets.

Example:

Refrain Episode 1 Refrain Episode 2 Refrain

A B A C A

Many combinations are possible: ABACA, ABACABA, ABACADA, ABACBA, etc.

While rondos usually end with the A section, not all do. (Example: Mozart Oboe/Flute Concerto in

D/III)

Each section may itself be a smaller form, such as binary form.

REFRAIN

All statements of the refrain are in the tonic key.

The refrain is a memorable theme that clearly establishes the tonic key. Sometimes there are two or

more themes, one after the other, all in the tonic key.

The refrain ends with a PAC, providing a clear ending point.

Statements of the refrain after an episode may be abridged.

Statements of the refrain after an episode may have different accompaniment patterns.

Statements of the refrain after an episode may be embellished.

EPISODES

Episodes (with one exception noted below) are generally in different keys than the refrain. In addition,

different episodes are generally in keys different from each other.

An episode may have a clear theme structure, or may be more loosely constructed. An episode may

consist of a group of themes, all in the same key.

TRANSITIONS AND RETRANSITIONS

Episodes and statements of the refrain may have transitional passages between them. These are called

transitions when leading to an episode, and retransitions when leading back to a refrain in the tonic.

The function of a transition is to lead you from one section to another. As such, they tend to have a

restless quality and be modulatory. Use of sequence is common.

Transitions tend not to have clear theme structure. They are often without clear melodic structure, and

are frequently built out of broken chord figures, scales, or other passagework.

CODA

A rondo may end with a coda. The coda (from the Latin word for tail) is a concluding section whose

basic function is to reaffirm the tonic key in order to balance out the precedeing variety of keys. It

may also attempt to tie together elements from previous sections. A coda may be of any length.

It may state new material, and/or refer to previous material.


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In the Classical era, most rondos fall into one of the two following categories:

1. five-part rondo or simple: ABACA (typically used for slow movements)

2. seven-part rondo: ABACABA (typically used for lively finales)

1. ABACA is called simple rondo or five-part rondo. The key scheme is often:

A B A C A Coda

Major I V I other I I

contrasting

minor i III i key i i

Mozart tends to use IV for the C section

Haydn tends to use the parallel minor for the C section.

2. ABACABA is called 7 part rondo. The key scheme is often:

A B A C A B A

Major I V I other I I I

contrasting

minor i III i key i i or I i

The C section is most commonly in IV, though vi and the parallel minor are common.


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Violin I

Violin II

Viola

Violoncello

Allegretto

Menuetto

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76

18


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Vn. I

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Va.

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81

F

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B

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96

G

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19


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B

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Vn. I

Vn. II

Va.

Vc.

101

T

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T

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Vn. I

Vn. II

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107

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Vn. II

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f

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113

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Vn. II

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118

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95/125

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Vn. II

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123

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Vn. II

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134

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Vn. II

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139

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21


96/125

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Vn. I

Vn. II

Va.

Vc.

144

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Vn. I

Vn. II

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22


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Neapolitan 6th (bII6)

Find the second degree of the scale:

Lower it a semitone:

Build a major triad on it:

Put it in first inversion:

Double the third of the chord:

C+

bII6C+:



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b b b

b 7

b 2

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N6 V7

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^to V7 Note that the b2 falls a diminished 3rd

to the leading note.

to the cadential 6 4

to vii7/V

^Typical ways to resolve the Neapolitan 6th: Note that b2 always descends towards the leading tone.

b b

to V

to V4 2

The Neapolitan 6th is more commonly found in minor keys than in major. As the Neapolitan 6th is a variant of ii, any chord that leads to ii can lead to the Neapolitan 6th.

C+: c-:


6 - 54 - 3

6 - 54 - 3

42

42


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