NOTES


 * __(After Mid Term)

PROGRESSIONS vs RETROGRESSIONS__

I ii iii IV V vi viiO** following the root movement = going up in 2nds

 going down in 3rds
 * I vi IV ii viiO V iii I **

going down in 5ths
 * I IV viiO iii vi ii V I **

I IV V** establish key
 * Primary Triads :

vi ii viiO** transitional
 * Secondary :


 * Cadences:

__Final__** V to IV to I... Both chords have to be in ROOT position Soprano on last chord must have the root**
 * V - I** **Authentic (Perfect)**
 * Perfect:
 * viiO - I** **Authentic (InPerfect)**
 * IV - I Plagal**


 * __NonFinal__**
 * Stops on V or viiO** **HaLF**
 * V - vi** **Deceptive**
 * Phrygian ???

Notes that NOT FIT IN THE CHORD called NONHARMONIC TONE

Cadential 6/4 (Dominant V - I) I64 V I

Passing Tone (Going Up) i V64 i6 i

Pedal 6/4 (IV chord) because when you play it, you hold the pedal (bass), while you play the melody i IV64 i

Arpeggiated / Arpeggio 6/4 (do mi sol) outline one chord, all in one chord same I I6 I64

Close voicing - no chord fit between S A T part Open voicing - there is a place to place a chord

Parallel motion - notes move in the same direction and interval

Contrary - going in opposite direction

Similar motion - going in almost the same direction

Oblique - one part is moving and the other part is stayed

GIVEN chord and inversion and progression Steps:**
 * Figure out what note are in each chord
 * Write out the bass line - smooth
 * Place all notes on staff using all rules
 * Don't move to the next chord until you have checked for errors
 * 1) Stem!!! Use layers/// Grand staff//
 * 2) //1234 on bottom change layers//
 * 3) //"L" lift stem//
 * //Put the nomenclature under each chord//
 * //Identify the two cadence points//
 * //Identify the type of 64 chord//

//**SATB (Four Part- Writing) Soprano (C-G') Alto (g-D') Tenor (c-D) Bass cover all treble clef (e'-C)**

Mrs.Freebern's note
 * Rules**//
 * //don't exceed octave between adjacent voices except between basses and tenor//
 * //never cross voices but you can share a note 1x tenor-bass or soprano-alto//

//**On DIMINISHED chord only, has to be in the first inversion**

closed voices = no chord tone could fit in between opened voices = can fit chord tones in between
 * 2 structures**:

any **root position** = double the bass!!! same violent outcome
 * 2nd** inversion =

double the soprano!!! except in diminished chords only then you should double the bass!!! and diminished chord should be in the **first inversion** (hide the tritone) -- by doing doubleing the basses it's automatically done you know
 * 1st** inversion =

minor thirds is okay
 * NO AUGMENTED 2nds

always retain the common tones, if you keep a lot moving, it will feel bumpy

Diminished Fifth should be getting smaller (inward) at the next notes.. Augmented Fourth should be outward**

__Parallel motions__ = notes move in the same direction and the same interval **5th 8th and Augmented 2nds** __Contrary motion__ = voice parts move in opposite direction __Similar motion__ = same direction but different intervals __Oblique__ = 1 stay the same and the other one moves
 * 4 motions:**

Vertical (as you look at the chord) ¥ÊAre the correct notes in the chord? ¥ÊCorrect spacing (sp): There should be no more than an octave from soprano to alto or alto to tenor (note this is different than structure). ¥ÊCrossed Voices (cv): The voices need to be in the correct order (soprano higher than alto etc.) ¥ÊDoubling (x2) and inversion: Root position triads - double the root, you may double the third in rare instances (you must double the third when V moves to VI in minor). You may triple the root (3 roots and a third) for the last ÔI Ôchord of a work. First inversion Major or minor triads - in a major triad it is most common to double the soprano note (root, third or fifth), it is uncommon but possible to double the third (the bass), these are reversed for a minor triad (most common double the third, least common double the soprano) First inversion diminished or augmented - double the third (the bass), these chords are only found in first inversion Second inversion - double the fifth (the bass), note that second inversion triads are only found in special circumstances (remember cadential, pedal, passing, and arppeggiated from 102). Never double the leading tone or an altered note. Are you ever in error doubling the bass? Seventh chords - any seventh chord may be found in any inversion at any time. When in root position you may leave out the fifth and double the root (donÕt do this in diminished seventh chords please). ¥ Range of voices Horizontal (as the chord moves) ¥ÊParallel Octaves or Unisons (P8 or PU) (includes unisons to octaves and octaves to unisons) - if two voices from an octave (or unison) in one chord the same two voices should not form and octave (or unison) in the next chord. ¥ Parallel Perfect Fifths (P5) If two voices form a perfect fifth in one chord the same two voices should not form a perfect fifth in the next chord ¥ÊAugmented Seconds (A2) no voice should move by the interval of an augmented second ¥ÊTritones (tt) descending tritones in the bass are common(d5), ascending tritones in any voice are incorrect (a4) ¥ÊLeading tone in an outer voice should resolve to tonic (LT). There are exceptions to this in cases of descending scale lines, non-dominant harmony (the iii chord), and when the leading tone is a seventh of a seventh chord. ¥ÊSevenths of seventh chords need to approached and resolved (apr7 or res7). ¥ Harmonic progression ( prog ?): Root movements should generally be up a second, down a third, or down a fifth. Use of Minor ¥ Always think of yourself in harmonic minor. ¥ Use melodic minor only with a sixth and seventh scale degree that are adjacent (next to each other and in the same voice). ¥ÊIf the direction of the adjacent sixth and seventh scale degrees is ascending (to the tonic) use ascending melodic minor. ¥ÊIf the direction of the adjacent sixth and seventh scale degrees is descending (to the dominant) use descending melodic minor. ¥ÊWe will talk about exceptions in detail in class - they rarely impact chorale style. Move Smoothly ¥ÊAs you write instead of trying to avoid all these errors move each voice to the nearest chord tone (the smallest possible distance) and then check for errors.

identifying major scale signature b #

the relative minor scale..

supertonic... LEARN DEGREES!!! tonic, supertonic,

parallel scale// C minor C major..

accidental in a major.. go to secondary dominant first!!

3 type augmented sixth chord!!

non-harmonic tone

four-part writing..

meter.. beaming

cadence

tr

COMMON CHORD MODULATION

you can be in the same key at one time..