music handbook composition and analysis

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MUS 201: Table of Contents

COMMON-PRACTICE TONALI

T A B L E o

Introduction

Sound and Its Notation

Pitch Intervals, Consonance, and

Dissonance

Tonalit

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The Black Keys.

Enharmonic Equivalence.

CLEFS

The Horizontal and the Vertical

Timbral Notation

The Score

Dynamics

Articulation

Summary

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The Note Tree

The Rest Tree

Ties

Dotted Notes and Rests

Tuplets Rhythmic Organization

Patterning

The Pulse

Tempo

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Collections

Modes

Scales

MAJOR KEYS

Key Signatures Scale Degrees

PRINCIPAL SCALE DE

DEPENDENT SCALE D

Passing Notes.

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CHORD CONSTRUCTION

Complete Triads

Spacing

OPEN POSITION

CLOSED POSITION Doubling

RULES FOR DOUBLING

Doubled Root.

Doubled Fifth.

Doubled Third

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Summary

BASIC HARONIC GRAMMAR: 5/3 TE

Composing-out: Unfolding and Prolong

Counterpoint

FIRST SPECIES

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TECHNIQUE

Bass Arpeggiation

BASS ARPEGGIATION

AS THIRD DIVIDER

Passing s

Neighbor 6s

BASS NEIGHBOR NOTE

INCOMPLETE NEIGHBOR NOTES


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The Cadential "I6/4"

The Subdominant Triad (IV)

IV

IV

IV AS LOWER-THIRD DIV

IV AND V

IV IN A DECEPTIVE PROG


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The Minor Mode

ALTERED NOTES

Cross Relations

Seventh Scale Degree in the Min RAISED 7^

DIATONIC 7^

Augmented Second

Raised 6^

Th Li Di

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OTHER TYPES OF MELODIC FIGUR

"Appoggiaturas"

"Escape Notes"

CHROMATIC FIGURATION

Chromatic Lower Neighbor

Melodic Tonicization

TONICIZATION

MELODIC TONICIZAT

LINEAR TONICIZATIO


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THE CONSONANT SUSPENS

THE DISSONANT PREPARAT

ANTICIPATIONS

Metrical Considerations

The Anticipation and Parallel 5t

The Indirect Anticipation

THE PEDAL POINT


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Structure of the Applied vii and vii

Voice leading and the Applied vii a

Inversions of the Applied vii and v

THE FULL DIMINISHED VII7

vii7 in the Major.

vii7 in the Minor.

Triad Quality and Tonicization.

Structure of the Applied vii7 in a Minor To

MODULATION

General Considerations


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PITCH TRANSFORMATIONS

Transposition.

Retrogression.

Inversion.

RHYTHMIC TRANSFORMATIONS

MUS 201 T bl f C


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THE DOUBLE SENTENCE

DIATONIC SEQUENCES

STRUCTURE AND FUNCTION OF THE

The Sequential Unit

MUS 201 T bl f C

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Chapter 18 -- Chromatic Voice-Leading to V

AUGMENTED SIXTH CHORDS

The Italian

The German

MUS 201 T bl f C t t


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German Sixth as Apparent Dominant Seventh.

German Sixth as Enharmonic Dominant Seventh.

Diminished Sevenths above a Tonic Pedal

COMMON-NOTE DIMINISHED SEVENTHS

LEADING-TONE DIMINISHED SEVENTH AB

MUS 201 T bl f C t t


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Appendix E -- Interval Names and Sizes

INTERVAL SIZE AND QUALITY

FOREIGN EQUIVALENTS

Appendix F -- Interval Inversion

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file:///C|/Programas/KaZaA/My%20Shared%20Folder/g/A%20Handbo

COMMON-PRACTICE TONALITY: A

Top | Bottom | P

Introduction

What is "Common Practic file:///C|/Programas/KaZaA/My%20Shared%20Folder/g/A%20Handbo

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groundings, each incomplete. Today, music th

active one. Most modern texts on tonal theory

musicians), but by scholars--music theorists. A

how to write tonal music (or how it was written

There are as many ways to understand--that is,

alternatively, as there are pieces of tonal music

the music theory spectrum are the chord gramm

Heinrich Schenker (German pianist, music the

concentrate on chords, and the ways in which c file:///C|/Programas/KaZaA/My%20Shared%20Folder/g/A%20Handbo


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. . . because it is a tried and true way, a way tha

three, maybe four, centuries. And what goods t

Bach or Thelonious Monk! As a means of intr

processes of composition, it is unparalled; for c

becoming that "universal language" so often m

For Additional Study

Bamberger, Jeanne Shapiro, and Howar

P ti 5th ed New York: Harper & "Sound and Its Notation " Gutwein/Williams INTRODUCTION TO COMMON-PRACT


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Sound and Its Notation. Gutwein/Williams, INTRODUCTION TO COMMON PRACT


Top | Bottom |

Sound and Its Notation

Music is, by a common definition, organized sound. Music n

many for us to record easily in a written notation. As a resul

organized by the composer, or those of most interest to the p

"Sound and Its Notation." Gutwein/Williams, INTRODUCTION TO COMMON-PRACT

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Psychological studies have shown that when even profession

memories are often very inaccurate when compared to clock

proportional relationships (twice as long, half as long), they

of relative rhythmic proportions. (More on this topic later.)

Pitch Notation

It is doubtful that any person can accurately identify the diff

or write about the difference between two pitches we have n

system profoundly shapes the ways in which we hear, imagi



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PITCH INTERVALS


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w ,



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,



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,



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,



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,

Phrasing Marks. A dependent division of a me

demarcate these divisions and instruct the performer

Descriptive words. Finally, composers use de

(expressively), or tenuto (held, sustained)--to suggest

The sample score (above) uses and explicates many of these

Summary

A musical sound has three qualities: pitch, duration, and tim

symbol is the note A note can have three parts: a note head "Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC

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va G w / a , O UC O O CO O C


Top | Bottom | Nex

Pitch Interval, Consonan

As we learned in Sound and Its Notatio

consists of both pitches sounded simultaneously

i t l th t t it h (h i ll "Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC

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,

"Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC


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,



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,



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,



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,

major or perfect interval of that diatonic t

it doubly augmented.

Appendix E catalogues interval names, qualities,

SIMPLE AND COMPOUND INTERVALS

Intervals of an octave or less are simple intervals

compound second (that is, the interval of an octa

minor ninth, a compound major second is a majo "Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC

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The Acoustic Foundations of

When we hear a note played by some instrument

series of other pitches as well. We call these sub

number multiples of the fundamental frequency.

fundamental, the second is three times that of thefundamental, the interval between successive ov

becomes more complex.

Informally, musicians sometimes call overtones



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THE PERFECT CONSONANCES

The perfect unison, the perfect fourth, the perfec

are also perfect consonances.

THE IMPERFECT CONSONANCES

Major and minor thirds and sixths are imperfect

they contain adjacent pitch classes, are not conso



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Appendix G provides a graphic synopsis of triad

DISSONANCE AND CONSONANCE

Major and minor triads are consonant since they

augmented triads, however, contain fifths that araugmented and diminished triads are dissonant.

Dissonance


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SUMMARY:

Intervals have both a diatonic name and a quality

We can invert an interval by placing he bottom p

either consonant or dissonant. Acoustics suggest

Three pitch classes chosen so that none is adjace

triad the root, the third, and the fifth. We conside

dissonant "Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC


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Top | Bottom | Pre

Appendices to "Introduction to Common-Practice Tonal Composition"

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MU

APPE

A | B | C | D | E | F


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German Ganze Note Halbe Note

French ronde [pause] blanche [demi-paus

Italian semibreve minima, or bianca

Spanish redonda blanca

American Sixteenth Note Thirt

English semiquaver demisemiqu



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mf (mezzo-forte).

f (forte).

ff (fortissimo).

fff (fortississimo).

Variations in Dynamics

cresc. (crescendo). Gradually louder.

decresc. (decrescendo). Gradually softer.

dim. (diminuendo). Gradually softer.



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rubato. Slight, expressive accelerations an

Accelerations

Accelerando. Gradual increase in speed.

Affrettando. Hurriedly; temporary increa Doppio movimento. Twice as fast.

Incalzando. With growing fervor.

Piu. More.

Piu mosso, piu moto. More motion: sudd



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C-D# augmented 3

THIRD

C-Ebb diminished 2

C-Eb minor 3

C-E major 4

C-E# augmented 5

FOURTH

C-Fb diminished 4

C-F perfect 5



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C-A sixth Sexte sixte sest

C-B seventh Septime septieme sett

C-C' octave Oktave octave otta

Appendix F: Interva



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Name of Seventh Chord

(Less common name in parentheses)Q

Dominant Seventh (MAJOR-minor) M

Major Seventh (MAJOR-MAJOR) M

Minor Seventh (minor-minor) m

Minor-MAJOR m



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(f) We may abbreviate figures as follows:

[no figure] = 3, or 5 = 5/3

7 = 7/5/3

6 = 6/3 6/5 = 6/5/3

4/3 = 6/4/3 2 or 4/2 = 6/4/2

(g) A dash or dashes following a figure or a verti

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THE CYCLE OF PERFECT FO

If we begin on any pitch class, say B, and ascend

(that is by units of 5 or 7 half steps), after twelve

(without repeating any) and, on the thirteenth try

We may represent this cycle more clearly with a

The Cycle of Fifths



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Composers occasionally support the soprano mo

suggests a dominant harmony with the third miss

which was unable to produce the leading tone (th

supporting 2^, even by some other instrument, nacertain pastoral character.

We do not see such omitted thirds in chorale styl

two Mozart excerpts that follow are characteristi

Beethoven. Symphony No. 4, Op. 60. Th

Scale-Degree Trads in Context


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COMMON-PRACTICE TONALITY

top | bottom | n

Scale-Degree Triads i

As we have seen, harmonic progressions arise from voic

in relation to a particular musical context. In this chapte

triads and various musical contexts in which they might


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I may serve to prolong V, acting as its lower-fifth divid

within the dominant triad (see example 8-1b).

I

I frequently appears as support for bass arpeggiations

UPPER-THIRD DIVIDER



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must resolve. Usually, the 6 resolves down to 5 and the



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results in a dramatic deceptive cadence to IV . Only af

cadence.



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iv IN THE MINOR

In the minor, iv6 has an additional function. As a minor

often find iv6 functioning as upper neighbor to (see e

IV

We see IV most often as a support for a neighbor-not

7 ) Scale-Degree Trads in Context


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Ex. 8-8 Voice-Leading Role of ii and iii

5-6 TECHNIQUE

IV and ii6 function similarly as lower neighbors to V

leading problems. Any time we create successive root p

One common technique retains the best of both these m

begin on IV , we can convert the harmony to a ii6 by m

example 8-7b (above) for example, a root-position ii pro



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VII6 supports the bass passing note between and . A

In Bach's figures, we see that the ii6 becomes a IV7 as t

dissonant chord, a IV7 does not always behave like a lo

Neighboring and Passing iiis

In a bass arpeggiation from to , iii6 may support a b



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b tit t f th i V


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serves as a substitute for the passing V .

The ii, iii, and vi function either as fifth dividers or, in in

third dividers as well. In that role they prolong motions

functions additionally as a deceptive substitute for I.


Aldwell, Edward, and Carl Schachter. Harmony

Jovanovich, 1989. Chapter 16.

Benjamin, Thomas, Michael Horvit, and Robert "Tonality." Gurwein/Williams, INTRODUCTION TO COMMON-PRACT


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top | bottom | n

Tonality

The pitch organization of a musical work is its ton

below is one type of tonality. There are many othe

Practice Tonality") is so prevalent that we refer to

"Tonality." Gurwein/Williams, INTRODUCTION TO COMMON-PRACT

Scales

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Scales

A scale, on the other hand, is a hierarchical orderi

class has a unique position within that scale. We c

In ordering a scale we do more than simply place

certain pitch classes priority over others. In a C sc

degree. By definition, that gives it priority over al

position within that scale. (You will learn more ab

chapter.)


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the clef in a space or on a line given the note of th


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the clef in a space or on a line given the note of th

same pitch class that follow. If, for instance, a com

classes of the F major scale for its tonal material),

major scale. We call these universal flats or sharp

key signature for F major.


second scale degree (2^) E the third (3^) and so o


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second scale degree (2 ), E the third (3 ), and so o

pitch, C, the first scale degree (1^) once again.

Scale degrees attach to pitch classes, not pitches.

In addition to a number, each scale degree has a n

Tonic (1^)

Supertonic (2^)

Mediant (3^)


note or a lower neighbor note


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note or a lower neighbor note.



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Diminished Fifth. The naturally occ

with 7^ resolving up to 1^ and 4^ resolving



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Scale-degree triads have the same quality in every

major key, the leading-tone triad (vii) is diminishe



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the equivalent of a whole step plus a half step--an


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q w p p p

sale degrees (between 6^ and raised 7^) sounds ra

whole step between adjacent scale degrees becom

familiar to us as a third and so we hear it more like

To reestablish the conventional distance between

becomes F-sharp, or raised 6^.) Since meloic consthe melodic minor .


THE RELATIONSHIP BETWEEN


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THE RELATIONSHIP BETWEEN

Major and minor scales use the same key signatur

However, the major and minor scales that share th

the major and minor keys that share the same toni

The Relative Relation

The minor key that shares the same key signature

minor is the relative minor of C major Conversely "Tonality." Gurwein/Williams, INTRODUCTION TO COMMON-PRACT

Ald ll Ed d d C l S h h H


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Aldwell, Edward, and Carl Schachter. Har

Jovanovich, 1979. Chapter 1-2.

Bamberger, Jeanne Shapiro, and Howard B

5th ed. New York: Harper & Row, 1988. C

Fux, Johann Joseph. The Study of Counterp

and edited by Alfred Mann. New York: No

Jonas Oswald Introduction to the Theory "Contrapuntal Progressions and Voice-Leading Harmonies." Gutwein/W

COMMON-PRACTICE TON


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COMMON-PRACTICE TON

top | bottom

Contrapuntal The techniques discussed so far allow us to s

"Contrapuntal Progressions and Voice-Leading Harmonies." Gutwein/W

figure represents the first-inversion triad

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figure represents the first inversion triad.

The inversion of a consonant triad is itself co

bass, it is unstable. Being both consonant and u

progressions.

Bass Arpeggiation


l th ti t B h t it ith


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prolongs the motion to , Bach supports it with


In this way s frequently support neighbor no


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In this way, s frequently support neighbor no

another example of a bass neighbor supported b

7] - ) receives the same support as in exam


voices.


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Passing

We often see s support passing note prolonga

the bass of a ii-V6 progression with a passing n

inversion more dissonant and unstable than the

between ii and V6 "Contrapuntal Progressions and Voice-Leading Harmonies." Gutwein/W


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The most familiar common-note embellishes

upper voices remain on the upper neighbors of

However, as the bass repeats , these upper ne

proper.



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Ex. 7-6--Origins of the V7


The dissonant tritone formed by the seventh of


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The dissonant tritone formed by the seventh of

dissonant resolves down to and the leading

Inversions of the V7

A seventh chord has three inversions. The third

dissonant chord in an unstable position, the pas



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sonority! The text of Chorale 83 considers Chri


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the word acht ("take care" or "heed"). The cade

or "delivered"). Christ "delivers" the sinner fro

half cadence to V7 frequently in free style.

The V and vii6

The active interval of the V7 (the tritone betwe


THE CONTRAPUNTAL CADE


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A cadence in which the bass moves by step rath

contrapuntal cadence is useful as a way of endi

authentic close. Most often, contrapuntal caden



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Aldwell, Edward, and Carl Schachter. H

Harcourt Brace Jovanovich, 1989. Chap


Perception. 5th ed. New York: Harper &

Jonas, Oswald. Introduction to the Theo

Rothgeb. New York: Longman, 1982. C

Piton, Walter. Harmony. 5th ed. Revised

1987. Chapter 6.

Salzer Felix Structural Hearing New Y "The Basics of Four-Part Writing." Gutwein/Williams, INTRODUCTION TO CO

COMMON-PRACTICE TO


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top | bottom

The Basics of Fo

We begin the study of harmony with a four-voiced text

of voices and definition of tonality.

T t i i h l t l t t l b th "The Basics of Four-Part Writing." Gutwein/Williams, INTRODUCTION TO CO

This makes the two voices visually distinct. We place t

bass stems descend

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bass stems descend.

Range of the Four Voices

With the exception noted below (see "Keyboard Style"

example 5-2.

"The Basics of Four-Part Writing." Gutwein/Williams, INTRODUCTION TO CO

CLOSED POSITION


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CLOSED POSITION

Disposing the voices so that the upper three are as clos

Doubling

Given the three pitch classes of a triad distributed amon

When two voices have the same pitch class we say that

RULES FOR DOUBLING


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When an individual voice moves by an interval greater


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y g

skip a "leap." For our purposes, "skip" and "leap" are th

Consonant Skips. A voice may skip any c

Dissonant Skips. Disjunct motion by a d

skip up a minor seventh if there is some compel

consonant step. A voice may skip down a diminand if it then moves up by a consonant step.

Successive Skips. Since conjunct motion

When used, successive skips work best if small

i ki i th di ti if th "The Basics of Four-Part Writing." Gutwein/Williams, INTRODUCTION TO CO


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Ex. 5

You should avoid parallel motion between outer voices

Parallel motion between inner voices or between an inn


CONTRARY MOTION


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CONTRARY MOTION

When two voices move in opposite directions, contrary


octaves completely.


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Hidden Parallel Octaves. If, in the ou

hidden octaves These implicit octaves weaken


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hidden octaves. These implicit octaves weaken

avoid such voice leading, except when the sopra

implicit parallels that otherwise might result.



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Ex. 5


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"Rhythm and Meter." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC



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top | bottom |

Pulse, Rhythm, & Mete

The durations of tonal music are divisible by the pulse. P

patterns of accents.

Accents result from both rhythmic placement and harmo


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The addition of a dot after any note head or rest increasewhole note or dotted whole rest has the same duration as


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dotted half rest has the same duration as a half note tied


Our sensory nervous systems navigate safely through th


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stuff -- originally survival related ), from noise (unimpo

detect patterns is to keep a temporary list of the most rec

incoming sounds to them.

We recognize the incoming sound-stream as a reiteratio

similar, especially features related to their beginnings..

the higher cognitive functions of the brain. After all, at

sounds and respond with "reflex-speed".

The Pulse


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The meter signature appears after the key signature a


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The Numerator. The to

The Denominator. The bottom

For example, 34 indicates a meter in which there are thre

note. The meter signature 48 indicates a meter in whic

pulse. Like other meters of the type, 34 and48 are calle

there is another type of meter called compound . For


naturally in half, we must represent a compound pulsevalue with a simple integer, though. As a result, the de


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p g g

pulse. Rather it shows the note va

To interpret a compound meter signature then, we must

in the compound measure. Then, we must group togeth

duration of these three

For example, 68 is a compound meter (see example 4-2

these subdivisions make up the pulse, so three eighth noduration of a dotted quarter note. There are six eighth n

equals three eighth notes. A measure equals

As a rule, the numerator of a compound met



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When we place unstable notes on the pulse, thy are ac

pattern. They create an especially exp

A i d di


form themselves into phrases, phrases grou


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We often see two simple phra

The period is m

Antecedent. The first phrase, or antec

Consequent. The second phrase, or c

s



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Bamberger, Jeanne Shapiro, and HowardNew Yor

l h h h l


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Lester, Joel. The Rhythms of Tonal Music

Mitchell, William J. Elementary Harm

Piston, Walter. Harmony. 5th ed. Revise

Sachs, Curt. Rhythm and Temp

Williams, Edgar W. Harmony antop | botto

"Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C


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Basic Harmoni

Harmonic progressions arise when the tonic triad

notes prolong this process which we call compo "Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C

Traditionally, composers learn counterpoint in stcounterpoint that results species counterpoint . Of

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p p p

us here. First- and second-species counterpoint w

voices (soprano and bass). They will teach you a

progressions. (Click |here| to read Appendix O: P

FIRST SPECIES

In first-species counterpoint, the voices move in

remains consonant with the other.


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1^-3^. However, the harmonic fifth between bassfact that fifth suggests the dominant triad (B-flat)


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dominant triad fully realized.



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The following example illustrates the same lower


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imperfect authentic cadences end on 3^ in the sopconsonant support from V. Therefore, most cade


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than imperfect authentic cadences.


The cadence from the lower-fifth divider to I is cambiguous. Is this a plagal cadence in C (I-IV-I)

h l l d l d d


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reason, we see the plagal cadence rarely and und

upper neighbor (6^), or at the end of a compositi

prolongation of the tonic triad.

THE IMPERFECT PLAGAL CADENCE

V contains neither 4^ nor 6^, the neighbors of 5^

then, needs the lower -fifth divider, IV. IV contai



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When we cadence to I from IV, we create a plagaA plagal cadence beneath 6^-5^ is imperfect.


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The deceptive cadence completes all voice-leadin

substitutes the lower-third divider (vi) for I, and 6

a direct return to V follows in a later progression

Avoid repeating a chord or a bass note from a we

unintentional syncopations.

Simple Melodic Line (MUS 201)

Procedure


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a Simple, Metri

Composing the Metric Structure | Composing the Cadence

I. Compose the Rhythm and the MIn this course we want to compose common-practic


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3. A rhythnically contrasting relationship bet


cadence.) In any event, the fundamental rhform, a more dramatic contrast of rhythms w

structures


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structures.

6. Fill in the remaining measure of each phr

do this by simply insert quarter notes:



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or in some case

III "Compose o t" the pitches for


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III. "Compose-out" the pitches for

1. Since we have not yet learned how to design

measures, subphrases, and phrases, you will

of the following three:


Motion


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8. The line should move predominantly by step

9. No leaps larger than an octave.

10. Two or more consecutive leaps in the sam

members of different triads. This is prohibit

in the opposite direction to the 1st note of thit is a component of the preceding triad, and

11. A leap of a fifth or more should be followe

appogiature (See this on how to handle leap "The Minor Mode." Gutwein/Williams, Introduction to Common-Prac

COMMON-PRACTICE TONALITY:

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.top | bottom | ne

The Minor Mod

The minor mode requires special attention. Fir

"The Minor Mode." Gutwein/Williams, Introduction to Common-Prac

In free style, composers often use the cross-rel

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Ex. 9-3--Leading Tone in the Minor


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RAISED

Raise whenever it acts as leading tone--that

cadence to the minor tonic (see example 9-3a)

will, eventually, resolve to i (see example 9-3b


raised to approach raised . If you must appr


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The resulting VII-III progression, however, micreates tonal ambiguity and a momentary tonic


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In example 9-6b, Bach supports the bass passin

sounds, for the moment, like V6 in the key of F

minor) sounds like V6-I in III, (F major). The

draws us back into D minor (i), however, creat

When using VII as upper-fifth divider of III, b


reestablishes tonic A minor with a contrapunta- linear progression.


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We will discuss tonicization techniques more t

Summary

"Melodic Figuration." Gutwein/Williams, Introduction to Common-Practice



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Melodic Figura

Tonal music contains many passing and neighborin

smooth and sometimes even correct voice leading f


Ex. 10-1--Chordal Skips

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Remember: A chordal skip moves to a note in the s

Chordal Skips and Faulty Voice Leading

What smooths out the voice leading in one voice mfaulty parallel motions when adding chordal skips.



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PASSING NOTES


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When a voice skips by third (or fourth) from a note

between them with passing notes. Passing notes tha

support from the bass. In this way they differ from

We distinguish between two types of passing notes

between two accented chord notes. (The several pa

passing notes arise on a metrical accent. In example



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We can correct the parallel fifths of example 10-9a soprano (10-9c).


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Passing Notes and Other Forbidden Paral

Passing notes may not create parallel unisons or oct

present in basic part writing.

Passing Notes in the Minor


and 10-11b) or incomplete. In example 10-11c, Bac

than return the upper neighbor (D) to C and comple

neighbor incomplete.


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The Appoggiatura

Wh h i ki t t d i l


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When we have a voice skip to an accented incompl

this accented incomplete neighbor is dissonant as w

by skipping to the dissonant upper neighbor of C be

appoggiatura because (1) it is accented, (2) the voic

The Escape Note

When we have a voice skip from an unaccented inc "Melodic Figuration." Gutwein/Williams, Introduction to Common-Practice

Melodic Tonicization


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So effective is the chromatic lower neighbor in stre

may become tonicized .

TONICIZATION

A tonal composition has one tonic. However, we m

momentarily, like a tonic. The technique that create

i i i h i i i i d l


When I serves as the upper-fifth divider of IV, we f

degree.


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When we have a voice skip to an accented incomplskip from an unaccented incomplete neighbor, we c


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Chromatic figurations can tonicize certain scale deg

neighbor frequently tonicizes . Lowered freque


Diatonic Seventh Chords

COMMON-PRACTICE TON


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Diatonic

Diatonic seventh chords arise on all scale degre

leading. The dissonant seventh must resolve do


Subdominant Seventh

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The subdominant seventh functions the same in

motion as part of a IV7-V7-I progression. The

The other chord notes move by step to those of



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RESOLUTION OF THE SEVEN

As a rule the seventh must resolve down by step


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As a rule, the seventh must resolve down by step

common variants of this resolution.

Transferred Resolution

The seventh can resolve in another voice if the

resolution is called a transferred resolution.


We often see the resolution of the seventh embe

decorated resolution resembles the decorated re


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The Delayed Resolution

We may delay the resolution of the seventh by

between chords. Eventually, however, the disso

extreme) example of the delayed resolution.



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seventh as a dissonant common note between c

We can treat the resolution of the seventh as a s


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Pedal points, dissonant passing or neighboring

look like sevenths. These chords, called appare

most common apparent sevenths are the "6/5" (

in sound, is a decorated 6/3).


Harmonic Tonicization and Modulation

COMMON-PRACTICE TON

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Harmonic Tonicizati

and Modulation We can highlight a scale degree triad by treating it


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Structure of the Applied V7. The V7 must be a p

must stand a minor seventh above the root.


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So powerful a tonic-defining interval is the tritone

Applied vii and vii7


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pp

The leading-tone triad contains as its defining fifth

vii to enhance its voice-leading potential. Both vii

triad with an applied vii or vii7.

Structure of the Applied vii and vii7. The root o

applied tonic--that is it must be built on an applied


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prominent role in composing out the true tonic.

CLOSELY RELATED KEYS


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Notice that the key signatures of the primary scale

no more than one sharp or flat. Keys related in this

For example, the following keys are considered cloone flat), vi (A minor, no flats or sharps), iii (E mi

triad of each of these keys is a scale degree triad w


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key area. This confirming progression may be an a

triads of the new key area. In either event, it must triad.


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Modulation can be either gradual or abrupt. We ef

chords, called pivot chords, shared by the old and

takes us immediately from a chord not found in th

must be careful either to keep the cross-relation in

voice.

F Additi l St d Harmonizing a Melody

COMMON-PRACTICE TONALITY

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Harmonizing a

Harmonizing a chorale melody gives you the opportun

chapters Harmonization is a three stage process First Harmonizing a Melody

Ex. 14-2 Basi

The first phrase (example 14-2b, measure 1) arpeggiate



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passing notes. The half cadence arises as this prolonged

between them to create this half cadence. The second p

arpeggiation from to . However, the repetition of t

and without the second passing 4^ (D). This allows t

from to . The second phrase ends on a perfect auth

phrase) through a passing (half cadence) to Harmonizing a Melody

We support the repetition of that structure in the secondits fifth divider will form the backbone of any complete


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The Cadences

The simple analysis in example 14-2c now allows us to

should involve a perfect authentic cadence. This appropfrom to . Notice that the bass line of example 14-3

- Harmonizing a Melody


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Harmonizing a Melody

We now must complete measure 1. To complete the fir

opening root-position tonic to the final cadential domin

Consider what this means First each chord must be a v


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Consider what this means. First, each chord must be a v

structure outlined above.) Second, each voice-leading c

V. (These voice-leading chords will not lead to the I6 o

leading motion to the cadential V. I6 is not the goal her

From Chapters 6 and 7, we know that IV (or ii) provide

beat of measure 2, creates a IV(or ii)-V progression bet

4^ (IV ii6 l 14 7 ) b (ii l Harmonizing a Melody


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example 14- 10. Bach uses not a I6 but a root-position

support.) If you consider the bass line, ignoring the figufrom the third beat of measure 1 (bass ) all the way to

on from that bass to the following root-position I (m


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w g p (


Ex. 14-

Notice that (except for the second phrase tenor) both al


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Not ce t at (e cept o t e seco d p ase te o ) bot a

common notes. As a rule, the inner voices arise natura

bass in relation to the soprano is strong.

INNER VOICES OF THE FIRST PHRASE


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1983. Chapter 16.

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Top | Bottom | P

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Introduction

What is "Common Practic file:///C|/Programas/KaZaA/My%20Shared%20Folder/g/A%20Handbo

groundings, each incomplete. Today, music th

active one. Most modern texts on tonal theory musicians), but by scholars--music theorists. A

how to write tonal music (or how it was written


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There are as many ways to understand--that is,

alternatively, as there are pieces of tonal music

the music theory spectrum are the chord grammHeinrich Schenker (German pianist, music the

concentrate on chords, and the ways in which c file:///C|/Programas/KaZaA/My%20Shared%20Folder/g/A%20Handbo

. . . because it is a tried and true way, a way tha

three, maybe four, centuries. And what goods tBach or Thelonious Monk! As a means of intr

processes of composition, it is unparalled; for c


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p p p

becoming that "universal language" so often m



P ti 5th ed New York: Harper &


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Diatonic Sequences

Ex. 16-1 Basic Diatonic Sequences


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Notice that the sequential units of examples 16-1a, 16-1b, and 16-1c mov

is, each measure of these three examples is transposed down (or up) by ste

(examples 16-1a and 16-1b) or by a combination of thirds and fifths (exam

fifths.

In contrast, the sequential unit of example 16-1d moves down by thirds. T

A l d di l i d h di Diatonic Sequences


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Diatonic Sequences

Ex. 16-3 Mozart, Piano Sonata, K. 284, first movement

Here a succession of s prolongs the motion from a contrapuntal domina

"progression." The succession of 7-6 appoggiaturas descends by step - as


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ASCENDING SEQUENCES

Ascending Fifths. Sequences by ascending fifths are rare by comparison

example 16-1b. As often as not, they prolong the motion from I to the low

Diatonic Sequences


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Diatonic Sequences

Sequential Motion by Thirds

Sequences by descending thirds move from I through the lower-third divi

move to the dominant.


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DESCENDING s

We often see descending s paired to create a sequence of descending th

Diatonic Sequences


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"Modal Mixture." Gutwein/Williams, INTRODUCTION TO COMMO

COMMON-PRACTICE T

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Modal Mixture

Tonality recognizes two modes: major and minor. To m

degrees from the parallel major We do so to create stro "Modal Mixture." Gutwein/Williams, INTRODUCTION TO COMMO


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In the minor, not only stands in a stronger voice lead

minor is a major triad. This makes of the deceptive cadVI major, but it stands just a half step above the major

the minor mode.)


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Composers often borrow this sixth scale degree from th

major.


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a leading tone but as upper neighbor to . Now, the pla

neighbor to . When returns as a passing note to

to avoid the augmented second that would otherwise re


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This cadence is tonally ambiguous. Is it a plagal cadenc

flat minor? Perhaps the text will help.

The cadence arises above the word büssen (German, aton the world by our sins, pleads the sinner. Is the hard-

"sufferings" (borrowed from the parallel minor) in the e "Modal Mixture." Gutwein/Williams, INTRODUCTION TO COMMO

Example 17.4 is the final phrase of Chorale 324. The pparallel major and minor - as well as a startling borrow

enhance good voice leading, the voice leading here is a


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g g g

clashes dramatically with the raised neighbor in the

the raised needed for the applied V of V creates a j

the cross relation moves the "wrong" way - from an outis going on here?


For Further Study

Aldwell, Edward, and Carl Schachter. Harmon

Jovanovich, Inc. 1989. Chapter 22.

K k S f d D h P T l H


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Koska, Stefan, and Dorothy Payne. Tonal Harm

Schoenberg, Arnold. Structural Functions of H

Company, Inc. 1969. Chapter VII.

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Species Counterpoint (MUS 201)

Procedures for Writ

Purpose of First Species Counterpoint

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Purpose of First Species Counterpoint

First species counterpoint requires us to use th

consonant, and requires a predominance of obl

these constraints we will learn to control the co

melodic lines without the added complexity offifth species counterpoint gradually introduce r

Species Counterpoint (MUS 201)

1. Fill melodic 3rds with P.T.s or arpeggia

2. Embellish repeated tones with N.T.s or

3. Embellish melodic steps with dissonant

4 Simultaneous embellishments in both li


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4. Simultaneous embellishments in both li

perfects)

5. Arpeggiations may be followed with ac

subdivision.

B. Check for the following errors


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