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Key: pitch relationships that establish one note as the tonal center

Scale: a series of notes that present all given notes


Key Signatures: Every key has accidentals that conform to that key to make
the scale.
How many
What are they
Minor : parallel - same starting pitch
Relative - same key signature
Natural Minor - untouched
Harmonic Minor - not used in first 200 years of CPE usually. Used to spell
chords. Raise 7th of scale (Le -Ti monster bad)
Fight Le Ti with La Ti
Melodic Minor - lower 6th, back to natural Minor on way down

Intervals:
The Space between two notes.
Generic (NEVER CHANGES): 2nd, 3rd, 4th, 8ve
Quality:
Perfect: Unison: 4th, 5th, and Octaves
Major-Minor: 2nd, 3rd, 6th, 7th
Stretching: Diminished 0P + Augmented
Shrinking: Diminished minor Major Augmented

Analysis: Start from bottom note and build on that notes major scale. First
start with the generic, 4 above, 5 above, then sharp or flat either side as
needed.
Key doesnt exist- cover sharp or flat, do it in a key that exists, then add
flat to top note.
Below Analysis: M7 below E
Generic Value 7 Take Key
Cant Touch This Top Note
Take
Inversion:
Flip M3 to m6
Flip m6 to M3
Flip Aug 4th to Dim 5th.
Flip M2nd to m7th
Dom 7th or Mm7 Upper Case Fully Dimished o7 Lower Cased
Cb Eb Gb Bbb C Eb Gb Bbb
C E G Bb C# E G Bb
C# E# B# B D F Ab Cb
Db F Ab Cb D# F# A C
D F# A C E G Bb Db
Eb G Bb Db E# G# B D
E G# B D F Ab Cb Ebb
F A C Eb F# A C Eb
F# A# C# E Gb Bb Db Fb
Gb Bb Bb Fb G# B D F
GBDF A C Eb Gb
G# B# D# F# A# C# E G
Ab C Eb Gb B D F Ab
A C# E G B# D# F# A
Bb D F Ab
B D# F# A Half Dimished Raise 7th step

mm7 Lower the 3rd step


MM7 Raise the 7th step

1. Beat and Meter Type


2. Beat value is one greater than the division value.
3. Compound The beat value gets a dot.
4. Compound bottom number in time signature is the division value.
Simple world- bottom number is the beat value

Simple Time: Beat Divided by 2


Simple Duple: - 2
Simple Triple: - 3
Simple Quadruple: - 4

Compound: Beat Divided by 3


Compound Duple: -6
Compound Triple:- 9

Beat and Meter Type Beat value Division Time Signature


2 6 Simple Triple Eighth Sixteenth 3/8
3 9 Compound Triple Dotted Half Quarter 9/4
4 12
Compound Quadruple Dotted Eight 16th 12/16
Compound Duple Dotted Quarter 8th 6/8
Simple Quadruple 8th 16th 4/8
Simple Duple 2 Quarters 2/2

Compound Quadruple: -12

i iio III iv V VI viio


Harmonic Minor Raise Te to Ti
5 and 7 their 3rd and Root to Heaven (go up)
The Root is the Roman Numeral
Major VII - Natural Minor Alternate

7th Chords
First Letter Describes Tirad
Dom7 Mm7 Dominant
M7- MM7 Major 7th
m7 mm7 Minor Minor 7th
o7 dd7 Fully Diminished 7th
7 dm7 Half Diminished 7th

Root Position 735


First Inversion 653
Second Inversion 643
Third Inversion 642
OR
Root 7
Third 65
Fifth 43
Seventh 42

Part Writing
1. Never double leading tone
2. Never space Sop and Alto over an octave.
3. No Voice Crossing Tenor and Alto

Alternate Chords in Minor


1. VII- viio
2. IV - La
3. ii - La
4. #vi7- La (Sharps, Flats, or Naturals next to roman numeral means fuck with the
root)
5. v

Avoid LE Ti. Change LE to LA, Approach from above (Do).


Step Decent Bass (SD Bass)
DO, TE, LE, SO Hit the Road Jack
i, v, VI or iv6, V

Major
I7- Tonic
ii7- Supertonic
iii7- Medianant 3 over TOnic
IV7- Subdominant -5 underneath the tonic
V7- Dominant
vi7- Submediant 3 under tonic
vii7- Leading Tone

Minor
i7
ii7
III7
iv7
V7
VI7
viio7

Alternate Roman Numerals


VII V - TE
IV7 ii7 #vi7 LA

Non-Chord Tones

LNT- Lower Neighboring Tone


UNT- Upper Neighboring Tone
P- Passing Tone- Find a descending third.
APP-Appoggiatura Leap, step
E - Escape- Step, Leap (Rare)
SUS- Suspension Note, Same Note, Down(4-3 scale degree above the bass), best
ones are across the bar line. The 2nd note is a 6, 3rd -8ve above the bass. Drop of
major 2nd.
RET - Retardation Upside down suspension. Note, same note, resolve up.
-Circle the Non Chord Tone and Lable it.
1. No I7 Chords until Debussy
2. Never start out I42
Alberti Bass
Arpeggiation
Scalar Motion
Boom Chic Chic

Phrase Model:
A relatively independent musical idea concluded with a cadence (a point of
repose at the end of a phrase).

IV viio6
First Level Analysis I III vi ii V I
Second Level Analysis T- (PD) PD D T
Cadences
IV - I Amen
V-vi Deceptive Cadence
Phrase Model:

Moves only
Left Right
Down

Doubling:
Always Double Bass. NEVER double Leading Tone

Spacing: No more than an octave between S - A - T

Voice Crossing:
Stem
Space
Spelling

Checking Spacing
S-A S-T S-B

Fouth Movements
Part writing:
Common Tone Step: Find the common tone and part write that in the next chord and then
move by step in the other voices. Basses arent involved (They can always jump). This helps
piece to be sight-readable.
Everyone Moves:
No one moves more than a 3rd

IV-I
I-V
ii-V
vi-ii
V-I
DLT- Double Leading Tone - Never double a tone that will go somewhere
DB- Doubled something weird
CM5th - Pitch inventory
VO - Horizontal
VC - Vertical
P=5
(3) - Missing 3rd

Third Movements- Double Common Tone if You Can (DCT-IYC)


I-iii
IV-ii
I-vi
vi-IV

2nd Movements - Contrary Motion (IF Bass goes up, everyone goes down. If the Bass goes
down, everyone goes up)
VII-i
I-ii
iii-IV
i-VII

Exception- Double the Third (Re to Do, Ti to Do)


V-vi
V-VI
or
vi-V
VI-V

Repeating Roman Numerals - Jumps of a 4th or a 5th is cool.

IAC PAC
1. viio6 - I (leading tone cadence) or V 6, 65 1. V-I, V7-I
2. Inverted 2. Root Position
3. Do is NOT in the soprano. 3. Do is in Sop (I)
PC HC
1. IV-I 1. ?-5
2. ii-I
Phrygian Half Cadence HC
1. Minor Key 1. ?-5
2. IV6- V FaSo and DoTi
3. Bass - Le So
DC V7 - I Complete to Incomplete c-i
1. V-vi 1. R 3 5 7 to Root Root Root 3rd
2. ReDo and TiDo and Bass SolLa 2. 7th of chord down by one step
(Always), Leading tone (ti) up
V7-Incomplete to Complete i-c V7 I Complete to Complete with
Frustration
1. R R 3 7 to R 3 5 7 1. R 3 5 7 to R 3 5 7
2. 7th Down, Leading tone up 2. 7th Down, LT Down a 3rd
Triads
V65 - I
V43 - I -I6
V42 - I6

Anticipatpion: note, up stay


Retardation: note, same up
Excape with Apoggioatura: Neighoring Group
Neighborr tone. note up back
Accented Passing tone: PT happens on 1 or 3

64 Chord Uses

-Always double the Bass

I. Passing - Dominant Expansion


Passing Formula: I -V(P)64 (V43 or viio6) - I6
Bass is Do, Re, Me
Contrary Motion between outer parts

2. Pedal - Tonic Expansion


-Do Do Do is the bass
I - IV64 - I
Double the bass
Move all voices not doubled up and down one note. Wafting,
3. Cadencial - Dominate Expansion
Sol Sol Do
I64 - V
\V/
V64-53 is how you write it. It is a I64 - V but your wrote it V64
Double the Bass

4. Arpeggiating

Parts of the Midterm:

1. January 30th Quiz - Same Quiz 7th Chords Quiz

2. Roman Numeral Exercise - know inversion symbols, major, minor, and fully and half
diminished chords in Major and Minor Keys

63 64
653 643 642

Major
I ii iii IV V vi viio6 First inversion to avoid Tri Tone.
I7 ii7 iii7 IV7 V7 vi7 vii7

Minor
i iio6 III vi V VI viio6
i7 ii7 III7 iv7 V7 VI7 viio7

3. Todays Homework Example - (another example is page 227)


What Key?
Fill in Roman Numerals
Fill in SAT
Fill in 64 Chords as passing, cadencial, pedal, arpeggiating
4. NCT
Every Roman Numeral
Every Non Chord Tones
7-6, 9-8, 4-3 (2-3 Bass Suspension)

5. Cadences
PAC- Do in Soprano - Both V and I in Root Position, No inversion. Anything else= IAC
IAC - Do NOT in Soprano
DC - V-6
PC- IV - I
Anything to V

7-6, 9-8, 4-3 (2-3 Bass Suspension)

Secondary Dominants
1. A dominant seventh Chord
2. If itd dominant its 5 of something, if its diminished, its the 7 of something.
2. NOT the dominant of the tonic
V/III has no accidentals
Tonisizing or tasting the bottom like Jakes ass.
My not tonisize the dimished

1. First indicator is a chromatic in the chord


2. The chord is a five, of what?
1. Analyze the quality
2. Dominant or diminished
3. Write the Chords
4. The next chord after the dominant is always the bottom chord V7/III to

Motive - short 4-6 note rhythmic and/or melodic idea that retains its identity
Phrase Segment - of a phrase
Phrase- a relatively independent musical idea, has to conclude with a cadence .
Period- a weakly conclusive phrase paired with strong conclusive phrase. The WHOLE idea
is stronger! Antecedent and consequent (question and answer) 4 measure phrase phrase
followed by a 4 measure phrase.
Sequence- to repeat a melodic idea sounding lower or higher in range.
To Chart Phrases -
1. Number Phrases (bubble)
2. Letters (all about the tune, the melody)First Bubble the Phrases, if it starts with the same
melodic material, remember to do a prime marking.
3. Cadences (two) need to go weak, strong. Two strong phrases make a phrase group
4. Name the form-
a. Is it a period? Yes
b. a and a means parallel period
c. a and b means contrasting period
5. Double Period - first two phrases end with weak cadence, second two end with a strong
cadence.
Sentence- often a, a, b.

V7 to I
V65 to I
V43 to I6
V42 to I6
Modulation: A shift of tonal center that happens within an individual movement.

Mvt. I in A
Mvt II in E
Mvt III in A

That is NOT considered a modulation, has to modulate within the key.

Keys Keys Keys at the Cadence points, Cadence points, Cadence points
A. Cadence points
First Notes
B. Leading tone
C. V to I polarity/ phrase model
D. Other accidentals
E. Key Signatures

I. KKK-CCC
II. Track left to right
III find the birth of the new key or death of the old key
IV Go one chord back
V Does it work as a pivot?
Use Chair, Top of chair is old key, and bottom is new key. Cases music match. Both major,
minor, dimished, augmented, . Then put new key on outside of choir with a big colon.

Common Chord/ Pivot Chord Modulation:


Uses a hinge or a pivot to link the new keys.
To closely related Key:
1. Within 1 sharp or 1 flat away.
2. Use I, IV, V - Those are closely related, and their relative minors.

Sequential Modulation
1. Same melodic material repeated at a different pitch level, the beginnings of the phrase is
the important part
2. Harmonic sequence is harmonic material in couplets repeated at a different pitch level
Ex of writing.. No Chairs,
Bb:
seq

Common Tone Modulation - Where one tone acts as a pivot or hinge


1. Tertian relationship between the two keys or two chords
2. Tone is isolated often emphasized and always harmonized in the new key
Circle Common Tone and Put C Tone
-Isolated
-Emphasized
-Reharmonized
Monophonic Modulation - One melodic line gets us from one key to the next

Chromatic C C# D. Secondary Dom on Top and new key on bottom.

Mode Mixture
i iio6 or ii65 bIII iv v bVI VI viio7 bVII

Extended Tonisiztion
1. Several secondry dominants in a row
2. different than modulation cause it lacks a major cadence point.
Dimished-
You can tonisize borrowed chords.

9th Chords - 9th Resolves Down


11th Chords - 11th Resolves Statically
II 11th - V- I

Neapolitan Chord
bII or N
Called Neapolitan 6th because usually always in first inversion.
Part Write - Ra, Ti, Do, Can stop for Do on the way down.
Ra, Fa, Le (RaFaEl Hotel), Bass is Fa
Ra goes to Ti, dont double the tendency tone!
NO Ra Re, either Ra Ti, or Ra Do Ti,
Bass goes fa so, fa fi so or fa so so

Aug 6th - Turbo Charging the Dominant (Sol)


Le to Sol
Fi to Sol
Cb-A
C-A#
Db-B
D

F: viio7/V is B, D, F, Ab

Aug 6th
75% is built on Le Fi
o Le to Sol
o Fi to Sol
o Le is Lowerd La
o Fi is Raised Fa
25% is built on any other thing
Italian -It+6
M3 above Le
All roads lead to Italy first, you need the M3 first.
Double the Italy Note (the M3)
So only 3 notes
French - Fr+6
M3 Above Le
M2 Above Italy Note (Major 2nd above M3)
Second is Sexy, French is Sexy
German - Gr+6
M3 above Le
m3 above Italy Note (M3)
German is heavy and sad cause holocaust
Enharmonic modulations
Voice Leading is V64 -53 (I64 to V)
In Major, respell German note as enharmonically on note value less so F will become
E#
Always goes i64 to V53 (V64 to V53)

Augmented Dominants
V+7
V+6/IV is I+ but not written that way. Means augmented chord in first inversion.

Common Tone Fully Dimished 7th Chords


ct07,
Not a Chord, just a bunch of non-chord tones.
Embellishes the tonic note.
#iio7o

#vio7o
Embellishes the dominant chord.

Common Tone Augmented 6th


#iio7o goes to I and not V.

Enharmonic Modulation - Respelling a chord with enharmonic tones


Gr/V7 or
Gr/ V7 over IV

viio7
g: F#ACEb
e: F#ACD# is viio65

Enharmonic Modulation
1. German (to Dominant)
2. Dominant (to German)
3. Fully Diminished (viio7o to viio7o or viio7o over V, ii, IV)

Keys Keys Keys Cadence Points Cadence Points Cadence Points


Step 1: Treat Chord how its spelled and see if it works as a seventh chord in either key.
F is BbDbEG and in D is C# E G Bb
d: (no such thing as a iio7o) viio42
F: viio43
Inversion symbols have to be different. Have to respell the chord.

F# A C Eb doesnt work as a seven chord in either.


D# F# A C

C: viio7/V
e: viio65

Centricity:
Music that features a pitch that establishes a sense of hierarchy.
Find centric note:
1. First and last pitches
2. Repeated Ostinato Pedal tones
3. Accented metrically
4. focal high pitches

Tonality:
music with a tonal center based on major and minor scales using harmonies that are
related to one another and the tonal center.

Aeolian - Natural Minor


Ionian - Major
Dorian - Natural Minor and #6
Phrydgian - Natural Minor and b2 (ra)
Lydian- major and #4 (fi)
Mixolydian- major and b7 (te)

Phyrd Dor -minor b2 and #6


Lyd Mix - major #4 and b7

Aeolian-
Ionian-

Pentatonic -
5 Notes
Major
Original Position Do Re Mi So La So Mi Re Do
First Rotation - Start on Re
Second Rotation -
Minor pentatonic with fi is Blues Do me Fa Fi so Te Do

Minor
Do me Fa So te Do

Octatonic - Diminished Scale - Two Superimposed Dimished Chords


Half Whole X4 or
Whole Half X 4
Whole Tone Scale - 7 Whole Steps

Locrian - Natural Minor with Tritone


b2 and b5

Final Prep

1. Pg 341 5s of things
-No modulate, applied chords, no NCT
338 7s of things
So, So I64 - V53 NO V64 - V53

2. Roman Numerals N6, Gr., It. Fr.


-bII tonisicing
-Aug 6 buildt on Le (lowered La, go to So and up a half step)and Fi (raised Fa)
-NCT in these sections
-Sus 98, 76, 43, 23 from the bass note of arrival chord.

3. Part Writing
-Applied, Aug 6, Neopolitan
No Ra RE going to V or EVER.
-No modulating
-Fr

4. Enharmonic Modulation
1. Pivot Chord. German to Dom or viio7 to viio7

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