Chapter 9 Communications and Networks Chapter 9 Objectives ...
Chapter 9
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Transcript of Chapter 9
Chapter 9Primary Triads:Tonic, Dominant, & Subdominant Chordss
Tonic Triad – I & i• Built on ^1, ^3, ^5• Four-part Texture – double the rootDominant Triad – V• Built on ^5, ^7, ^2• Commonly resolves to I or i (Authentic Cadence)• Phrase ending on V (Half Cadence)• Four-part Texture – double root, never the third
Tonic & Dominant Triads
Dominant Function - VIn root position:• Soprano/Alto move to the nearest tone• Maintain all common tones• Bass moves to root • Leading tone (^7 of tonic) must move stepwise to tonic
(^1)
Subdominant Triad in Root Position – IV or iv• Functions in the ‘predominant’ area• Upper voices to the nearest place in the
new chord• Retain structure; Open to Open / Closed
to Closed
Function in a progression IV to I• Keep the resolution as easy as possible• ^3 - ^1 and ^5 - ^3Function in a progression IV to V• Bass moving up? Everyone else goes
down!
Subdominant FunctionIV to I• Keep the resolution as
easy as possible
IV to V• Bass moving up? All other
must move down!• If the soprano and bass
are moving up in tenths, use contrary motion in the alto and tenor to avoid parallel fifths and octaves! You will get an open IV and a closed V.
The Authentic CadencesPerfect Authentic Cadence (PAC)• Stepwise motion to tonic ^2-^1 or ^7-^8 in the
soprano voice over a root position V- I progression
• Strong feeling of conclusion • Typically approached by a subdominant (IV) chord
Imperfect Authentic Cadence (IAC)• The soprano voice ends on ^3 or ^5; ^2-^3, ^5-
^3, and ^5-^5• Less conclusive feeling than PAC
The Authentic CadencesPAC• Bass :^5 - ^1• Soprano :^7 - ^8 or ^2 -
^1
IAC• Soprano ends on ^3 or
^5• Less conclusive than PAC
Other CadencesHalf Cadence• I – V or IV (iv) – V • medial – does not create a sense of closure
Plagal Cadence a/k/a Plagal Resolution• Conclusivity is evident; not as strong as an
Authentic Cadence• Functions as an extension of tonic• Used as a ‘tag’ after an authentic cadence; i.e.
“Amen”
Voice – Leading Reductions• Essential tonal anatomy of a musical phrase
1 – Label all harmonies; mind the first and last chords
2 – ID all embellishing tones to expose all chordal tones
3 – Notate the main chord tones of the bass line
4 – Notate the main chord tones of the soprano line (try to maintain the best melodic line if they are multiple tones over the same harmony.)
Cadential Expansion In a Phrase
• Reducing full voicing to one harmony per measure
• Used to clarify melodic line; performance nuances
• Two notes over a harmony? Defer to the best melodic motion– Placement on strong beats and repetition are good
indicators of essential harmony
• Two voices suggesting a compound melody?– Write both strands as harmonic intervals with
Harmonizing Melodies• Uses knowledge of harmony and voice-leading in
a more creative way than figured-bass realization– Many more choices in chords, bass lines, and
embellishing tones
• At first stick to root position primary triads– Limits the choice of melody but keeps things simple
Ex. 9.14 for a closer look!• First - check out opening and closing chordal
structure• Second - check out the closing melodic line;
cadence point• Third – check out the remaining melody to
determine a possible progression
Putting it Together• Determine which notes are essential chord
tones; circle the embellishing tones– Use a melodic reduction to get a better view of
the basics
• Determine chordal implications by the soprano line for the opening and cadence of each phrase
• Determine supporting harmonies implied by the soprano in the interior of the phrase