Harmony 3

Harmony 3Week 6- Deceptive Resolution

Learning OutcomesBy the end of todays session, students will be able to:Identify and analyse standard deceptive resolutions of V7 chordsBe familiar with deceptive resolution patterns involving IVm7(5) and maj7 chordsBegin work on the Midterm Harmony Project

V7 Standard Deceptive ResolutionsWe are already familiar with two of the standard deceptive resolutions of V7:Dominant Tonic(V7) IIIm7Dominant Tonic(V7) VIm7

(V7) to IIIm7 or VIm7See example 1 on page 18 of your book:

V7 to IVm7(5)V7 may resolve deceptively to IVm7(5)See example 2 on page 18 of your book

IVm7(5) is a diatonic functioning chord which will be explained later in the course

V7 to IIImaj7V7 moving to a natural minor modal interchange chordIIImaj7 has tonic function

NATURAL MINOR:Im7 IIm7(5)IIImaj7 IVm7 Vm7 VImaj7 VII7 MAJOR Imaj7 IIm7 IIIm7 IVmaj7 V7 etc.

TONIC FUNCTIONEX 1 P.19

V7 to IImaj7Example 2 p. 19

V7 to VImaj7Example 3 p.19

V7 to VIImaj7This is a less common deceptive resolutionIt can be seen as a resolution to a mixolydian cadence chord (Book 4)Example 4 p.19

Generally:When V7 resolves deceptively to any of this chords, it will most often happen at a melodic cadenceIt will sound as though the progression will eventually move to the tonic

The strongest melodic pitches at cadence points are degrees 1 and 5 of key (Do and Sol)These two diatonic notes have the most final sound melodicallyEach of the deceptive resolution chords has either scale degrees 1 or 5 available either as a chord tone or tension

Progressions: IVm7(5)When V7 resolves deceptively to IVm7(5), the progression often continues with step-wise descending root motionExample 1, p. 21

http://youtu.be/uPyJLRFk_UY 4.0515

Progressions: maj7When V7 resolves deceptively to a maj7th chord, the progression often follows the cycle of fifths to return to tonicExamples 2-4 p. 21

USAGE:These kinds of deceptive resolutions are commonly used to extend the ending of a piece

Summary:Analyse the resolution to tonic using roman numeral analysis and the arrow:

V7 I(V7) is used to analyse deceptive resolution to any chord other than I

The diatonic or diatonically related deceptive resolution chords are: IIIm7, VIm7, IVm7(5), IIImaj7, VImaj7, IImaj7, VIImaj7 and IVm7

The melody pitches must be compatible with any of the deceptive resolution chords