| Music Theory I
Lecture Notes |
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| W1D1 | Introduction Pass out syllabi E-mail index card to include full name, phone, major, instrument, vocal part Philosophy We want to integrate theory, aural training, musicological, and performance skills Take full advantage of
the lab software MacGAMUT, etc.
I would like for you to bring your musically relevant problems to class
(lesson, ensemble, history, personal interests, etc. materials) For next time Study assigned Chapter Formulate questions for class. These questions should be non-trivial, inspired by reading of the chapter, and unanswerable in that chapter Extra credit may be awarded For example, this may be worth 5 points Get a binder to put graded documents in--for study purposes and for documentation |
| W1D2 |
Pass up extra-credit questions on chapter and
let's discuss
CHAPTER 1: ELEMENTS OF PITCH Discuss pitch, pitch class, clefs, octave designations, enharmonic Define scale and key concepts Describe four types of scales Discuss key relationships: relative, parallel, enharmonic Give interval patterns for 4 types of scales What is a whole step and half step, on piano, on guitar? Discuss convention of using capital letters for major key designations and lower-case for minor Order of accidentals: BEADGCF, FCGDAEB |
W1D3 |
CHAPTER 1:
ELEMENTS OF PITCH (cont.)
Continue from where left off on W1D2 notes Scale degree names Intervals How names are arrived at Relate back to interval pattern for scales also Emphasize 13 common ones Circle of 5ths Notation issues: notes, accidentals, leger lines, grand staff Misc.: diatonic vs. chromatic half step Board work of topics discussed today (also play concepts for aural experience) If we have time or for next week: More interval considerations Go over more uncommon ones Inversion of intervals (play and show at piano) Compound intervals (play and show at piano) Style periods and some other important dates you should have readily available Middle Ages: 500-1430 Renaissance: 1430-1600 Baroque: 1600-1750 J.S. Bach 1685-1750 Classical: 1750-c1820 Mozart: 1756-1791 Beethoven: 1770-1827 Romantic: c1820--c1900 Twentieth Century (many subdivisions) |
W2D1 |
CHAPTER 1:
ELEMENTS OF PITCH (cont.)
HW 1 Go over ones marked in wkbk for Chapter 1 Review Day w1d2 concepts covered Continue from where left off in W1D2 notes Style periods and some other important dates you should have readily available plus Middle Ages: 500-1430 Renaissance: 1430-1600 Dufay 1400-1474 Baroque: 1600-1750 J.S. Bach 1685-1750 Brandenburg Concerton No. 2 (Allegro) Classical: 1750-c1820
Mozart: 1756-1791 Symphony No. 41 "Jupiter"
Beethoven:
1770-1827Romantic: c1820--c1900 Brahms (1833-1897) Piano Concerto No. 2 Twentieth Century (many subdivisions) Schoenberg (1874-1951) Chamber Symphony No. 1 Op. 9 Nationalism--read definition from New Harvard Borodin (1833-1887) orch. by Rimsky-Korsakov and Glazounov Polovtsian Dances |
W2D2 |
Continue with W2D1 notes
Drill from workbook, undone exercises |
W2D3 |
CHAPTER 1:
ELEMENTS OF PITCH (cont.)
For next time Study assigned Chapter Formulate questions for class. These questions should be non-trivial, inspired by reading of the chapter, and unanswerable in that chapter Extra credit may be awarded For example, this may be worth 5 points Go over HW1 Continue with W2D1 notes Drill from workbook, undone exercises |
| W3D1 |
See Alert 1 on
<http://home.comcast.net/~collaros623/171memorizationAlert.htm> QUIZ 1 on Wed. on Chapter 1 Pass up extra-credit questions on chapter and let's discuss HW 2 Marked ones in workbook Chapter 2 Need to go over one of the review items: 2-1, C 1. Explain the use of arrows with respect to scale degree labels Simple and compound meter--go over in detail using those table charts in the workbook exercises Dots Breve Beat vs. tempo (vs. rhythm as in "a rhythm") Meter vs. time signature Also, for next time, bring in a printed and/or recorded musical example that demonstrates Chapter 2 concepts and that comes from outside of the text and workbook, and be able to discuss it Drill from workbook, undone exercises |
| W3D2 |
CHAPTER 2:
ELEMENTS OF
RHYTHM (cont.)
Go from where left off in W3D1 notes QUIZ 1 on Chapter 1 Let's hear/see student examples of Chapter 2 concepts Drill from workbook, undone exercises
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| W3D3 |
For next time Study assigned Chapter Formulate questions for class. These questions should be non-trivial, inspired by reading of the chapter, and unanswerable in that chapter Extra credit may be awarded For example, this may be worth 5 points Pass back QUIZ 1 Zero-, half-, full-credit corrections due Monday All corrections are to be made on a separate piece of paper or workspace (neatly written and clearly and precisely labeled) that is to be turned in with the original unmarked work CHAPTER 2:
ELEMENTS OF
RHYTHM (cont.)
Go over HW 2 Marked ones in workbook Chapter 2 Review to the extent necessary Simple and compound meter Dots Breve Beat vs. tempo (vs. rhythm as in "a rhythm") Meter vs. time signature Study Chapter 3 for next week (Introduction to Triads and Seventh Chords) Drill from workbook, undone exercises |
W4D1LO |
CHAPTER
3--INTRODUCTION TO TRIADS AND SEVENTH CHORDS
HW 3Marked ones in wkbk Chapter 3 (3-1 through 3-3 for this week, rest of chapter for next) Pass up extra-credit questions on chapter and let's discuss Triad Basic structure is that it is built in 3rds--tertian Three notes Root, third, fifth 4 types--play Go over all possible intervals in each type Tell them to drill these for quickness Relate ear-training intervals 7th chords Basic structure is that it is built in 3rds--tertian 4 notes Add the 7th Main types MM, Mm, mm, dm, dd, (mM, Am, etc.)--play Go over prominent intervals and tell them to drill for quickness Relate ear-training intervals Inversion Point out octave equivalence Point out bass positions to determine position/inversion and give symbols Relate to figured bass Go over stacking in thirds (to get back to the basic structure) Further stuff Play 3-note cluster Is it a chord? Yes, but it's a secundal harmony as opposed to a tertian harmony--what does that mean? Go over fine points of figured bass Drill from workbook, undone exercises |
| W4D2 |
QUIZ 2 CHAPTER
3--INTRODUCTION TO TRIADS AND SEVENTH CHORDS (cont.)
Continue from where left off w4d1 |
| W4D3 |
Pass back QUIZ 2s CHAPTER 3--INTRODUCTION TO TRIADS AND SEVENTH CHORDS (cont.) Go over HW 3Marked ones in wkbk Chapter 3 (3-1 through 3-3 for this week, rest of chapter for next) Review anything necessary Drill from workbook, undone exercises |
| W5D1 |
HW 4 All marked in 3-4 Ask people to come to board and build various 7th chords now Review questionsWhat is a chord anyway? What does tertian mean? What's a triad? What's a seventh chord? What's inversion when we're talking about chords? What are the four basic triad types? Systematically, let's figure out all the 7th chord types and then circle the common ones (MM, Mm, mm, dm, dd) Figured bass review What figured bass tells us Pitch classes above the bass note (not above the root, necessarily) Refers to intervals above the bass note Limitations Compound intervals are typically reduced in F.B. Doublings usually not indicated Miscellaneous points If there are no accidentals in the F.B., it indicates diatonic pitch classes above the bass F.B. often leaves out assumed intervals above the bass Drill from workbook, unassigned exercises |
| W5D2 |
QUIZ 3
Continue from where left off W5D1 notes Drill from workbook, unassigned exercises |
| W5D3 |
For next time
CHAPTER 3--INTRODUCTION TO
TRIADS AND SEVENTH CHORDS (cont.) Study assigned Chapter Formulate questions for class. These questions should be non-trivial, inspired by reading of the chapter, and unanswerable in that chapter Extra credit may be awarded For example, this may be worth 5 points Pass back QUIZ 3s Correct for zero-, half-, full-credit by Monday All corrections are to be made on workspace or a separate piece of paper (neatly written and clearly and precisely labeled) that is to be turned in with the original unmarked work Go over HW 4 All marked in 3-4 Continue from where left off W5D1 notes Drill from workbook, unassigned exercises |
| W6D1 |
CHAPTER 4--DIATONIC
CHORDS IN MAJOR AND MINOR
Pass up extra-credit questions on chapter and let's discuss Turn piano around and show First with triads and then with 7th chords Have someone come up and show us what they are in another key Significance of diatonic harmonies Qualities of diatonic triads and 7th chords Can they derive all the diatonic triads and 7th chords in major and harmonic minor? Set up 1 staff for triads in major, one for 7th chords in minor, one for triads in harmonic minor, one for 7th chords in harm. minor Make four folks come up to the board to notate and put qualities under each Explain Roman Numeral system Quality symbols--all possible Inversion symbols (derived from F.B.) Another group of 4 to come up and put proper R.N.'s under previous board exercise Practice identification of chord members in all inversions (keep referring to mental image of root position chord stacked in thirds) Remember the names of the diatonic scale degrees As they recite these, put them under the chords on the four staves Now tell them, that these apply to the chords whose roots are these scale degrees HW 5 (marked in Chapter 4 workbook) Exam 1 on Wed. Drill from workbook, unassigned exercises |
| W6D2 |
CHAPTER 4--DIATONIC
CHORDS IN MAJOR AND MINOR (cont.)
Exam 1 Continue from where left off in W6D1 notes Drill from workbook, unassigned exercises |
| W6D3 |
For next time
Study assigned Chapter Formulate questions for class. These questions should be non-trivial, inspired by reading of the chapter, and unanswerable in that chapter Extra credit may be awarded For example, this may be worth 5 points Pass back Exam 1 and go over: zero-, half-, full-credit corrections by Monday All corrections are to be made on workspace or a separate piece of paper (neatly written and clearly and precisely labeled) that is to be turned in with the original unmarked work CHAPTER 4--DIATONIC CHORDS IN MAJOR AND MINOR (cont.) Go over HW 5 (marked in Chapter 4 workbook) Review Significance of diatonic harmonies Roman Numeral system Quality symbols--all possible Inversion symbols (derived from F.B.) Can they derive all the diatonic triads and 7th chords in minor? Practice identification of chord members in all inversions (keep referring to mental image of root position chord stacked in thirds) Remember the names of the diatonic scale degrees As they recite these, put them under the chords on the four staves Now tell them, that these apply to the chords whose roots are these scale degrees Drill them at board this way also (e.g.: write a supertonic 7th chord in second inversion in the key of d:) Review inversion symbols (derived from F.B.) now used in conjunction with RNs Drill them at board with inversions and RNs in particular keys Drill from workbook, unassigned exercises |
| W7D1 |
Review style periods Middle Ages: 500-1430 Renaissance: 1430-1600 Baroque: 1600-1750 Classical: 1750-c1820 Romantic: c1820--c1900 Twentieth Century (many subdivisions) CHAPTER 5:
PRINCIPLES OF VOICE LEADING
Pass up extra-credit questions on chapter and let's discuss Pass out PARTWRITING CONVENTIONS AND DEFINITIONS HO On web too! Go over in detail HW 6 due this Friday--marked ones in Chapter 5 of workbook Drill from workbook, unassigned exercises |
| W7D2 |
QUIZ 4 CHAPTER 5:
PRINCIPLES OF VOICE LEADING
Any questions on HW 6 due this Friday? (marked ones in Chapter 5 of workbook) Go over in conjunction with part writing HO if appropriate Continue with where left off on Partwriting HO Review style periods again Middle Ages: 500-1430 Renaissance: 1430-1600 Baroque: 1600-1750 Classical: 1750-c1820 Romantic: c1820--c1900 Twentieth Century (many subdivisions) Drill from workbook, unassigned exercises |
| W7D3 |
For next time Study assigned Chapter Formulate questions for class. These questions should be non-trivial, inspired by reading of the chapter, and unanswerable in that chapter Extra credit may be awarded For example, this may be worth 5 points Pass back QUIZ 4 and go over: zero-, half-, full-credit corrections by Monday All corrections are to be made on workspace or a separate piece of paper (neatly written and clearly and precisely labeled) that is to be turned in with the original unmarked work CHAPTER 5: PRINCIPLES OF VOICE LEADING (cont.) HW 6--marked ones in Chapter 5 of workbook Go over in conjunction with part writing HO Continue with where left off on Partwriting HO Review style periods Middle Ages: 500-1430 Renaissance: 1430-1600 Baroque: 1600-1750 Classical: 1750-c1820 Romantic: c1820--c1900 Twentieth Century (many subdivisions) Drill from workbook, unassigned exercises |
| W8D1 |
CHAPTER
6: ROOT
POSITION PART WRITING
HW 7 due Fri. Marked ones in Chapter 6 of workbook Ask me questions about it Wed. Pass up extra-credit questions on chapter and let's discuss Why is four-part writing important? Basic vocabulary of tonal harmony consists of triads and 7th chords--that would cover all the pitches As you will discover, extended tertian harmonies are adequately represented by 4 pitches Mastery of 4-part writing should allow us to extrapolate its principles to other textures 4-part writing prominent in general SATB Quartets Basic considerations to keep in mind Many already considered in Chapter 5 Contour, focal point, leaps, tendency tones, structure, spacing, ranges, parallels and related (direct, by contrary motion, unequal 5ths), crossing--questions on any of these concepts? Most important partwriting (when moving from chord to chord) principles to keep in general Retain common tones (from same voice to same voice) if possible Maintain conjunct motion if possible (from same voice to same voice) Not so important in bass Some contrary motion is preferable Correct doubling (to be discussed) Don't double leading tone (or the other tendency tone or chromatic pitches) What's the implication here for iio and viio? Rarely in root position Root position partwriting with repeated roots Retain common root pitch class in bass However, you have to leap in some of the upper voices if you want any kind of a change at all--use smallest leaps possible (3rds and 4ths) Pretty straight forward Root position partwriting with roots a 5th or a 4th apart Book gives you a bunch of conventions--just remember Retain common tones (from same voice to same voice) if possible Maintain conjunct motion if possible (from same voice to same voice) Some contrary motion is preferable CLASS EXERCISE: Make up examples of chord progressions that combine all root movements Ask class for chord progression They don't know chord progression yet but lead them through the exercise Put up all root position R.N.'s Let's partwrite it correctly now Someone come up and write all the roots As a class let's come up with a melodic line Ask each person for what notes now to fill in the inner voices for each harmony Play it What may be lacking Good melody--probably need more time to construct a good one Inversions to help smooth out the partwriting Drill from workbook, unassigned exercises |
| W8D2 |
Quiz 5 CHAPTER 6: ROOT
POSITION PART WRITING (cont.)
HW 7 due Fri. Marked ones in Chapter 6 of workbook Any questions about it? Go from where left off in W8D1 notes Review: Most important partwriting (when moving from chord to chord) principles to keep in general Retain common tones (from same voice to same voice) if possible Maintain conjunct motion if possible (from same voice to same voice) Not so important in bass |
| W8D3 |
Pass back QUIZ 5 and go over: zero-,
half-, full-credit corrections by Monday
All corrections are to be made on workspace or a separate piece of paper (neatly written and clearly and precisely labeled) that is to be turned in with the original unmarked work CHAPTER 6: ROOT POSITION PART WRITING (cont.) Go over HW 7 Marked ones in Chapter 6 of workbook Go from where left off in W8D1 notes Drill from workbook, unassigned exercises |
| W9D1 |
CHAPTER 6: ROOT
POSITION PART WRITING (cont.)
DO THIS CLASS EXERCISE AGAIN: Make up examples of chord progressions that combine all root movements Ask class for chord progression They don't know chord progression yet but lead them through the exercise Put up all root position R.N.'s Let's partwrite it correctly now Someone come up and write all the roots As a class let's come up with a melodic line (I'll put it up) Ask each person for what notes now to fill in the inner voices for each harmony Play it What may be lacking Good melody--probably need more time to construct a good one Inversions to help smooth out the partwriting Drill from workbook, unassigned exercises |
| W9D2&3 |
For next time
Study assigned Chapter Formulate questions for class. These questions should be non-trivial, inspired by reading of the chapter, and unanswerable in that chapter Extra credit may be awarded For example, this may be worth 5 points CHAPTER 6: ROOT POSITION PART WRITING (cont.) Continue with W9D1 notes. Review style periods |
| W10D1 |
QUIZ 6 on Wed: Chapters 1-6
CHAPTER 7: HARMONIC PROGRESSION Pass up extra-credit questions on chapter and let's discuss HW 8 due Friday--ask questions Wednesday 7-1, A-B and 7-1, D.1. in workbook Memorize the progression diagrams in the chapter and know what they mean Can anybody come up to board and do the one for major? for minor? Explain the descending fifths model for them in deriving the progression conventions If time--make up examples of chord progressions that combine all root movements Use the progression diagrams to help Have one person put up each chord Then I mark the wrong ones Then they correct it Play it every so often to check progress aurally Time to revisit the definition of tonal harmony: ready to them "Tonal Harmony Defined" in the To the Student section at the beginning of the book, and make sure they understand all the points made Finally, emphasize the importance of understanding the meaning of tonal harmony with respect in particular to what we are studying at the moment (harmonic progression) Drill from workbook, unassigned exercises Workbook exercises to do in class: 7-1 C 7-1 D 3 7-1 I--around the room quickly, one per person |
| W10D2 |
Quiz 6
CHAPTER 7: HARMONIC PROGRESSION (cont.) HW 8 due Friday-any questions? 7-1, A-B and 7-1, D.1. in workbook Memorize the progression diagrams in the chapter and know what they mean Can anybody come up to board and do the one for major? for minor? Continue from where left off in W10D1 notes |
| W10D3 |
Pass back QUIZ 6 and go over: zero-,
half-, full-credit corrections by Monday All corrections are to be made on workspace or a separate piece of paper (neatly written and clearly and precisely labeled) that is to be turned in with the original unmarked work CHAPTER 7:
HARMONIC PROGRESSION (cont.)
Go over HW 8
7-1, A-B and 7-1, D.1. in workbook Drill from workbook, unassigned exercises Workbook exercises to do in class: 7-1 C 7-1 D 3 7-1 I--around the room quickly, one per person |
| W11D1 |
CHAPTER 7:
HARMONIC PROGRESSON (cont.)
HW 9 7-1 D. 2 7-1 H. 4 Due Fri., any questions? Ask questions Wed. Go from where left off in W10D3 notes Review Middle Ages dates (500-1430) Drill from workbook, unassigned exercises Workbook exercises to do in class: 7-1 C 7-1 I |
| W11D2 |
CHAPTER 7:
HARMONIC PROGRESSION (cont.)
HW 9 7-1 D 2 7-1 H 4 Due Fri., any questions? Quiz 7 Drill from workbook, unassigned exercises Workbook exercises to do in class: 7-1 I Etc. |
| W11D3 |
For next time Study assigned Chapter Formulate questions for class. These questions should be non-trivial, inspired by reading of the chapter, and unanswerable in that chapter Extra credit may be awarded For example, this may be worth 5 points Pass back Quiz 7 and go over: zero-, half-, full-credit corrections by Monday All corrections are to be made on workspace or a separate piece of paper (neatly written and clearly and precisely labeled) that is to be turned in with the original unmarked work Review circle of fifths Go over HW 9 7-1 D 2 7-1 H 4 CHAPTER 7:
HARMONIC PROGRESSION (cont.)
Drill from workbook, unassigned exercises Workbook exercises to do in class: 7-1 I Etc. |
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W12D1
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EXAM 2 coming up over Chapters 1-7 CHAPTER 8: TRIADS
IN FIRST INVERSION
Pass up extra-credit questions on chapter and let's discuss HW 10 Due Friday, ask questions Wed. 8-1 A 1, D 1, E 1, H 2 (4 parts) Memorize doubling rules for first inversion triads on p. 131 (Figure 8-10) WORD FOR WORD in order of preference--this is a memorization alert Why triads in first inversion (why not all root position)? To create a more melodically interesting bass line Bass arpeggiation of static harmony Substitution for a root position triad, once again, to improve the bass line To lessen the impact of non-goal harmonies Parallel 6th chords technique Discuss Exx. 8-8 and 8-9 Play it Note non-functional analysis Acceptable use of diminished triads in this style calls for first inversion because it is the only configuration which avoids the tritone above the bass One instance to avoid is V-vi6 (check out Ex 8-6) If time, go over unassigned workbook exercises |
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W12D2
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HW 10 Due Friday, any questions? 8-1 A 1, D 1, E 1, H 2 (4 parts) EXAM 2 CHAPTER
8: TRIADS IN FIRST INVERSION (cont.)
Review doubling rules for first inversion triads Including to avoid V-vi6 (demonstrate and explain Ex 8-6) |
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W12D3
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For
next time Study assigned Chapter Formulate questions for class. These questions should be non-trivial, inspired by reading of the chapter, and unanswerable in that chapter Extra credit may be awarded For example, this may be worth 5 points Pass back EXAM 2s and go over zero-, half-, full-credit corrections due Monday All corrections are to be made on workspace or a separate piece of paper (neatly written and clearly and precisely labeled) that is to be turned in with the original unmarked work If applicable, go over concepts of EXAM 2 CHAPTER
8: TRIADS IN FIRST INVERSION (cont.)
HW 10 Go over 8-1 A 1, D 1, E 1, H 2 (4 parts) Continue from where left off in W12D1 notes |
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W13D1
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CHAPTER 9: TRIADS
IN SECOND INVERSION
HW 11 due Friday; ask questions Wednesday 9-1.A 1 (don't forget to label key)--play CD 9-1 C 1 and 3 (don't forget to label key in analysis) Just analyze with RNs and 6/4 types except for #3, do partwriting in that one too Pass up extra-credit questions on chapter and let's discuss Keep in mind that there are specific reasons as to why a triad appears in root position or inversion Which means you should have an explanation why you choose certain configurations in your own writing in this style These explanations can start "because it sounds good," but they must go beyond that Arpeggiated, cadential, passing, pedal, neighbor Double 5th What quality of triad would you not typically score in second inversion? Diminished because of dissonance in 2nd inversion and root position Do it in first inversion Do Chapter 9 unassigned workbook exercises |
| W13D2 |
QUIZ
8 CHAPTER 9: TRIADS
IN SECOND INVERSION (cont.)
HW 11 due FrIday; any questions? 9-1.A.1. (don't forget to label key)--play CD C.1 and 3 (don't forget to label key in analysis) Just analyze with RNs and 6/4 types except for #3, do partwriting in that one too Go from where left off in W13D1 notes Review Arpeggiated, cadential, passing, pedal, neighbor Double 5th What quality of triad would you not typically score in second inversion? Diminished because of dissonance in 2nd inversion and root position Do it in first inversion Do Chapter 9 unassigned workbook exercises |
| W13D3 |
For next time Study assigned Chapter Formulate questions for class. These questions should be non-trivial, inspired by reading of the chapter, and unanswerable in that chapter Extra credit may be awarded For example, this may be worth 5 points Pass back QUIZ 8 and go over zero-, half-, full-credit corrections due Monday All corrections are to be made on workspace or a separate piece of paper (neatly written and clearly and precisely labeled) that is to be turned in with the original unmarked work CHAPTER 9: TRIADS
IN SECOND INVERSION (cont.)
Go over HW 11 9-1.A.1. C.1 and 3 Do Chapter 9 unassigned workbook exercises |
| W14D1 |
CHAPTER 10-CADENCES,
PHRASES, AND PERIODS
Pass up extra-credit questions on chapter and let's discuss P. 151 (ed. 5) has good chart to memorize (it's a memorization alert) Cadence types PAC V - I or V7 - I In major or minor Do in sop on tonic That's it! Most final sounding Demonstrate with Ex. 10-1 (set up key first) IAC-3 types Root position IAC--demonstrate with Ex. 10-2 Inverted IAC--demonstrate with Ex. 10-3 LT IAC--demonstrate with Ex. 10-4 Deceptive V to a non-tonic (most commonly submediant) Demonstrate with Ex. 10-5 Half Penultimate chord doesn't contain LT Ultimate chord is not tonic (most typically V) Demonstrate with Ex. 10-6 Phrygian half cadence-a special case iv6 - V (in minor only) Demonstrate with Ex. 10-7 Plagal A chord with no LT (most typically, subdominant) to tonic "Amen" cadence Demonstrate with Ex. 10-8 Motives, phrases, and periods Motive P. 152 stuff Phrase Independent, longer than a motive typically, subjective Terminated by a cadence Use of small case letters for analysis Demonstrate with Ex. 10-9 Break out motive first Show how phrase is terminated by cadence Elision EX. Joseph Haydn. Symphony 101 in D major, IV (p. 166, M. 28 in Burkhart) Period Typically two phrases in an antecedent/consequent (stronger cadence) relationship Parallel period Explain Play Ex. 10-12 Show how chords clarify cadence types, but also remind them how motivic features figure Show how to diagram Contrasting Explain Play Ex. 10-14 Show how chords clarify cadence types, but also remind them how motivic features figure Show how to diagram Three-phrase period discussed on p. 159 (ed. 5) Explain Play Ex. 10-15 Double Typically four phrases Cadence at end of second pair is stronger than cadence at end of first pair First half usually cannot stand alone as a period Classified as parallel or contrasting according to whether or not material is similar starting each half Show diagram on p.160 (ed. 5) and play Ex. 10-16 Burkhart examples: Parallel period: p. 197, mm 1-8--Mozart K. 333, III Contrasting period: p. 332--Chopin Prelude 20 Parallel double period: p. 189, mm 23-38--Mozart K. 333, I Contrasting double period: pp. 564-5--Bach, "Herr Gott, dich loben alle wir" If time, do wkbk exercises For example: 10-1 A all |
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W14D2
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QUIZ 9 CHAPTER 10-CADENCES,
PHRASES, AND PERIODS (cont.)
Review cadence types by giving them one example of each and asking to ID PAC IAC-3 types Root position IAC- Inverted IAC LT IAC Deceptive Half Phrygian half cadence-a special case iv6 - V (in minor only) Plagal Continue from where left off re: motives, phrases, and periods in W14D1 notes |
| W14D3 |
Pass back QUIZ 9 and go over zero-, half-, full-credit corrections due Monday All corrections are to be made on workspace or a separate piece of paper (neatly written and clearly and precisely labeled) that is to be turned in with the original unmarked work CHAPTER 10-CADENCES,
PHRASES, AND PERIODS (cont.)
Continue from where left off re: motives, phrases, and periods in W14D1 notes REVIEW FOR FINAL |
| W15D1 |
FINAL EVALUATIONS ONLINE |
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END OF LECTURE NOTES FOR THEORY I E-mail Pandel CollarosHOME |
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