Music Theory II LECTURE NOTES
172 01
Office hours are by appointment
Pass out syllabus and go over
HW 1--P. 77 all
Go over last semester's FINALS
Review 2nd inversion triads (K&P Chapter 9)
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
These explanations can start "because it sounds good," but they must go
beyond that
I would like for you to bring your musically relevant problems to class
(lesson, ensemble, history, etc. materials)
172 02
HW 1--P. 77 all
Due Friday
Chapter
10: Cadences, Phrases, and Periods continued from last semeste
r
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
The text's cadence chart is a memorization alert
for 172--also on my website
Motives, phrases, and periods
Motive
An example is the fate motive from
the 5th Symphony stuff
Find examples in Burkhart
Phrase
Independent, longer than a motive
typically, subjective
Terminated by a cadence
Use of small case letters for
analysis
Find examples in Burkhart
Show how phrase can be a collection of motives
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
Burkhart example: p. 197,
mm 1-8--Mozart K. 333, III
Show how chords clarify
cadence types, but also remind them how
motivic features figure
Show how to diagram
Contrasting
Burkhart example: p.
332--Chopin Prelude 20
Show how chords clarify cadence types, but
also remind them how
motivic features figure
Show how to diagram
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
Burkhart examples:
Parallel double period:
p. 189, mm23-28--Mozart K. 333, I
Contrasting double period: pp.
564-5--Bach, "Herr Gott, dich loben alle
wir"
Show how chords clarify cadence types, but
also remind them how motivic
features figure
Show how to diagram
Talk a little about the three-phrase period
discussed on p. 168
Motives, phrases,
and periods
Identify each
in each of the following examples from the workbook
Pp. 79, 81-2, and 83
Aural formal analyses if time from Mozart piano
sonatas
172 03
Go over HW 1--P. 77 all
Continue from Day 2 notes
172 04
HW 2
P. 78, B
Due Friday, ask questions Wed.
Continue from Day 3 notes
172 05
HW 2
P. 78, B
QUIZ 1
continue with Day 4 notes
172 06
Go over HW 2
P. 78, B
Pass back and go over QUIZ 1
Continue with Day 5 notes
172 07
Chapter 11: Non-Chord Tones 1
Be reading and studying chapter
11 (NCT 1)
HW 3 due Friday, ask questions
Wed.
P. 85 all
Go over
Four types discussed in
detail in this chapter--why did K&P group the two NCT chapters in
this
way
Passing note--p
Neighbor note--n
Suspension--(#-#)s
Retardation--(#-#)r
Memorize table on p. 178 (all NCT's)--MEMORIZATION ALERT 2
Play and discuss first four examples on p. 178 (Ex. 11-2)
Important terms to keep in mind re: all NCT's
Submetrical,
metrical, supermetrical
Diatonic, chromatic
Ascending, descending
Upper, lower
Preparation, resolution
Accented, unaccented
The most problematical NCT for you will be the suspension (and by
extension, the retardation)
Make sure
you understand it thoroughly
Go over it carefully in detail
Don't
forget to mention embellishments (see and play Ex. 11-10)
Note what happens in figured bass symbols (see bottom of p. 186 f)
Go back to the Bach Minuet in G and now label the NCTs
If time, look
at other previous or unassigned or to-be unassigned stuff in wkbk for
NCT's
of this chapter
172 08
QUIZ 2
HW 3 due Friday,
any questions?
P. 85
all
Continue with Day 7 notes
172 09
Pass back QUIZ 2
Go over HW 3
P.
85 all
Continue with Day 8 notes
172 10
Chapter 12: Non-Chord Tones 2
Be reading
and studying chapter 12 (NCT 2)
MEMORIZATION ALERT (NCT 2)
HW 4 due
Friday, ask questions Wed.
P. 91 all
Explain each of the following: app e (or echappee) n.gr. ant ped
Further points
The neighbor group embellishes the same note
The neighbor group is a combination of what other two NCT's (e, app)
Inverted pedal point
Double pedal point
NCT-type figures
Gestures which resemble certain NCT's but which are actually chord
tones
Sus figure for example: multiple suspension figures occur in the
middle chord and they are all
chord
tones
Special
Notes on Suspensions
Vertical intervals are calculated between suspended part and what
voice?
(bass)
What about in a bass sus? (between bass and part
with thich it is most dissonant)
Except
for 9-8 (2-1), resolution pitch class should be in no part
(voice) at point of sus
Don't
embellish with 7-6 or 4-3 if resolution pc is found already in another
voice
at point of resolution
What's
the meaning of 7-3 in FB pertaining to a sus figure? (indicates
change
of bass)
Re:
FB--if it looks unusual to you, suspect a sus--for example, "4"
This means a 4th above the bass in a root position triad
with an omitted 3rd
When resolving to above a bass note with no FB, this means moving to a
root position triad with the 3rd present
The preparation and resolution are metrically weak, while sus itself is
in a metrically strong position
Can
anyone explain the two processes for embellishing a texture with
suspensions?
ALWAYS
SPECIFY SPECIFIC TYPE OF SUSPENSION
PARTWRITING
ACTIVITY: a good activity would be to practice elaborating with
sus
Check for stepwise motion down in one voice
Refer them to p. 188 for the rest
If time, look at other previous or unassigned or to-be unassigned stuff
in wkbk for NCT's of this chapter
172 11
QUIZ 3
CHAPTER 12: NON-CHORD TONES 2 (CONT.)
Be reading and studying chapter 12 (NCT 2)
HW 4 due Friday
P. 91 all
SPECIAL NOTES ON SUSPENSIONS
Vertical intervals are calculated between suspended part and what
voice?
(bass)
What about in a bass sus? (between bass and
part
with thich it is most dissonant)
Except for 9-8 (2-1), resolution pitch class should be in no part
(voice)
at point of sus
Don't embellish with 7-6 or 4-3 if resolution pc is found already in
another
voice at point of resolution
What's the meaning of 7-3 in FB pertaining to a sus figure?
(indicates
change of bass)
Re: FB--if it looks unusual to you, suspect a sus--for example,
"4"
This means a 4th above the bass in a root position
triad
with an omitted 3rd
When resolving to above a bass note with no FB, this
means moving to a root position triad with the 3rd
present
The preparation and resolution are metrically weak, while sus itself is
in a metrically strong position
Can anyone explain the two processes for embellishing a texture with
suspensions?
ALWAYS SPECIFY SPECIFIC TYPE OF SUSPENSION
PARTWRITING ACTIVITY: a good activity would be to practice
elaborating
with sus
Check for stepwise motion down in one voice
Refer them to p. 188 for the rest
If time, look at other previous or unassigned or to-be unassigned stuff
in wkbk for NCT's of this chapter
Go back to the Bach Minuet in G and now label the NCTs
172 12
Go over HW 4
P. 91 all
Continue with Day 11 notes
172 13
EXAM 1 Wed.
Chapter 13: The
Dominant Seventh Chord
HW 5 due Friday, ask questions Wed.--go over
P. 97: A odds
P. 101: F2
P. 105: B2
Examples:
(X A 098-165) Haydn. String quartert in
g:
Op. 74/3, I, Griller Quartet
Burkhart, p. 150, mm 195-96 (mm
189
to end start at 161 on tape)
Play tape
Ask for harmonic analysis
Ask for analysis of NCT's
Ask how tendency tones resolve
Recall
exception
of resolution of ti-do
March from AMB, p. 71
Play mm 1-2
Ask for harmonic analysis
Ask for analysis of NCT's
Ask how tendency tones resolve
Why isn't v7 a true dominant? (lacks tonic-pointing LT)
Possible evolution of the 7th chord (in general)
As a NCT: sus, descending p, upper n, app
w/appropriate
shape
That's why 7th resolves down by step
In remembering resolution rules for a 7th chord (in general), don't
confuse
^7 with chord 7th
Some very specific items which you could probably derive on your own by
just being careful to follow all the partwriting
conventions we've studied so far
After V7 (root position), root position tonic triad
with
3 roots and one third is common
2 roots and 2 thirds less common
(a
little bit of third goes a long way)
Complete tonic is rare because of
situation below
Inverted dominant 7th chords
V6/5 is resolved to root position tonic only--why?
V4/3 is resolved to I or I6 (in minor
also)--why? (remember I6/4 is a special case to be used sparingly)
V4/2 is resolved to I6 (i6)--why?
Don't put inversions of V7 at important cadences
Evolution of V4/3 may be from the passing I -V6/4 -
I6
figure
Be sparing (as in 6/4 chords)
with
this inversion
If Time
Discuss the evolution of the cadential 6/4
See Special Notes on Suspensions from Day 12
172 14
Exam 1
Continue with Day 13 notes
172 15
Go over HW 5
P. 97: A odds
P. 101: F2
P. 105: B2
Continue with Day 14 notes
172 16
Chapter 14--The II7 and VII7 Chords
HW 6 due Friday, ask questions Wednesday
P. 115: 14-1, A1-8
P. 117: 4 (play CD)
Explain away the capital letters for Roman Numerals in the title to
this
chapter
General 7th chord considerations
What's the biggest, overall, relevant voice-leading
consideration
here?
7th resolves down by step
What members of a 7th chord in general must be
present?
Root and 7th
Recall aural implications of M7
and
m7 intervals (7th chord implications)
If you have a need to double something, don't double
what?
7th or LT
For example, this means not to
double
what scale degree in ii7?
1^ or do
This seems
absurd--why
not double do?
ii7 (as does ii) normally resolves to V or viio--if you double the 7th
and properly resolve
them downward, the result is parallel octaves and
doubled LT's
What is the most common non-dominant diatonic 7th chord? (ii7 and
ii 7)
Example: recall a nice plagal cadence
(K&P,
229) using ii
Recall definition for plagal
cadence
in chart on p. 161
Is it an exception to the chord
progression
chart? (yeah, but)
ii
sounds
an awful lot like a iv, just with more flavor
Compare the
sound
of both
If you must omit a chord member, omit the 5th in ii7
and the 3rd in ii 7--why?
LT7 is relatively common
In diminished 7th chords, root position is common,
in
contrast to the case of diminished triads
Note tendency for tritones to
resolve
Diminished 5th
inward
Augmented 4th
outward
Fully-diminished in minor, half in major
Leave out the third if you must omit a member
Subtonic 7th (VII7) is found in sequences or as a
secondary
function (V7/III)
More general stuff
Always note carefully the precise qualitites of your
diatonic 7th chords
Build a 7th chord on each scale degree and note
quality
and sound
Let's harmonize some scales with seventh
chords--partwrite properly according to logical progression of
7th harmonies
172 17
QUIZ 4
Continue with Day 16 notes
172 18
Pass back QUIZ 4
Metrical placement of analysis symbols is an issue
in
#1
Continue with Day 17 notes
172 19
Chapter 15--Other Diatonic Seventh Chords
Build a 7th chord on each scale degree and note quality and sound
Name them (mediant 7th, etc.)
Do for major and each of the minors
GOOD QUIZ MATERIAL
Let's just partwrite some 4-part resolutions from the relevant chords
we
built on each scale degree
Start with tonic 7th
Note that tonic triad can go
anywhere,
but tonic 7th chord is somewhat directed by its 7th
Do examples, and again point out
how
LT resolution can be overridden if a 7th
Note Ex. 15-3 c--notice the doubling in the V and
discuss
why
Let's harmonize some scales with seventh chords--partwrite properly
according to logical progression of 7th
harmonies
Summary remarks on 7th chords
In general, they progress as do their associated triads
Tonic, mediant, subdominant, and submediant 7th chords are rarely used
in the CPP idiom--so avoid them in your partwriting
for the most part
Much of the time, what you think may be one of these
7th chords, is just a triad with a NCT
Use your musical intuition, and
your
ears
HW 7
P. 123: 15-1 A 1-8
P. 127: E 9-12
Due Friday, ask questions Wed.
Let's go over and do some examples
If time, do other workbook exercises (especially partwriting)
A good activity would be to practice elaborating with sus
172 20
Quiz 5
Continue with Day 19 notes
172 21
Go over HW 7
P. 123: 15-1 A 1-8
P. 127: E 9-12
Pass back QUIZ 5
172 22
Secondary Functions 1
HW 8 is due Friday, ask questions Wed.
P. 133: A.1-5; p. 135: A.2; p.
141:
B.1-5
Most are ALTERED CHORDS (define)
That means that most arise from diatonic chords
which contain some chromatic alteration with reference to the
passage of the key in which they are found
Secondary functions are the first type of ALTERED CHORD we will
discuss--there
are many others
Let's tie this in for a second to the NCT concepts also
This has to do with a distinction betwen
non-essential
and essential chromaticism
If the chromaticism part of the
harmony you are analyzing, it is known as essential chromaticism
If the chromaticism is a NCT
(i.e., not part of the local harmony), it's non-essential chromaticism
The most common categories of secondary functioning chords are
secondary dominants and secondary leading-tone
chords
Special points to note:
Many theorists substitute the
word
"applied" for "secondary"
Highlight difference between
"primary"
and "secondary"
Sometimes generic use of term
"secondary dominant" refers to both the dominant and LT function in
particular
(since they both function in the larger "dominant"
sense)
Secondary dominants and secondary LT chords concepts
can and usually are extended to their 7th-chord
equivalents, and even to other
extrapolations which we won't get into now (9th chords, altered
dominants,
borrowed LT 7ths, etc.)
Must understand the term "tonicization"--it means to impart a tonic
quality
to a note or chord
Secondary dominants and secondary LT chords always tonicize only that
quality of chord which can function as
tonic--i.e., major or minor (the
triadic basis of the chord anyway)
Let's summarize a few points which pertain to
secondary dominants as well as secondary LT chords: A secondary
dominant is a dominant functioning chord, often a seventh, that relates
as a dominant to a chord whose root is a scale degree other than the
tonic. We say that that scale degree or the chord which is built
upon it is tonicized by the new chord. Any major or minor triad
may be tonicized, that is, made to act like a temporary tonic.
Therefore, the only scale degrees which can be tonized can only be
those which support a major or minor triad. The chord progression
that tonicizes a chord extends the function of that chord over a
particular span of the music; this is known as a type of "prolongation."
172 23
Quiz 6
Continue with Day 22 notes.
172 24
Go over HW 8
P. 133: A.1-5; p. 135: A.2; p.
141:
B.1-5
Pass back Quiz 6
Continue with Day 32 notes
remaining lecture notes
