Pass out syllabi and go over
Chapter 20--Binary and Ternary Forms
Check out memorization alerts on webpage!
Keep looking at syllabus for current study material (next week is Chapter 21)
There are important philosophical differences
Binary: A BTwo sections which are felt to be approximately equivalent
TypesSectionalA ends on tonic triad in main keyContinuous
"Greensleeves" is an example
Ex. 20-1 in K&P (p. 336)
Play it and commentA ends with something other than tonic triad in main key
Ex. 20-2 in K&P--leave them to check it out on their own
"movements or themes that consist of two repeated sections are so commonly encountered that a special term, two-reprise, is often used for them" (K&P, p. 338).
Applies to both binary and ternary forms
Ternary: A B AMain idea here is statement-contrast-return of statementAmount of contrast in B variesAn example of two-reprise sectional ternary is Ex. 20-4 (they can check this out on their own)
B may still be based on aspects of A
Sectional and continuous designations apply to ternary form also
See Ex. 20-3 (p. 340 in K& P)--(I B 422) Haydn Sonata No. 11, III Minuet excerptWhat is complete label for this? Two-reprise continuous ternary
Equivalency of proportions may help to establish ternary form
Rounded BinaryA B 1/2A
Sometimes just A B A
Character of B is issue hereB may be seen as more of an equivalent item than a contrast of AProportion is often a clue here
A may = BA in length (or A = B1/2A)
Here is a formal diagram example:
If time, do analysis from Burkhart p. 194 (XIII B 000-200)
Focus
Enough analysis to get through the modulation
Fill in rest of analysis and NCT's
Do a formal analysis and analyze form
Form diagram example
Put it up, but ask them to name it
And how could you change it around to be other forms?
CONTINUOUS TERNARY
Mode Mixture (Chapter 21)
Read Chapter 21
Does anyone know what mode mixture is?
Play e: i iv
i6-4 V7 I
Where is the mixture?So what if we have (show on board)
So it's "borrowing" between two parallel keys/modes; hence, the common term, "borrowed chord"
Popular term for the I's (in minor mode) bottom major third is "Picardy third"
E: I IV I6-4 V7 I and then the key sig. changes and we continue withIn major, mixture involves chords with which altered scale degrees in them?
e: i iv i6-4 V7 iWhat's that?Mode mixture? (not in the most commonly used sense)
Modulation? (Definitely not!)
A "change of mode"? (yes)
How might you write them?
What would the Roman numerals be for the triads involved? (put on board)
i iioThe most common are (change your boardwork to reflect this)III(+) iv v
vi
7 see p. 245 in K& P)
Along with the related 7th chords, etc.
viio7 iv ii
Next most common are i
In minor, mixture revolves largely around mi
The chord we most need be concerned with is IVoice-leading involving mode mixtureVery often found in Picardy third situation as demonstrated earlierSince
A very common occurrence (due to earlier tuning anomalies)and
are variable in minor, the book's view is that there is no need to borrow them from the parallel major
Hence, there is no real mixture in this situation
Altered note must be approached carefully--avoidBorrowed chords a la mode mixture are the second type of chromatic harmony you have encounteredAugmented and diminished melodic intervalsAltered note (most likely
Cross relationsor
) must resolve in the direction of inflection--THAT MEANS DON'T DOUBLE IT
That is, down by step, at least eventuallyA borrowed chord may not be followed by its diatonic equivalent because proper resolution cannot occurExample: I - iv - IV
The first was secondary functions
Assign HW 2 for Friday
PP. 197-198Mode mixture analysisA odds
B odds
C2 (Schumann, "Ich grolle nicht," Op. 48, No. 7)
Burkhart Anthology p. 382, m. 17 (iv in major)--Chopin, Mazurka in C major, Op. 33
QUIZ 1 on Chapters 1-21 Wednesday
HW 2
P. 197 and P. 203 #2
Any questions on it?
Play the Brahms
Play mode mixture examples from text
Discuss mode mixture in modulation
Play "Piggies" for example of change of mode
Questions?
QUIZ 1
HW 2
P. 197 and p. 203 #2
Any questions on it?
Play the Brahms
Do unassigned workbook examples
Questions?
Pass back QUIZ 1
Go over HW 2
P. 197 and P. 203 #2
Questions?
Do unassigned workbook examples
Read and study Chapter 22 for next week (Neapolitan)
Questions?
Another relatively straight-forward concept
Major triad built on
Usually first inversion
More common in minor (one alteration) than major (2 alterations); but
can occur in major
Always resolves to a dom. function harmony--examples:
N6 - V - i ; N6 - i 6/4 - V -
i ; N6 - viio7 - V - i
One voice (usually sop) must take the 
- 
motion
Approached how you would normally approach the supertonic or
subdominant harmony (why?)
Doubling considerations
Usually third
This would avoid doubling
an altered tone for sure
However, if N is used in root position, then
root must be doubled so upper voice can take prescribed res.
from
-
So notice that sometimes an altered note can
be doubled, but only do it as prescribed
Examples
Georg Frederich Handel.
Concerto Grosso in B minor, Op. 6 No. 12 first
movement
In Burkhart pp. 75-76
Modulation Involving the N
The common (pivot) chord in a common (pivot) chord modulation can be a
N6 in the old or new key.
Example for class analysis: Schubert, Moment Musical, op.
94/6 (K&P, Ex. 22-8, ed. 5)
N6 as pivot from A major into a minor
This example requires an enharmonic reinterpretation
A major should be respelled as B
major which is N in new key of a minor
HW3 due Friday
P. 214 (ed. 5) [210, ed. 3]
P. 217 (ed. 5) [213, ed. 3]: D. 2 and 8; E.1
Do unassigned workbook examples if time
Review doubling considerations
Usually third
This would avoid doubling an
altered tone for sure
However, if N is used in root position, then root
must be doubled so upper voice can take prescribed res. from -
So notice that sometimes an altered note can be
doubled, but only do it as prescribed
HW3 due Friday
P. 214 (ed. 5) [210, ed. 3]
P. 217 (ed. 5) [213, ed. 3]: D. 2 and
8; E.1
Do unassigned workbook examples if time
Go over HW3
HW 4
23-1, B. all
23-1, D. 1st
A way to think of how this category of harmonies arises is to consider
the interval first
A way to tonicize, emphasize, or otherwise point to
a pitch class (or scale degree) from above and below
For example, sol, perhaps in the context as the root
of V7
By fi, or what would
be its LT, from a semitone below
By le, the ,
from a semitone above
Because you
generally resolve in direction of inflection
Just as fi
goes to sol, le would go to sol
This idea is
often referred to as the "upper leading tone"
The important point is that a note can be emphasized, tonicized, or
otherwise pointed to by another note a half step away
From below and from above
Think of the diatonic tendency tones in major--what
are they?
Ti-do (from
below)
Fa -mi
(from above)
Thus, to point to sol in this way, for example in E:, we need what
pitches?
Show on board
Play both
What does the C to A interval sound like? (m7)
However, if it were spelled
like a m7, how would it resolve?
Have them answer and show on board
Therefore, it should be spelled
in a way as to indicate its function
In this
context, to emphasize sol
What is the
interval in the present context? (A6)
The interval of the A6 is characteristic of this category of chords
The typical position of A6 chords is with le (
) on the bottom and fi (
) on the top
The specific type of A6 chord depends on what other pitches you add and
the interval(s) they make with the bass
Notice that we don't talk about root in A6 chords
A6 chords are typically approached by I, I6/4, vi, IV, IV6, ii4/3, V
Note that the typical A6 chord is approached as if
it were of submediant or secondary function
These approaches should be analogous in minor--just
make sure the progression can be justified and the voice-leading is
correct
Typical resolution of an A6 chord is to dominant functioning harmony (V
or i6/4, I6/4)
Three main varieties
It+6, Ger+6, and Fr+6
Play the It+6 in E:
What does is sound like? (dom. 7th with
missing 5th)
Show its resolution as a C7 to F and play
Now show its resolution as an It+6 and play
Double tonic which looks like
chord 3rd--why?
This occurs (and probably originated) in minor
as well--show and play
Ger+6 sounds like what? (complete dom. 7th)
Parallel 5ths are apt to result if we try to do
smooth voice-leading--show and play
So we put the cadential i6/4 between the Ger+6
and the V--show and play
Example of a Ger+6 useage
Der Doppelganger, D. 957 by Schubert in Burkhart pp.
299-301, m 51
Do class analysis
As with all +6 chords, the A6 (m7 enharmonic) interval is conspicuous:
What else is needed for Fr+6?
Third above the bass, 
, do
Same as in the It+6 and Ger+6
BUT ALSO a +4 above the bass ( 
, re)
Do not confuse +4 (A4)
above bass with , in +6 chords
Show and play the Fr+6
So in its usual position, what scale degrees does it consist of?
The Fr+6 resolves as do the others, to what?
V or I6/4 or i6/4
Put up the voice-leading example and play
tricky
analysis here because it could be a 
also
Questions?
Examine examples of +6 chords in Burkhart
Do unassigned workbook examples if time
to 
;
to and
in order to lead to some scale degree other than
) to 5th of tonic triad rather than to root of dom. in bass
