Tonal Harmony Chapter 7 Harmonic Progression and the Sequence
... Other harmonic sequences beside the circle-of-fifths sequence do occur Things to remember about sequences: 1. Sequential pattern may result in unusual doublings (root position dimished chords, and unusual leaps, all acceptable in a sequence) 2. Chords may not function in a sequence in their usua ...
... Other harmonic sequences beside the circle-of-fifths sequence do occur Things to remember about sequences: 1. Sequential pattern may result in unusual doublings (root position dimished chords, and unusual leaps, all acceptable in a sequence) 2. Chords may not function in a sequence in their usua ...
Part 1 The Materials of Music
... White Keys: C D E F G A B C Black keys are in between the white keys • Up a scale sharp ( # ) • Down a scale flat ( b ) • Black key above C is C#, D is D#, etc. • Black key below D is Db, E is Eb, etc. ...
... White Keys: C D E F G A B C Black keys are in between the white keys • Up a scale sharp ( # ) • Down a scale flat ( b ) • Black key above C is C#, D is D#, etc. • Black key below D is Db, E is Eb, etc. ...
For Unit 6: Further Musical Understanding
... The first half modulates to the dominant (C), but only just before the double bar. These two bars could also be described as a secondary dominant progression as the music is simply strengthening the dominant chord C for a return to the tonic tune (see the section on ‘tonality’). ...
... The first half modulates to the dominant (C), but only just before the double bar. These two bars could also be described as a secondary dominant progression as the music is simply strengthening the dominant chord C for a return to the tonic tune (see the section on ‘tonality’). ...
Minor Scales
... lower it. These last two can apply to any scale degree, but least commonly with the perfect intervals. ...
... lower it. These last two can apply to any scale degree, but least commonly with the perfect intervals. ...
Lesson WWW: Minor Keys and Key Signatures
... two common variations of the minor scale which intensify the tonic by borrowing the leading tone from the major mode: the harmonic minor composite (in which scale degree 7 is raised) and the melodic minor composite (which raises 6 and 7). G# and F#—the submediant and leading tone respectively—are th ...
... two common variations of the minor scale which intensify the tonic by borrowing the leading tone from the major mode: the harmonic minor composite (in which scale degree 7 is raised) and the melodic minor composite (which raises 6 and 7). G# and F#—the submediant and leading tone respectively—are th ...
Music Study List
... Schubert or Loewe; (3) song of narrative, explanatory type characteristically found in French opera and also, e.g., in Wagner's The Flying Dutchman (Senta's Ballad); so Stravinsky called his narrative cantata on Abraham and Isaac a "sacred ballad"; (4) sentimental English song of 19th-century "drawi ...
... Schubert or Loewe; (3) song of narrative, explanatory type characteristically found in French opera and also, e.g., in Wagner's The Flying Dutchman (Senta's Ballad); so Stravinsky called his narrative cantata on Abraham and Isaac a "sacred ballad"; (4) sentimental English song of 19th-century "drawi ...
Lewin, David “A Formal Theory of Generalized Tonal Functions”
... moves as well. A “Relative”-operation then takes you a minor third down from a major chord and a minor third up from a minor chord. The leap of a major third is called a “Leittone-exchange”. From a major chord a “L”-operation takes you a major third up, from a minor chord the “L”-operation takes you ...
... moves as well. A “Relative”-operation then takes you a minor third down from a major chord and a minor third up from a minor chord. The leap of a major third is called a “Leittone-exchange”. From a major chord a “L”-operation takes you a major third up, from a minor chord the “L”-operation takes you ...
Musicology Today
... referenced by a single form of the octatonic mode. The chromatic elements for the passage also create a sensitive pitch differentiation. The bridge (mm. 31-38) can be recognized through two common discourse techniques: restating the main theme (moment B) in transposition at the second form of the mo ...
... referenced by a single form of the octatonic mode. The chromatic elements for the passage also create a sensitive pitch differentiation. The bridge (mm. 31-38) can be recognized through two common discourse techniques: restating the main theme (moment B) in transposition at the second form of the mo ...
Schubert
... ii. Winterreise (Winter's Journey, 1827) 3. It is these lieder that define Schubert. i. First, in the vast cannon they present. ii. Leon Plantinga writes, “"In his more than six hundred Lieder he explored and expanded the potentialities of the genre as no composer before him." iii. The Essentials of ...
... ii. Winterreise (Winter's Journey, 1827) 3. It is these lieder that define Schubert. i. First, in the vast cannon they present. ii. Leon Plantinga writes, “"In his more than six hundred Lieder he explored and expanded the potentialities of the genre as no composer before him." iii. The Essentials of ...
Major Diatonic Chords
... chord (that is, a V7 chord with a major-minor structure). A jazz musician would take the top two notes (the G and D) as part of the overall chord, which then becomes an F13 chord. In classical music, the bottom four notes form the dominant F 7th chord, but the top two notes are classified as non-cho ...
... chord (that is, a V7 chord with a major-minor structure). A jazz musician would take the top two notes (the G and D) as part of the overall chord, which then becomes an F13 chord. In classical music, the bottom four notes form the dominant F 7th chord, but the top two notes are classified as non-cho ...
Subtle Irony in Personal Growth: Beethoven and
... The debate about where the “true” recapitulation lies, however, seems to me beyond the point. By obscuring the initial return of the first theme, Beethoven’s very objective was to make the location of the recapitulation ambiguous. In doing so, Beethoven calls attention to the larger structural rheto ...
... The debate about where the “true” recapitulation lies, however, seems to me beyond the point. By obscuring the initial return of the first theme, Beethoven’s very objective was to make the location of the recapitulation ambiguous. In doing so, Beethoven calls attention to the larger structural rheto ...
A Field Guide to Chromaticism
... minor scale, which defines the mode, and we know that the minor mode depends first of all on the definition of the tonic triad as a minor triad. The seventh degree of the scale, and somewhat less often the sixth degree, is normally inflected upward as a major scale degree to accommodate the directio ...
... minor scale, which defines the mode, and we know that the minor mode depends first of all on the definition of the tonic triad as a minor triad. The seventh degree of the scale, and somewhat less often the sixth degree, is normally inflected upward as a major scale degree to accommodate the directio ...
full text
... minor and by the startling ferocity of the technically demanding octave study in G sharp minor which provides a fitting conclusion to the group of Preludes presented by Stephen Hough. Sonata in F minor, opus 72:Bowen composed no fewer than six solo piano sonatas, of which three remain unpublished. T ...
... minor and by the startling ferocity of the technically demanding octave study in G sharp minor which provides a fitting conclusion to the group of Preludes presented by Stephen Hough. Sonata in F minor, opus 72:Bowen composed no fewer than six solo piano sonatas, of which three remain unpublished. T ...
Beethoven
... behind his wife, whom the composer referred to as “The queen of the night” due to the pastimes of the window, as well as a son, Karl, who was 9. Here Beethoven’s life was to change dramatically. His brother had written that he wished Karl’s guardianship to be exercised by both his wife and Ludwig. I ...
... behind his wife, whom the composer referred to as “The queen of the night” due to the pastimes of the window, as well as a son, Karl, who was 9. Here Beethoven’s life was to change dramatically. His brother had written that he wished Karl’s guardianship to be exercised by both his wife and Ludwig. I ...
Test Review - The OCD Musician
... 37. These notes are part of what scale? G A Bb C# Eb harmonic minor Bb harmonic minor D harmonic minor Db major ...
... 37. These notes are part of what scale? G A Bb C# Eb harmonic minor Bb harmonic minor D harmonic minor Db major ...
Lesson_WWW_-_Minor_K..
... Example 1 is in the key of a minor. The excerpt begins and ends on the pitch class A, and 6 (F#) and 7 (G#) are sometimes raised. Pitches are treated according to a hierarchy of relations about A, such as the raised 7 moving to 1 in measure 3 and measure 7, and 5 moving to 1 in measure 4. The raised ...
... Example 1 is in the key of a minor. The excerpt begins and ends on the pitch class A, and 6 (F#) and 7 (G#) are sometimes raised. Pitches are treated according to a hierarchy of relations about A, such as the raised 7 moving to 1 in measure 3 and measure 7, and 5 moving to 1 in measure 4. The raised ...
MU2201 : Analysing Western Art Music
... (“bass arpeggiation”, I-V-I, regarded both harmonically, as chords on tonic and dominant, and melodically, as an arpeggiation of the tonic triad). It can take three main forms, all with stepwise descents in the upper voice, from the third, fifth and eighth degrees of the scale respectively (these ar ...
... (“bass arpeggiation”, I-V-I, regarded both harmonically, as chords on tonic and dominant, and melodically, as an arpeggiation of the tonic triad). It can take three main forms, all with stepwise descents in the upper voice, from the third, fifth and eighth degrees of the scale respectively (these ar ...
ROMANTIC AND IMPRESSIONIST STYLE IN THE HARP
... Marcel Tournier, Six Noëls Op. 32 (Paris: Editions Henry Lemoine, 1926). ...
... Marcel Tournier, Six Noëls Op. 32 (Paris: Editions Henry Lemoine, 1926). ...
Lesson_SSS_-_Diatoni..
... than the previous one: i – iv – VII – III – VI – iio – V – i. (Note that some of these descending fifths are expressed as ascending fourths. This is done to avoid too low of a register.) Here, the sequence traverses an entire cycle of descending fifths, from tonic back to tonic. This is common—parti ...
... than the previous one: i – iv – VII – III – VI – iio – V – i. (Note that some of these descending fifths are expressed as ascending fourths. This is done to avoid too low of a register.) Here, the sequence traverses an entire cycle of descending fifths, from tonic back to tonic. This is common—parti ...
"Clavichord Music of Johann Kuhnau and CPE Bach" Joan Benson
... of the Versuchy seems to carry a deep, perhaps tragic, inner message; but unlike Kuhnau, Bach does not tell us just what the message is. That task was undertaken years later, without Bach's direct participation, by the Danish poet von Gerstenberg, who underlaid two separate texts, thus transforming ...
... of the Versuchy seems to carry a deep, perhaps tragic, inner message; but unlike Kuhnau, Bach does not tell us just what the message is. That task was undertaken years later, without Bach's direct participation, by the Danish poet von Gerstenberg, who underlaid two separate texts, thus transforming ...
Scales - SmartSite
... (here, F on a G-major V triad), the effect is stronger still. You sense a feeling of arrival, of coming home, as it were. ...
... (here, F on a G-major V triad), the effect is stronger still. You sense a feeling of arrival, of coming home, as it were. ...
Wolfgang Amadeus Mozart
... sonatas, symphonies, and concerts. These works are the beginning of his mature works. They reveal for the first time his distinctive style. He wrote also the opera Idomeneo, King of Crete, which was a great success. It prompted the archbishop of Salzburg to invite Mozart to work in his palace in ...
... sonatas, symphonies, and concerts. These works are the beginning of his mature works. They reveal for the first time his distinctive style. He wrote also the opera Idomeneo, King of Crete, which was a great success. It prompted the archbishop of Salzburg to invite Mozart to work in his palace in ...
Two New Mozart Compositions Discovered
... refers only to the solo part; but it is far more probable that the compositional process involved the orchestral accompaniment from the outset. Unfortunately the movement is scarcely performable as it has come down to us, because the orchestral tuttis are missing—not just the introduction and postlu ...
... refers only to the solo part; but it is far more probable that the compositional process involved the orchestral accompaniment from the outset. Unfortunately the movement is scarcely performable as it has come down to us, because the orchestral tuttis are missing—not just the introduction and postlu ...
Benward Chapter 6
... Moving away from the tonic produces a somewhat restless feeling, whereas arrival at the tonal center gives a sense of relaxation and ...
... Moving away from the tonic produces a somewhat restless feeling, whereas arrival at the tonal center gives a sense of relaxation and ...
on the relation of musical topoi to formal function
... almost always associated with an initiating formal function. At the level of the phrase, that function emphasizes the stability of root-position tonic and typically employs ascending gestures that open up melodic space. The rocket topic includes both of these characteristics in that it always consis ...
... almost always associated with an initiating formal function. At the level of the phrase, that function emphasizes the stability of root-position tonic and typically employs ascending gestures that open up melodic space. The rocket topic includes both of these characteristics in that it always consis ...
Sonata form
Sonata form (also sonata-allegro form or first movement form) is a large-scale musical structure used widely since the middle of the 18th century (the early Classical period).While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this, sonata form is difficult to pin down in a single model.The standard definition focuses on the thematic and harmonic organization of tonal materials that are presented in an exposition, elaborated and contrasted in a development and then resolved harmonically and thematically in a recapitulation. In addition, the standard definition recognizes that an introduction and a coda may be present. Each of the sections is often further divided or characterized by the particular means by which it accomplishes its function in the form.Since its establishment, the sonata form became the most common form in the first movement of works entitled ""sonata"", as well as other long works of classical music, including the symphony, concerto, string quartet, and so on. Accordingly, there is a large body of theory on what unifies and distinguishes practice in the sonata form, both within eras and between eras. Even works that do not adhere to the standard description of a sonata form often present analogous structures or can be analyzed as elaborations or expansions of the standard description of sonata form.