AP MUSIC THEORY White Oak High School – Mr. Morton
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 PRINCIPLES OF VOICE LEADING
Chapter 5: Voice Leading
The compositional process, being entirely creative, is not easily understood
Composers think about melody, harmony, rhythm, etc.
◦ A complete analysis of a composition takes everything in to account
The next part of our semester will concentrate on the harmonic aspect, since it is this aspect that most clearly delineates tonal music from other types!
Chapter 5: Voice Leading
Basic vocabulary of tonal harmony is
triads and seventh chords
◦ Harmonic Progression: the way in which
chords are selected
◦ Voice Leading/Part Writing: the way in
which chords are produced by motions of
individual musical lines
Counterpoint: the combining of relatively
independent musical lines
Chapter 5: Voice Leading
What are we going to be looking at in
terms of voice leading?
◦ How does a composer write out a given
succession of chords for some combination of
performers?
◦ How does he or she decide in which direction
each vocal or instrumental line should go?
Chapter 5: Voice Leading
The style of voice leading will depend on
the composer, the musical effect desired,
and the performing medium
◦ For example, it is easier to play a large
interval on the piano than it is to sing it
As a result, there are certain voice-leading
norms that most composers follow most
of the time
Chapter 5: Voice Leading
The Melodic Line
◦ Rhythm
◦ Harmony
◦ Contour (shape)
◦ Leaps
◦ Tendency Tones
Chapter 5: Voice Leading
The Melodic Line
◦ Rhythm
Simple
Durations equal to or longer than the duration of
the beat
Final note should occur on a strong beat (i.e. Beat 1
or Beat 3)
Chapter 5: Voice Leading
The Melodic Line
◦ Harmony
Every melody note should belong to the chord that
is to harmonize it
EXAMPLE
If we have a V chord in the key of C major, what notes could
we use in the melody?
Chapter 5: Voice Leading
The Melodic Line
◦ Contour
Melody should be primarily conjunct (stepwise)
Shape of the melody should be interesting but clear
and simple with a single focal point
Focal Point: the highest note of the melody
Examples 5-1a, 5-1b, and 5-1c (pg. 74)
Chapter 5: Voice Leading
The Melodic Line
◦ Leaps
Avoid augmented intervals, 7ths, and intervals larger
than a P8
Diminished intervals may be used if the melody
changes by step immediately after the interval.
A melodic interval larger than a P4 is usually best
approached and left in the direction opposite the
leap.
When smaller leaps are used consecutively in the
same direction, they should outline a triad
Chapter 5: Voice Leading
The Melodic Line
◦ Tendency Tones
7 – strong tendency to move to 1
EXCEPTION: scale-wise line descending from 1 (1-7-6-5)
4 – often moves down to 3
Chapter 5: Voice Leading
Independent Practice (in class)
◦ Complete Self-Test 5-1 (Part A & B) in
Tonal Harmony Textbook
Independent Practice (at home)
◦ Complete Exercise 5-1 (Part A) in Tonal
Harmony Workbook
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 NOTATING CHORDS/VOICING TRIADS
Chapter 5: Voice Leading
Notating Chords
◦ Musical Score: tool used by a composer, conductor, or analyst which shows all of the parts of an ensemble arranged one above the other
◦ Full Score: all or most all of the parts are notated on their own individual staves
◦ Reduced Score: score notated at concert pitch on as few staves as possible
◦ Any musician should be able both to read and to prepare a full score
Choice of full or reduced score depends partly on the sort of musical texture that the exercise will use
Chapter 5: Voice Leading
Notating Chords
◦ Note Stems
When notating more than one part on a single staff,
be sure that the stems of the top part always point
up and those of the bottom point down, even if the
parts have crossed
Chapter 5: Voice Leading
Voicing a Single Triad
◦ Voicing: how a chord is to be distributed or
spaced
Voicing has a great deal of influence on its aural
effect
EXAMPLE 5-7 (pg. 77)
Chapter 5: Voice Leading
Voicing a Single Triad (Open vs. Close)
◦ Close Structure: less than an octave
between the soprano and tenor voices
◦ Open Structure: an octave or more
between the soprano and tenor voices
◦ For any of these structures, there can be
more than octave between the tenor and bass
voices
◦ EXAMPLE 5-8
Chapter 5: Voice Leading
Voicing a Single Triad (Rules)
◦ Cross Voicing: where voice parts cross each
other
◦ Do not allow any part to cross each other at
any time!
JUST SAY NO!
◦ EXAMPLE 5-9/5-10
Chapter 5: Voice Leading
Voicing a Single Triad (Rules)
◦ Spacing:
When writing for three or more parts, avoid overly
spacious sonorities by keeping adjacent upper parts
within an octave of each other (excluding the bass)
There should not be more than an octave between
each of the upper voices
EXAMPLE 5-11
Chapter 5: Voice Leading
Voicing a Single Triad (Rules)
◦ Range
◦ When writing for vocal ensembles, do not
exceed the following ranges:
Chapter 5: Voice Leading
Independent Practice (in class)
◦ Complete Self-Test 5-2 (Part A & B),
(Part C 1-4) in Tonal Harmony Textbook
Independent Practice (at home)
◦ Study for your Quiz!
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 PARALLEL MOTION
Chapter 5: Parallel Motion
In tonal music, it is important to consider the relationships between any voice in the texture and every other voice in the texture
There are 5 possible relationships between any two voices (Example 5-13)
◦ Static
◦ Oblique
◦ Contrary
◦ Similar
◦ Parallel
Chapter 5: Parallel Motion
Static: neither voice/part moves
Oblique: only one voice/part moves
Contrary: both voices/parts move but in
opposite directions
Similar: both voices/parts move in the
same direction, but by different intervals
Parallel: both move in same direction by
the same interval
Chapter 5: Parallel Motion
When the texture contains more than two voices, there will be more “pairs of voices to look at
◦ 3-voice texture = 3 pairs
◦ 4-voice texture = 6 pairs
Soprano & Alto
Soprano & Tenor
Soprano & Bass
Alto & Tenor
Alto & Bass
Bass & Tenor
Chapter 5: Parallel Motion
Basic goal in voice leading in tonal music
is to maintain the relative independence
of the individual part
◦ Voices moving in parallel motion must be
given special attention (Example 5-15)
Chapter 5: Parallel Motion
One must avoid the following when dealing with voice-leading
◦ Parallel/Consecutive 5ths
◦ Parallel/Consecutive 8ves
◦ Unequal 5ths (P5 to o5, or vice versa)
◦ Direct (or hidden) 5ths or 8ves
◦ These are known as objectionable parallels When two parts that are separated by a P5 or P8, or
their octave equivalents, move to new pitch classes thare separated by the same interval
Examples 5-16 to 5-20
Chapter 5: Parallel Motion
Chapter 5: Parallel Motion
Why must we avoid these?
◦ 5ths and 8ves are the most stable of intervals,
and to link two voices through parallel motion
interferes with their independence
◦ Parallel 3rds and 6ths do not interfere as
much with independence
◦ Avoidance of parallels of all types was less
strictly maintained in instrumental music than
in vocal music
Chapter 5: Parallel Motion
Independent Practice (in class)
◦ Complete Self-Test 5-3 (Part A, C) in Tonal
Harmony Textbook
Independent Practice (at home)
◦ Complete Exercise 5-3 in Tonal Harmony
Textbook
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 ROOT POSITION PART WRITING W/REPEATED ROOTS
Chapter 6: Root Position Chords
Today we begin to write MUSIC!
Our first efforts at tonal composition will
explore the restricted environment of
root position triads.
Chapter 6: Root Position Chords
There are 4 different intervals that can
separate the roots of any two chords:
◦ 2nd apart (same as 7th apart)
◦ 3rd apart (same as 6th apart)
◦ 4th apart (same as 5th apart)
◦ Same roots-a repeated chord
What does this remind you of that we
learned about earlier in the semester?
Chapter 6: Root Position Chords
Throughout this chapter, the conventions for
writing these types of root position chords
in 3- and 4-voice texture will be presented
◦ These are not RULES, but instead are tested
strategies for successful part writing!
◦ If followed, you will avoid parallels or other
textural problems
◦ There will be times where the melody or other
factors make these conventions impossible to
follow, but this is fairly uncommon
Chapter 6: Root Position Chords
Note Doubling/Tripling
◦ Can become a major issue in part-writing!
◦ REMEMBER: When we refer to a note being
doubled or tripled, we mean that two or
three of the parts are given that same pitch
class, although not in the same octave
◦ Can be the root, third, or fifth that are
doubled/tripled.
◦ EXAMPLE (Bach excerpt pg. 86)
Chapter 6: Root Position Chords
Root Position Part-Writing with Repeated Roots
Four-Part Textures
◦ All parts of the triad are usually present
◦ The root is usually doubled.
◦ The leading tone (7) is almost never doubled.
WHY?
◦ The final I chord is sometimes incomplete, consisting of a 3rd and tripled root.
◦ EXAMPLE 6-1
Chapter 6: Root Position Chords
Chapter 6: Root Position Chords
Other considerations…
◦ When a root position triad is repeated the
upper voices may be arpeggiated freely, as
long as spacing conventions are followed
◦ The bass may arpeggiate an octave
◦ EXAMPLE 6-1
Chapter 6: Root Position Chords
Independent Practice (in class)
◦ Complete Self-Test 6-1 (Part A) in Tonal
Harmony Textbook
Independent Practice (at home)
◦ Complete Exercise 6-1 (Part A) in Tonal
Harmony Textbook
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 ROOT POSITION PART WRITING WITH ROOTS A 4TH & 5TH APART
Chapter 6: Root Position Chords
One of the most fundamental root
movements in tonal music is that of the
descending P5, or ascending P4
Part-writing principles in this root
movement are identical to those used
with the ascending P5, or descending P4
One must still be concerned with spacing,
parallelism, and the resolution of 7 to 1
when it occurs in the melody
Chapter 6: Root Position Chords
Four-Part Textures
◦ Common Tone and Stepwise
Keep the tone that is common in both
chords in the same voice
Remaining parts move by step in the same
direction
Ascending step-wise motion for root movement of a P5
down
Descending step-wise motion for root movement of a P5 up
Chapter 6: Root Position Chords
Four-Part Textures
◦ Common Tone and Stepwise
Chapter 6: Root Position Chords
Four-Part Textures
◦ Similar Motion by 2nd or 3rd
All three upper voices move in the same
direction, with no leap larger than a 3rd
Motion will be descending for a root movement of
a P5 down (or P4 up)
Motion will be ascending for root movement of a
P5 up (or P4 down)
It is acceptable for the 7 scale degree of a scale to
not resolve to 1, if it is in an inner voice (EX. 6-3c)
Chapter 6: Root Position Chords
Four-Part Textures
◦ Tertian Leap, Common Tone, Stepwise
This method is not as smooth as the others…useful
for changing between open and close structure
Keep in the same voice the tone that is
common between both chords
Voice that has the 3rd in first chord leaps to
provide the 3rd in the second chord
Remaining voice moves by step
It is acceptable for the 7 scale degree of a scale to
not resolve to 1, if it is in an inner voice
Chapter 6: Root Position Chords
Independent Practice (in class)
◦ Complete Self-Test 6-2 (Part A 1-2) in
Tonal Harmony Textbook
Independent Practice (at home)
◦ Complete Exercise 6-2 (Part A 1-2), (Part
B) in Tonal Harmony Textbook
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 ROOT POSITION PART WRITING WITH ROOTS A 3rd & 6TH APART
Chapter 6: Root Position Chords
Four-Part Textures
◦ Two Common Tones and Stepwise
Use this assuming that the first root position triad
has a doubled root
Keep in the same voice the two upper notes which
have tones in common with the second chord
Remaining voice moves by step
Motion will be upwards for roots a descending 3rd apart
Motion will be downwards for roots an ascending 3rd apart
Chapter 6: Root Position Chords
Independent Practice (in class)
◦ Complete Self-Test 6-3 (Part A #2) in Tonal
Harmony Textbook
Independent Practice (at home)
◦ Complete Exercise 6-3 in Tonal Harmony
Textbook
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 ROOT POSITION PART WRITING WITH ROOTS A 2nd & 7TH APART
Chapter 6: Root Position Chords
Four-Part Textures
◦ Contrary to the Bass
If the root is doubled in the first chord, the voice
leading is quite simple
If the bass moves up by step, the upper voices
move DOWN to the nearest chord tone
If the bass move down by step, the upper
voices move UP to the nearest chord tone
EXAMPLE 6-8
Chapter 6: Root Position Chords
Four-Part Textures
◦ Most of the progressions seen using this bass
movement will be a V-chord moving to a VI-
chord
This is known as a deceptive progression, which
you will learn about later
This type of progression creates some
problems…
Chapter 6: Root Position Chords
Four-Part Textures
◦ One must pay particular attention to the
resolution of the 7 in this progression
Downward resolution to the 6 is ok, if the 7 is in
the inner voices
Not acceptable in the minor mode because it creates an
augmented 2nd
EXAMPLE 6-9
If 7 is in the outer voices, it must be resolved up to
the tonic
Chapter 6: Root Position Chords
Independent Practice (in class)
◦ Complete Self-Test 6-4 (Part A, 4-5) in
Tonal Harmony Textbook
Independent Practice (at home)
◦ Complete Exercise 6-4 in Tonal Harmony
Textbook
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 HARMONIC PROGRESSION & THE SEQUENCE
Chapter 7: Harmonic Progressions
In order to compose convincing tonal
music, one must learn which chord
successions are typical of tonal harmony
Why is it that some chord successions
seem to “progress,” to move forward to a
goal, whereas others tend to wander, to
leave our expectations unfulfilled?
EXAMPLE 7-1
Chapter 7: Harmonic Progressions
The first example was composed following the principles that will be discussed in this chapter.
◦ Sounds more like tonal harmony
The chords of the second example were chosen at random
◦ Gives it freshness
This chapter will explore this phenomenon, but first we must discuss a topic that concerns melody as well as harmony
Chapter 7: Harmonic Progressions
One of the most important means of
achieving unity in tonal music is through
the use of a sequence
◦ Sequence: a pattern that is repeated
immediately in the same voice but that begins
on a different pitch class
Chapter 7: Harmonic Progressions
There are different types of sequences:
◦ Tonal Sequence: keeps the pattern in a
single key
Modifiers of the intervals (major, minor, etc.) will
probably change
EXAMPLE 7-2A
◦ Real Sequence: transposes the pattern to a
new key; also known as modulating sequences
EXAMPLE 7-2B
Chapter 7: Harmonic Progressions
It is important to understand the
difference between sequence and
imitation
◦ Real Imitation: when the repetition of a
pattern occurs in a different voice or
instrument
EXAMPLE 7-3
Are there any examples of a sequence?
What has been modified in the sequence in m. 3 in
the second violin?
Chapter 7: Harmonic Progressions
Modified Sequence: where the
repetitions of a pattern are neither tonal
nor real
Circle of Fifths Progression: consists
of a series of roots related by descending
fifths (and/or ascending 4ths)
◦ Most of the 5ths (and/or 4ths) will be perfect,
but if a progression goes on long enough, a
dim. 5th (or Aug. 4th) will appear
Chapter 7: Harmonic Progressions
EXAMPLE 7-5
◦ Examine the bass line and the circle of fifths
progression.
◦ Are all of the fifths perfect? If not, which ones
are different?
Even though the chords in this example
are in root position, if some or all of them
were inverted, it would still contain a
circle of fifths progression
Chapter 7: Harmonic Progressions
Sequential progressions involving the
circle of fifths are frequently found in 20th-
century popular music and jazz
◦ EXAMPLE 7-6
◦ Similar to Example 7-5, it includes a dim. 5th in
the root movement, which is not all
uncommon in circle of fifths progressions
Chapter 7: Harmonic Progressions
The root progression of a 5th down (or a
4th up) is the most basic progression in
tonal harmony, whether or not it occurs
in the context of a sequence
The circle of fifths progression offers
a useful memory aid in learning
harmonic function
Chapter 7: Harmonic Progressions
Harmonic Progression (I and V)
◦ Since the most basic progression is root
movement by a descending 5th, this make it
the strongest of all root movements (V-I)
◦ The ultimate harmonic goal of any tonal piece
is the tonic triad
Everything is trying to get to the I chord
Often the goal of many formal subdivisions as well
What does this mean?
Chapter 7: Harmonic Progressions
Harmonic Progression (I and V)
◦ The tonic triad is most often preceded by a V
(or V7) chord.
V7 and I together are the most essential elements
of a tonal work
◦ It is not difficult to find examples of good
compositions that use just I and V chords
EXAMPLE 7-7 by Mozart
Pick out a measure and see if all of the notes not in
parentheses are in the chord.
Chapter 7: Harmonic Progressions
Harmonic Progression (I and V)
◦ Not all dominant and tonic chords have the
same significance
◦ EXAMPLE 7-7
mm. 27-30: contains a large I-V progression; opening
tonic is prolonged by the use of the relatively weak
V6-5 chord in m. 28
mm. 31-34: tonic prolonged through means of the
V6-5, V4-3, and i6 chords
Which dominant chord near the end do you think
is the most important? Why?
Chapter 7: Harmonic Progressions
Harmonic Progression (I and V)
◦ EXAMPLE 7-7
Overall, we could simplify the harmonic progression
of this example to a deeper harmonic structure
of…
i V | i V i |||
Chapter 7: Harmonic Progressions
Independent Practice (in class)
◦ Complete Self-Test 7-1 (Part D) in Tonal
Harmony Textbook
Independent Practice (at home)
◦ Complete Exercise 7-1 in Tonal Harmony
Textbook
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 HARMONIC PROGRESSIONS (II & VI CHORD)
Chapter 7: Harmonic Progressions
Harmonic Progression (II Chord)
◦ If we extend our circle of fifths progression
backward one step from the V chord, we have
the following progression:
[ ii ] ---- [ V ] ---- (1)
◦ The diagram shows the normal function of ii
as a pre-dominant chord
◦ Progresses to V and of V to progress to I
◦ Many phrases contain only a I--ii--V--I
progression
Chapter 7: Harmonic Progressions
Harmonic Progression (II Chord)
◦ [ ii ] ---- [ V ] ---- (1)
◦ EXAMPLE 7-8/7-9
◦ Compare and contrast these two examples
Chapter 7: Harmonic Progressions
Harmonic Progression (VI Chord)
◦ One more step in the circle of fifths brings us
to the vi chord:
[ vi ] ---- [ ii ] ---- [ V ] ---- (1)
◦ If these chords are put in root position, this
progression represents an ostinato
EXAMPLE 7-10
EXAMPLE 7-11 (same example in minor)
Chapter 7: Harmonic Progressions
Harmonic Progression (VI Chord)
◦ Another fifth backward brings us to the iii chord:
[ iii ] ---- [ vi ] ---- [ ii ] ---- [ V ] ---- (1)
◦ It is often assume that the iii chord is frequently encountered and that they should be included in their exercises…not the case, at least in the major mode
When the 3 scale degree is used in a bass line it is usually as a I6 and not a iii chord
The III chord in minor is used more frequently
Chapter 7: Harmonic Progressions
Harmonic Progression (VI Chord)
◦ When a iii chord does occur and it follows
the natural descending 5ths progression, it will
go to vi
◦ [ iii ] ---- [ vi ] ---- [ ii ] ---- [ V ] ---- (1)
◦ EXAMPLE 7-12/7-13
◦ iii chord is great for writing a 1-7-6 soprano
line
Chapter 7: Harmonic Progressions
Independent Practice (in class)
◦ Complete Self-Test 7-1 (Part H, even) in
Tonal Harmony Textbook
Independent Practice (at home)
◦ Complete Exercise 7-1 in Tonal Harmony
Textbook
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 HARMONIC PROGRESSIONS (VII & IV CHORD)
Chapter 7: Harmonic Progressions
Harmonic Progression (VII Chord)
◦ Another fifth backward brings us to the VII
chord:
[ iii ] ---- [ vi ] ---- [ ii ] ---- [ viio/V ] ---- (1)
◦ The viio goes to a iii in sequential passages, but
it usually acts as a substitute for a V chord
V and viio are so closely related that moving from
one to the other is not considered to be a
“progression”
Chapter 7: Harmonic Progressions
Harmonic Progression (VII Chord)
◦ In sequential circle-of-fifths passages the goal
of viio is to resolve to iii…any other time it
resolves to a I chord
◦ If viio and V are used next to each other, V will
usually follow viio since it is the stronger
sound
◦ The most common use of viio is in first
inversion between two positions of the tonic
triad
Chapter 7: Harmonic Progressions
Harmonic Progression (VII Chord)
◦ The most common use of viio is in first inversion
between two positions of the tonic triad
I---viio6--- I6 or I6---viio6--- I
Great for creating a 6-7-1 soprano line
EXAMPLE 7-15
◦ Sometimes this progression creates a voice
exchange between the bass and an upper voice
Voice Exchange: where a voice line outlines 1-2-3 and
the other mirrors it with 3-2-1
EXAMPLE 7-14
Chapter 7: Harmonic Progressions
Harmonic Progression (IV Chord)
◦ Another fifth backward brings us to the IV
chord, the last chord missing from our
diagram:
[ iii ] ---- [ vi ] ---- [ IV/ii ] ---- [ V/viio ] ---- (1)
◦ The IV chord has a pre-dominant function,
moving directly to V or viio
It may also expand the pre-dominant area by
moving to ii or iio6 before to V or viio
Chapter 7: Harmonic Progressions
Harmonic Progression (IV Chord)
◦ In a different role, IV may also move directly
to a I chord, often called a plagal progression
EXAMPLE 7-16
Chapter 7: Harmonic Progressions
Common Exceptions
◦ To complete our chart of chord functions, we
must add 2 more things
V-vi (deceptive progression)
iii-IV (EXAMPLE 7-13)
◦ These additions help complete the normative
functions for MAJOR keys
[ iii ]---[ vi ]---[ IV/ii ]---[ V/viio ]---(1)
Chapter 7: Harmonic Progressions
The Minor Mode
◦ Most chords in the minor mode function the
same as in the major mode, except for the III
chord
◦ The III chord represent the relative major key,
and minor music likes to drift in that direction
[VII]---[ III ]---[ VI ]---[ iv/iio ]---[ V/viio ]---(1)
Chapter 7: Harmonic Progressions
The Minor Mode
◦ Depending on the minor key (natural,
harmonic, or melodic), the 6 and 7 scale
degrees will produce chords of different
quality and function
◦ Additionally, the minor v chord does not have
dominant function…it usually serves as a
passing chord
EXAMPLE 7-18
Chapter 7: Harmonic Progressions
Harmonic Sequences
◦ There are a few things to remember about
harmonic sequences…
◦ Rules on pg. 114
◦ EXAMPLE 7-19
Which chords progression is not considered to be
a normal chord function in a-f?
Chapter 7: Harmonic Progressions
Harmonizing a Simple Melody
◦ Since we have only discussed root position
chords for part-writing, any melody should be
harmonized using these chords
◦ For the best results, avoid using any root
position diminished triads
Chapter 7: Harmonic Progressions
How to Harmonize a Simple Melody
◦ Begin by selecting the chords for the very beginning and for the last 2-3 chords
◦ Write out the possibilities for each remaining chord, remembering that every melody note could serve as the root, 3rd, or 5th of a triad
◦ Compose the rest of the bass line, trying to create a good harmonic progression while avoiding parallel or direct 5ths and 8ves with the melody Think about using contrary motion where it is possible
◦ Fill in the rest of the inner voices, using the strategies from Chapter 6 to avoid part-writing errors
Chapter 7: Harmonic Progressions
Independent Practice (in class)
◦ Complete Self-Test 7-1 (Part B), (Part F
#3) in Tonal Harmony Textbook
Independent Practice (at home)
◦ Complete Exercise 7-1 in Tonal Harmony
Textbook
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 CADENCES
EQ: WHAT IS A CADENCE?
WHAT ARE THE
DIFFERENT CADENCES
FOUND IN MUSIC?
Tonal Harmony Chapters 5-12 CADENCES
Chapter 10: Cadences
Understanding tonal harmony requires
more than knowledge of chord functions
and voice leading
One must also consider musical form…
◦ Musical Form: the ways in which a
composition is organized to create a
meaningful musical experience for the listener
Chapter 10: Cadences
As mentioned earlier, the ultimate goal of
a tonal composition is the final tonic triad
However, there will also be many interior
harmonic goals found within a piece
◦ Sometimes produced at a regular rate (i.e.
every four measures)
Cadence: a harmonic goal or ending
Chapter 10: Cadences
Some cadences sound more or less
conclusive (or final)
Some leave us off balance, feeling the
need for the music to continue
Locating cadences is very easy
◦ Listen for a harmonic goal
◦ Often there is a slow down created by longer
note values…(sometimes there is not a slow
down, but there still is a cadence)
Chapter 10: Cadences
Classifying Cadences (Major & Minor)
◦ Authentic Cadence: a tonic triad preceded by some form of V or viio chord
◦ There are 2 types of authentic cadences:
Perfect Authentic Cadence (PAC): consists of a V-I (or V7-1) progression, both in root position and with the 1 scale degree in the soprano
PAC is the most final sounding of all cadences
Most tonal compositions end with a PAC, but others can be found throughout a piece
EXAMPLE 10-1
Chapter 10: Cadences
Classifying Cadences (Major & Minor)
◦ Imperfect Authentic Cadence (IAC):
defined as any authentic cadence that is not a
PAC
PAC, but with 3 or 5 scale degree in the soprano
EXAMPLE 10-2
Either or both the V-1 chords are inverted
EXAMPLE 10-3
Some form of viio-I, the viio substituting for a Vchord
EXAMPLE 10-4
Chapter 10: Cadences
Classifying Cadences (Major & Minor)
◦ The root position IAC is the most final
sounding of the three IAC types
◦ Some compositions may end with this type of
cadence
◦ The other types are limited to interior
cadences
Chapter 10: Cadences
Classifying Cadences (Major & Minor)
◦ Remember, not EVERY V-1 progression
constitutes an authentic cadence.
◦ Only when the I chord seems to serve as the
goal of a longer passage (usually at least a few
measures)
◦ This also applies to other cadences types
Chapter 10: Cadences
Classifying Cadences (Major & Minor)
◦ Deceptive Cadence (DC): when the ear expects a V-1 authentic cadence, but hears V-? instead
The question mark is usually a submediant triad (vi)
◦ A deceptive cadence produces a very uneasy feeling, and would never be used to end a tonal work
◦ DC is used to not end, but extend a phrase a few more measures until the end
◦ EXAMPLE 10-5
Chapter 10: Cadences
Classifying Cadences (Major & Minor)
◦ Half Cadence (HC): cadence that ends with a
V chord, which is preceded by any other chord
Common type of unstable or “progressive” cadence
EXAMPLE 10-6
◦ Phrygian Half Cadence: special name given to
the iv6-V HC in minor
Name refers to a cadence in the period of modal
polyphony (before 1600), but does not mean it is in the
Phrygian mode
EXAMPLE 10-7
Chapter 10: Cadences
Classifying Cadences (Major & Minor)
◦ Plagal Cadence: a cadence that involves a
IV-1 progression
◦ Not considered as important as authentic
cadence, even though they are final sounding
◦ Usually added on as a kind of tag, following a
PAC
◦ EXAMPLE 10-8
Chapter 10: Cadences
Classifying Cadences Overview
◦ Authentic Cadences
Perfect
Imperfect
◦ Half Cadence
Phrygian HC
◦ Deceptive Cadence
◦ Plagal Cadence
Chapter 10: Cadences
Cadences & Harmonic Rhythm
◦ As a general rule, the last chord of a cadence
usually falls on a stronger beat than the chord
that precedes it
This assumes that the harmonic rhythm (the rate
at which the chords change) is faster than one
chord per measure
Examples (pg. 159)
Chapter 10: Cadences
Independent Practice (in class)
◦ Checkpoint pg. 160
◦ Complete Self-Test 10-1 (Part A #1-2) in
Tonal Harmony Textbook
Independent Practice (at home)
◦ Complete Exercise 10-1 (Part A #1-3) in
Tonal Harmony Textbook
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 MOTIVES AND PHRASES
Chapter 10: Motives and Phrases
Motive: the smallest identifiable musical
idea
◦ Pitch Pattern
◦ Rhythmic Pattern
◦ Or Both
Rhythm is probably the stronger and
easily more identified when it reappears
later in a composition
Chapter 10: Motives and Phrases
It is best to use the word motive to refer
only to those musical ideas that are
“developed” in a composition
Developed: worked out or used in
different ways
EXAMPLE: Beethoven’s Symphony No. 5
Chapter 10: Motives and Phrases
Phrase: a relatively independent musical idea which ends in a cadence
Sub-phrase: a distinct portion of a phrase
◦ Not considered a phrase because it is too short to seem independent or it does not end in a cadence
◦ Sub-phrase = melodic event
◦ Phrase = harmonic event
◦ EXAMPLE 10-9
Chapter 10: Motives and Phrases
There is a good deal of subjectivity in identifying phrases
What sounds like a phrase to one listener might be a sub-phrase to another
Phrases might often be extended by a deceptive progression (V-vi) followed by an authentic cadence
Also be extended by repetition of the cadence
◦ EXAMPLE 10-10
Chapter 10: Motives and Phrases
Phrase Elision: where the last note of
one phrase serves as the first note of the
next one
◦ Sometimes creates ambiguity as to where the
phrase starts/ends
◦ EXAMPLE 10-3
Chapter 10: Motives and Phrases
Mozart’s An Die Freude
◦ Written when Mozart was 11 years old
◦ Do we change key at all? Are there other
tonal areas that are emphasized?
◦ Do we hear any motives?
◦ Where are the different phrases?
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 PERIOD FORMS
Chapter 10: Period Forms
Certain patterns for organizing phrases or
groups of phrases can be found over and
over again in music
One such pattern is the larger structural
unit called the period
Chapter 10: Period Forms
A period typically consists of two phrases
in an antecedent-consequent (question-
answer) relationship
◦ I went to the store, and I bought a bunch of
groceries.
Relationship usually created by means of a
stronger cadence at the end of the
second phrase
Chapter 10: Period Forms
Phrase 1 (IAC) Phrase 2 (PAC)
Phrase 1 (HC) Phrase 2 (PAC/IAC)
PERIOD
PERIOD
Chapter 10: Period Forms
By definition, phrase endings of a period
must be different
◦ If both phrases are identical, the result is not a
period but a repeated phrase
◦ Repetition is important in music, but it does
not contribute to growth of a musical form
Chapter 10: Period Forms
Parallel Period: two phrases begin with
similar or identical material
◦ EXAMPLE 10-12
◦ EXAMPLE 10-13 (sequential relationship)
A (HC) A’ (PAC)
PARALLEL PERIOD
Chapter 10: Period Forms
Contrasting Period: two phrases begin
with material that is not similar
◦ EXAMPLE 10-14
A (HC) B (PAC)
CONTRASTING PERIOD
Chapter 10: Period Forms
A common way of expanding a two-
phrase period is to repeat either the
antecedent or consequent phrase
◦ Also possible to repeat both (AABB)
Three-Phrase Period: three different
phrases in one period
◦ AAB, or ABB
◦ EXAMPLE 10-15
Chapter 10: Period Forms
Double Period: consists typically of 4 phrases in two pairs, the cadence at the end of the pairs being stronger than cadence at end of the first pair
◦ Each half consists of a pair of phrases, instead of one
◦ First pair will not form a period according to our original definition
◦ A repeated period is not the same as a double period (require contrasting cadences)
Chapter 10: Period Forms
Phrase 1 Phrase 2
(HC) Phrase 1
Phrase 2 (PAC/IAC)
DOUBLE
PERIOD ANTECEDENT CONSEQUENT
Phrase 1 Phrase 2
(IAC) Phrase 1
Phrase 2 (PAC)
DOUBLE
PERIOD
ANTECEDENT CONSEQUENT
Chapter 10: Period Forms
Double periods can be called parallel or
contrasting, according to the material that
begins each of the two halves
◦ Similar = Parallel
◦ Different = Contrasting
◦ EXAMPLE 10-16
What kind of double period is this example? Parallel
or Contrasting?
Chapter 10: Period Forms
EXAMPLE 10-16
A (HC) B (HC) A’ (HC) B’ (PAC)
DOUBLE
PERIOD ANTECEDENT CONSEQUENT
Chapter 10: Period Forms
Sometimes phrases will seem to belong
together structurally, but they do not
constitute a period or double period
◦ Most likely the final cadence is not the
strongest one
◦ Common in transitional passages that connect
more significant areas of music
◦ We use the term phrase group for these
areas
Chapter 10: Period Forms
The Sentence
◦ Most important distinguishing feature of the
period is the weak-strong cadence pattern
◦ There are ways to employ musical features
other than cadence patterns to create larger
structural units
◦ One such unit is called the sentence
Chapter 10: Period Forms
The Sentence
◦ Characterized by the immediate repetition or
variation of a musical idea, followed by motion
toward a cadence
EXAMPLE 10-17
A A’ HC/IAC/PAC
Chapter 10: Period Forms
The Sentence
◦ Relationship between beginning material and
its variant might be repeated, repeated and
ornamented, use the same harmony and
transpose the melody, or form a sequential
progression (EXAMPLE 10-18)
A A’ HC/IAC/PAC
Chapter 10: Period Forms
The Sentence
◦ Second half of the sentence may be shorter,
longer, continue to use motives from the
initial idea, or introduce new material
◦ Most cases, this material will create a drive or
momentum toward the final cadence
A A’ HC/IAC/PAC
Chapter 10: Period Forms
Independent Practice (in class)
◦ Complete Self-Test 10-1 (Part C #2) in
Tonal Harmony Textbook
Independent Practice (at home)
◦ Complete Exercise 10-1 in Tonal Harmony
Textbook
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 TRIADS IN FIRST INVERSION
Chapter 8: First Inversion Triads
EXAMPLE 8-1
◦ Listen to the following example, paying
attention the bass line
◦ What do you think?
EXAMPLE 8-2
◦ Listen to the following example paying close
attention to the bass line
◦ What do you think? Is it better than the
previous example? Why?
Chapter 8: First Inversion Triads
The bass line in the previous example is
improved through inverted chords
◦ Harmony and melody are the same, but the
inverted chords have created a more
interesting contour
◦ Most phrases include one inverted chord
Chapter 8: First Inversion Triads
Purpose of First Inversion Triads
◦ To improve the contour of the bass line
◦ To provide a greater variety of pitches in the
bass line
◦ To lessen the weight of V and I chords that do
not serve as the goals of harmonic motion
Chapter 8: First Inversion Triads
One way in which first inversion chords
originate is through bass arpeggiation
◦ Use only inversion symbols when you see a
bass arpeggiation
EXAMPLE 8-2
◦ Accompaniment figures in keyboard music
often involve faster arpeggiations
EXAMPLE 8-3, 8-4
Textural reduction
Chapter 8: First Inversion Triads
Parallel Sixth Chords
◦ Most passages have a reasonable amount of
root position and first inversion triads
BUT some call for a number of first inversion
chords, especially in sequences
Chords in this way do not function in the usual
fashion…seen as passing chords
Connect a chord at the beginning to some chord at
the end
EXAMPLE 8-9
Chapter 8: First Inversion Triads
Part-Writing First Inversion Triads
◦ All inverted triads should include all members of the chord
One will have to be doubled as usual
◦ Usually best not to double leading tone
◦ Try to double the third in first inversion triads
◦ Possible to double fifth as a last resort
◦ Never substitute a vi6 for a vi after a V chord
Sounds like a mistake
EXAMPLE 8-7
Chapter 8: First Inversion Triads
Independent Practice (in class)
◦ Complete Self-Test 8-1 (Part A #2), (Part
C #1) in Tonal Harmony Textbook
Independent Practice (at home)
◦ Complete Exercise 8-1 in Tonal Harmony
Textbook
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 TRIADS IN SECOND INVERSION
Chapter 9: Second Inversion Triads
Second inversion triads are not used in
the same way as first inversion triads
Should not be substituted for a root
position triad in the same way
Why?
◦ The interval between the lowest voice in the
texture is sounding the bottom pitch of a P4
◦ Interval of a 4th was considered dissonant
◦ EXAMPLE 9-1
Chapter 9: Second Inversion Triads
Second inversion triads should be used in specific places in music
Bass Arpeggiations
◦ Involve a root position triad, first inversion triad, or both
◦ EXAMPLE 9-2
◦ Melodic Bass Bass has melodic role rather than supporting role
Any number of inverted chords may result
No need to include inversion symbols in these cases
EXAMPLE 9-3
Chapter 9: Second Inversion Triads
Six-Four chords tend to be used in three
different areas
◦ The Cadential Six-Four
◦ The Passing Six-Four
◦ The Pedal Six-Four
Chapter 9: Second Inversion Triads
The Cadential Six-Four
◦ Utilized at a cadence point
◦ Precedes the V chord
◦ Does not act as a tonic triad, but has a dominant function
◦ Occurs on either a stronger beat than V, or on a stronger portion of the beat
◦ EXAMPLE 9-4, 9-5
◦ EXAMPLE 9-6 (dramatic representation of the delaying character of a cadential six-four)
Chapter 9: Second Inversion Triads
The Passing Six-Four
◦ Utilized in harmonizing the middle note of a
three-note scalar figure in the bass (passing)
◦ May be ascending or descending
◦ Any triad can be used as a passing six-four (V
and I more common)
◦ Usually falls on a weak beat
Chapter 9: Second Inversion Triads
The Passing Six-Four
◦ Roman numeral put in parentheses to show
weak nature
◦ Parallel sixths and a voice exchange are
commonly found in passing six-four chords
◦ Longer step-wise motions in the bass use
passing six-four chords
◦ EXAMPLE 9-8, 9-9, 9-10
Chapter 9: Second Inversion Triads
The Pedal Six-Four
◦ Serves as a way of elaborating a static root
position triad by moving the 3rd and 5th of the
triad up by step and down by step to their
original position
EXAMPLE 9-11
Chapter 9: Second Inversion Triads
The Pedal Six-Four
◦ Movement similar to a pedal point, thus it is
called a pedal six-four
◦ Either involve a I-IV6/4-I or V-I6/4-V
◦ Falls on a weak beat
◦ Roman numeral put in parentheses to show
weak nature
Chapter 9: Second Inversion Triads
Part-Writing Second Inversion Triads
◦ In inverted chords think about doubling the
note in the bass voice
First Inversion Triads: the 3rd is doubled
Second Inversion Triads: the 5th is doubled
Exceptions to this rule are rarely encountered
◦ The other voices move smoothly as possible
(by step) both into and out of the six-four
chord
Chapter 9: Second Inversion Triads
Independent Practice (in class)
◦ Complete Self-Test 9-1 (Part A #3), (Part
C #1) in Tonal Harmony Textbook
Independent Practice (at home)
◦ Complete Exercise 9-1 in Tonal Harmony
Textbook
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 NONCHORD TONES PART 1
Chapter 11: Nonchord Tones 1
Many of the examples in the preceding
chapters contained notes that did not
belong to the chord as analyzed
◦ Put in parentheses to show their embellishing
quality
Nonchord Tone (NCT): a tone, either
diatonic or chromatic, that is not a
member of the chord
Chapter 11: Nonchord Tones 1
Nonchord tones might occur throughout
its duration
If the harmony changes before the tone
does, it might be a NCT for only a
portion of it duration
One must analyze the chords before one
can label a NCT, but the process is nearly
simultaneous
Chapter 11: Nonchord Tones 1
Classifying Nonchord Tones
◦ One way of classifying NCT is the way they are approached and left
Passing Tone (P)
Neighboring Tone (N)
Suspension (S)
Retardation (R)
Appoggiatura (APP)
Escape Tone (E)
Neighbor Group (N. Gr)
Anticipation (ANT)
Pedal Point (PED)
Chapter 11: Nonchord Tones 1
Other terms used in the description of
nonchord tones include:
◦ Accented/Unaccented (on beat/off beat)
◦ Diatonic/Chromatic
◦ Ascending/Descending
◦ Upper/Lower
We will begin to look at NCT that onlt
involve stepwise motion
Chapter 11: Nonchord Tones 1
Passing Tones
◦ Approached by step, Left by step in the
same direction
◦ Used to fill in the space between two other
tones
May belong to the same or to different chords
May be NCT as well
◦ Space between is usually a 3rd, and passing
tone is given whatever scale degree lies in
between
Chapter 11: Nonchord Tones 1
EXAMPLE 11-1
◦ The B4 in m. 6 is used to fill in the space
between C#5 and A4
Accented, diatonic, descending passing tone
EXAMPLE 11-3
◦ Passing tone sometimes fills the space
between two notes that are only a M2 apart
(m. 56/58)
◦ Two passing tones can fill the space of a larger
interval (m. 59/61)
Chapter 11: Nonchord Tones 1
Neighboring Tones
◦ Approached by step, Left by step in the opposite direction
◦ Used to embellish a single tone, heard both before and after the neighboring tone
May appear above the tone (upper neighbor)
May appear below the tone (lower neighbor)
May be diatonic or chromatic
◦ EXAMPLE 11-4
All are accented because they fall on stronger metrical positions than the notes they resolve to
Diatonic vs. Chromatic
Chapter 11: Nonchord Tones 1
Suspensions
◦ Approached by the same tone, Left by
step down
◦ Holds on to, or suspends, a chord tone after
the other two parts have moved to the next
chord
◦ Primary source of dissonance on the accented
beat in much tonal and pretonal music
Almost always fall on accented beats or accented
portions of the beat
Chapter 11: Nonchord Tones 1
Suspensions
◦ Preparation: the tone preceding the suspension (same pitch)
◦ Suspension may or may not be tied to its preparation
◦ Resolution: the tone following the suspension, and lying a 2nd below it
◦ Preparation and resolution are almost always chord tones
Prep can sometimes be a NCT
◦ EXAMPLE 11-5
Chapter 11: Nonchord Tones 1
Suspensions
◦ Suspensions are also categorized by the
harmonic intervals created by the suspended
tone and the resolution
Harmonic interval above the bass created by the
suspension and the resolution
◦ EXAMPLE 11-5
7-6 Suspension
◦ EXAMPLE 11-6
Common Suspensions
Chapter 11: Nonchord Tones 1
Suspensions
◦ Names of most suspensions remain constant,
even if compound intervals are involved
11-10 is a 4-3 suspension
◦ Exception (9-8 suspension)
Really is a 2-1 suspension; however these are more
uncommon
Use only a 2-1 suspension if it is truly a 2-1
suspension
Chapter 11: Nonchord Tones 1
Suspensions
◦ Bass Suspension (2-3 suspension)
When the bass is suspended, the interval is
calculated between the bass and the part most
dissonant (generally a 2nd or 9th above)
◦ Suspension with Change of Bass
When a suspension occurs in an upper voice, the
bass will sometimes move on to another chord
tone at the same time the suspension resolves
EXAMPLE 11-7
Chapter 11: Nonchord Tones 1
Suspensions
◦ Suspensions are often embellished…i.e. other
tones, some chord tones and NCT may
appear after the suspended tone but before
the true resolution
◦ Some chord tones can be treated as
suspensions
◦ EXAMPLE 11-9
Chapter 11: Nonchord Tones 1
Suspensions
◦ Chain of Suspensions
When the resolution of one suspension serves as
the preparation for another
EXAMPLE 11-9
Chapter 11: Nonchord Tones 1
Retardations
◦ Approached by same tone, Left by step
up
◦ Much of what has been said about
suspensions applies to retardations
◦ May occur anywhere in passage, but more
common at cadences in the Classical style,
where they appear in combination with
suspension
EXAMPLE 11-10
Chapter 11: Nonchord Tones 1
Independent Practice (in class)
◦ Complete Self-Test 11-1 (Part A #3) in
Tonal Harmony Textbook
Independent Practice (at home)
◦ Complete Exercise 11-1 in Tonal Harmony
Textbook
PART TWO: DIATONIC TRIADS
Tonal Harmony Chapters 5-12 NONCHORD TONES PART 2
Chapter 12: Nonchord Tones 2
All of the NCT discussed so far are
approached and left by step
The following nonchord tones we will
discuss involve leaps
◦ Appoggiaturas
◦ Escape Tones
◦ Anticipations
These tend to be more obvious to the
listener
Chapter 12: Nonchord Tones 2
Appoggiatura (incomplete neighbor)
◦ Approached by leap, left by step in the
opposite direction
Ascending leap, descending step
Descending leap, ascending step
◦ EXAMPLE 12-1, 12-2
Chapter 12: Nonchord Tones 2
Escape Tone (incomplete neighbor)
◦ The reverse of the appoggiatura
◦ Approached by step, left by leap in the opposite direction
Ascending step, descending leap
Descending step, ascending leap
◦ Usually shorter than a beat, unaccented, and diatonic
◦ Often used in a sequence to ornament a line
◦ EXAMPLE 12-3
Chapter 12: Nonchord Tones 2
Neighbor Group (cambiata/changing
tone)
◦ A combination of 2 nonchord tones
Escape Tone and Appoggiatura
◦ EXAMPLE 12-4
Chapter 12: Nonchord Tones 2
Anticipation
◦ Anticipates a chord that has not been reached
◦ Approached by step or leap, left by the
same tone (step or leap)
◦ The NCT can not be common to the chord it
is anticipating
EXAMPLE 12-5
EXAMPLE 12-6 (Picardy Third)
◦ Picardy Third primarily used in the Baroque
Period
Chapter 12: Nonchord Tones 2
Anticipation
◦ EXAMPLE 12-7
3 Different Anticipations
Only 1 is the NCT
◦ Free Anticipation
Approached and left by leap
EXAMPLE 12-8
Chapter 12: Nonchord Tones 2
Pedal Point
◦ Begins as a chord tone
◦ Changes to NCT as harmonies around
it change
◦ Ends as a chord tone when harmonies
come back in agreement with it
◦ Pedal point is not decorative
Harmonies around it seem to embellishing the
pedal point
◦ EXAMPLE 12-9
Chapter 12: Nonchord Tones 2
Pedal Point
◦ Term comes from when an organist would be
called on to sustain a single pitch with a pedal
while continuing to play moving lines
◦ Sustained pitch is usually tonic or dominant,
and passage usually includes the triad a P4
above…hence the pedal six-four chord
Tonic (C) – Triad (F major)
Dominant (G) – Triad (C major)
Chapter 12: Nonchord Tones 2
Independent Practice (in class)
◦ Complete Self-Test 12-1 (Part A #4) in
Tonal Harmony Textbook
Independent Practice (at home)
◦ Complete Exercise 12-1 in Tonal Harmony
Textbook