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Theory II

by: Ida Abshire
Ida Abshire
GPA 3.9

David Schwarz

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About this Document

David Schwarz
Class Notes
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This 2 page Class Notes was uploaded by Ida Abshire on Sunday October 25, 2015. The Class Notes belongs to MUTH 1500 at University of North Texas taught by David Schwarz in Fall. Since its upload, it has received 31 views. For similar materials see /class/229139/muth-1500-university-of-north-texas in Music Ed & Music Therapy at University of North Texas.

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Date Created: 10/25/15
Name MUTH 1500 Altered Midterm for Final Review Realize the gured bass below Make sure to have a complete stream of roman numerals beneath the dotted line Notes1 point each Roman Numerals3 points each Pivot Chords if there are any4 points each Tonicizations if there are any4 points each modulations if there are any4 points for each direction to a key and back from a key voice exchange there is one5 points mark it with a large X cadences 5 points each keys 5 points each arrows showing preparations of all chord member 7ths and resolutions of tendency tones3 points each Parallel perfect fths or octaves8 points each melodic augmented intervals except chromatic stepwise motion4 points each If there is a fully diminished seventh chord use the FOUR tendency tone resolution5 points 8 7 6 6 7 2 w 4 16 8 7w 6 5 6 5 4 3 MUTH 1500 Review sheet for rst part writing assignment B minor Here is a gured bass realization that will prepare you for our rst partiwriting assignment Notice the partiwriting of each voice Sing each voice and you39ll hear that they sound good and there are no augmented seconds an occupational hazard in minor between LE and TI a deadly sin Notice the separate stream of roman numerals beneath the gured bass realization Notice the pivot chord showing the modulation from i to 111 extremely common in minor Notice that the pivot chord is one kind of chord that functions differently in both keys The chord is a minor seventh chord in rst inversion In B minor it39s a subdominant 65 in D major it39s a supertonic 65 Remember that on the downbeat of measure 4 you will hear a modulation to nd the most logical pivot you go one sonority before If that sonority is in both keys that39s your pivot if not the sonority on the downbeat of measure 4 is your pivot OR you have a quotdirectquot modulation that we haven39t done yet Notice the lines that show preparation of chord member sevenths notice the lines that show resolutions and delayed resolutions of chord member sevenths notice the lines that show the resolution of the leading tone aisharp in B minor an cis arp in D major when it is the chord member third of a dominant triad a dominant seventh chord or the root of a diminished leading tone triad or a fullyidiminished leading tone seventh chord notice the resolution of all quottritonesquot If a quottritonequot is spelled as a diminished fth it resolves quotinquot to a third if itis spelled as an augmented fourth it resolves quotou quot to a sixth Notice the cadences You can practice resolving the dominants in measures 2 and 4 differently to work on other cadences You can also pull each dominant as a triad to the ENDS of measures 2 and 4 and practice the half cadence and the phrygian half cadence ou could also reiwrite measures 2 and 4 entirely to practice the plagal cadence You could write a fullyidiminished chord INSTEAD of the second chord of measure 3 to practice both the 3 tendency tone and 4 DC tendency tone resolutrons 4 6 8 7 2 2 2 2 463 4 g 87 4 39 65 V21V N6 1 N2 1 87 4113 65 V VI Dmajor V43 LAC


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