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Unit 30 Outline

by: Cassandra Flores

Unit 30 Outline MUS 217

Cassandra Flores
GPA 3.0
Theory IV

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Outline from Aldwell & Schacter's Unit 30.
Theory IV
Class Notes
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This 6 page Class Notes was uploaded by Cassandra Flores on Saturday January 24, 2015. The Class Notes belongs to MUS 217 at University of Alabama - Tuscaloosa taught by Peles in Spring2015. Since its upload, it has received 270 views. For similar materials see Theory IV in Music at University of Alabama - Tuscaloosa.


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Date Created: 01/24/15
UNIT 30 A Chromatic Preparation for V 1 Leading Tone Chromaticism a Characteristic halfstep progression by contrary motion i Often used before important structural points to signal the beginning or end of a phrase b Exemplify quotleadingtone chromaticismquot much like applied V and vii chords i Leading tone is an element of tonicization BUT the chord as a whole does not belong to the key to which it resolves 1 Resolution will not sound like a tonic 2 Functions as a prep for important dominants 1 Contrapuntal Origins a Origins similar to the of 4 i Arises from use as a chromatic passing tone in an ascending upper voice 2 Geographical Names a Names are meaningless but in wide use i Italian 6th Italian 63 ii German 6th German 65 iii French 6th French 43 2 The Italian 6th a Frequently appears as a three note chord without douang i If you must double double the tonic of the chord b Typically moves directly to V c Best used in places that need a thin sonority 2 The German 65 a Most frequently used aug 6 chord i Has a fuller sound and is appropriate to more complex structures b Typically moves to a cad 64 then V i Because in minor there are 2 common tones and in Major there is one and a chromatic half step 2 The French 43 a Contains 2 dissonances above the bass i Aug 6th and Aug 4th ii Other dissonances another Aug 4tha and major 2ndminor 7th b Buildup of dissonances gives a sharp sonority c Can move to V or to a cadential 64 d Effective as a neighbor tone to V 2 The Aug 6th Chord with Doubly Augmented 4th German 43 a Learn as a notational variant of the German 6th i German 6th arranged as a 43 with 2 replacing b3 Approaching Augmented 6th Chords 1 Approaching from IV and II a The most frequent immediate prep for augmented 6th chords of all types is some form of IV i In such cases the aug 6th functions as a chromatic intermediate chord 1 Altered subdominants that have become active in the direction of V ii Typically the departure is a IV6 major or minor and a 4 is a simple chromatic passing tone 1 In Major the bass is in ected to produce a b6 b Can result from a chromaticized voice exchange i Frequently lled in by a passing 64 chord b Sometimes N forms prep for the aug 6th i Harmonic framework of IIV 1 Approaching from Altered IV and II a Aug 6ths may expand applied dominant and leading tone chords to V i These are chromatically altered forms of IV and II b Frequently augmented 6th chords originate in an applied V chord with b6 introduced as a passing tone in the bass 2 Approaching from I a Oftenesp in minor Aug 6th chords follow a i directly without intervening chords 2 Approaching from VI a Another frequent departure is Vl WI in major b Doubled root often leads down a dim 3rd to the aug 6th c Possibility in Soprano is an upward chromatic line i Produces intervals of P5 5 M6 6 b Frequently follow deceptive cadences to Vl because they form convincing transition to V 2 Augmented 6th as Neighbors of V a Often aug 6th arises as an upper neighbor to V in the bass i Or to cad 64 b Because of the presence of 2 as a common tone the French 43 is particularly wellsuited to this Details of Voice Leading 1 Melodic Augmented 2nds a Appear frequently above Aug 6th chords or in progression from the previous chord 1 The German 65 and Parallel 5ths a Direct prog from a German 65 to a V create the danger of parallel 5ths i Broken chords with 5ths in metrically weak positions ii In soprano skip from 5th to another tone of the chord before moving on to V iii Leap up from 5th of German 65 to the root of V iv Put the consecutive 5ths in inner voices 1 This is ok ONLY because the resolution of the augmented 6th draws the ear away from the parallel 5th sound 2 Moving to V7 a Move Aug 6th to the 7th of the V7 i Even though the dissonance doesn39t get resolved the implication is clear via context ii Occurs often when the 7th is in an inner voice 2 Moving up from the Bass a Can occur as momentary in ection 6 raises chrom by half step b Can also occur as rising chromatic line bypassing root position V altogether Augmented 6ths and Modulation 1 Returning to Tonic Harmony a Play an important role in large structural modulations b Important possibility modulation that returns to 1 1 Modulations from I to V in major a Employs a chromaticized voice exchange b Resolution from Aug 6th to V almost sounds like tonicization quotlnversionsquot of Augmented 6th Chords 1 Diminished 3rd Chords a Occur infrequently b Of the inversions only ones with 4 in the bass can move to V i Resolves inward b IV7 is the most frequent occurrence of this inversion of German 65 2 Other Positions a If tones other than b6 or 4 appear in the bass they will not move by stepwise bass to root position V Motion to Applied Dominants and Nondominant Chords 1 Augmented 6ths in Sequential Passages a Often Aug 6ths can intensify applied dominants i Possible in sequence raising by 3rds as the preceding chord to the applied dominant 1 Resolving to I a Can result from chromatic neighbors that expand a tonic usually Major i Typically near the end of a piece b Bass is b2 i Gives chord a Neapolitan quot avorquot 1 Accentuated if chord begins as 53 with 6th added in later b V 43 chords are sometimes in ected to French 6ths that resolve to tonic 2 Resolving to lll a Produces the chromaticized equivalent of the Phrygian cadence i Can deceive the listener ii Often appear in development sections of sonata movements German 6th and Dominant 7th 1 An Enharmonic Relationship a German 65 is enharmonically equivalent to V7bll i Can be useful in modulation 1 Neapolitan 64 as an Embellishment of German 65 a Used in the same manner as cad 64 i Essentially an enharmonic tonicization on bll


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