Category: lectureNotes_musth1

Since non-chord tones (NCTs) usually involve dissonances, understanding NCTs leads to understanding dissonance control in music. The proper control of dissonance usually involves specific preparation, dissonance, and resolution. The material in this post is drawn from chapter 8 of the Roig-Francoli. You need to read that chapter. What follows is a very schematic explanation. Passing…

Inversions of V7 usually function as linear chords. These chords usually appear as complete chords, and resolve to complete tonic triads. The leading tone always resolves to tonic when appearing in an inverted V7. The V6/5 has the leading tone in the bass (like a V6), and must resolve to a root position tonic triad.…

I’ve posted on root-position dominant seventh chords before. For our purposes, you don’t need to worry about the motion into and out of the chordal seventh for now. I’ll add a posting to talk about dominant seventh chords in inversions (linear dominants).

Quick notes on using the mediant harmony (iii/III) and leading tone harmony (vii° in major and minor). Mediant Our main use of the mediant harmony will be to harmonize descending 1 – 7 – 6 soprano lines, where the LT does not resolve back to tonic. You can use iii/III to harmonize scale degree 7.…

Yes, this is a one-chord-only post. The submediant (vi, VI) chord has three usages: as a tonic prolongation, as a deceptive resolution, and as a predominant chord. The submediant as tonic prolongation The submediant can be used after a tonic chord as part of a common falling 3rd progression. It almost always leads to a…

The cadential 6/4 chord occurs as part of a two-chord progression of I6/4 – V (minor, i6/4). This two-chord progression happens at ends of phrases, and offers a melodic cadence (descending step-wise motion to 2 and/or 1), and occurs as part of a dominant harmony ending in either a half cadence or carrying on to…

Uses and Function Triads in first inversion provide the following uses and function: They expand the number of possible bass pitches, thereby providing the opportunity for melodic bass lines. They allow for greater hierarchy of function by avoiding root position V – I movement away from cadences. They provide more prolongation opportunities through root to…

To harmonize a melody, follow the steps below. Analyze the melody determine the key label the scale degrees of the melody Pick Harmonies It is very helpful to write out all the possible harmonies for each melody note (following the given harmonic rhythm) Remember that once you pick a harmony, it affects future possible choices,…

These rules apply for major and minor first inversion triads. (1) Double the root or the fifth, preferably, of a first inversion triad. Only double the third if it provides the best possible voice leading. (2) Don’t double the bass of a V6 chord, ever. The bass of V6 is the LT. Leading tones in…

Scale Degree Tendencies in the Dominant Harmony It is important to think about the scale degrees present in any harmony. For the dominant triad you have scale degrees 5, 7, and 2. The leading tone (7) strongly wants to resolve to tonic (1). The supertonic (2) also wants to resolve to either tonic (1) or…