Category: musicTheory1
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(musth1) Assignment 11: Chapter 4
Due Friday, 11/6: Workbook, Ch. 4, pp. 51 – 53. Exercise 4.1, Example 4.4. Provide a RN analysis of mm. 15 – 16, and 18 – 19. Although m. 15 and 18 start with incomplete triads, consider them in context relating to m. 16 and m. 19. Exercise 4.3 a and b. Remember to raise…
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(musth1) Voice-Leading First Inversion Triads
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…
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(musTh1) Assignment 10: Chapter 3
Due Monday, 11/2 (we’re trying to catch up) Workbook Exercises with instructions as listed below (THESE DIFFER FROM THE BOOK IN SOME CASES): Exercise 3.1 Provide a Roman numeral examples 3.1 and 3.2 (Mozart and Verdi). For both of these examples, indicate the role of the subdominant harmony (tonic prolongation [T-prol], or predominant [PD]). A…
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(musth1) Tonic, Dominant, and Principles of Prolongation
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…
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(musth1) Assignment 9: Chapter 2
Due Friday, 10/30: Wkbk Ex. 2.3: a, b, c, e, f (pp. 42 – 43) Be sure to follow the instructions for each example. It would also be a very good idea to label the scale degrees of the soprano (above the soprano), in addition to the required Roman numerals below the bass.
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(musTh1) Basic Voice Leading
Voice leading refers to the way you move from one chord to another in four-part writing. My outline will basically cover two lists from the textbook – on pp. 142 – 145, and p. 147. The textbook refers to the first list as the “nine basic rules of voice leading,” but the first is really…
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(musTh1) Four-Part Writing (Voicing)
We use four-part writing (SATB), or part-writing, to aid in our study of harmony – specifically, the horizontal movement between harmonies. The four parts are Soprano (S), Alto (A), Tenor (T), and Bass (B). The range for each voice for part-writing purposes is smaller than what a trained vocalist could easily sing. Simplifying from the…
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(musTh1) Assignment 8: Chord Connection
Due Wednesday, 10/7: Due Friday, 10/9: Wkbk pp. 38 – 39, 1.2, 1.3, 1.4 For 1.2, remember the technique for writing close- or open-spaced chords. With close-spaced chords, pick a moderately low soprano note, and proceed down through the Alto and Tenor voices without skipping any chord tones. The Bass can be any distance, and…
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(musTh1) Assignment 6, Chap's E and F
Due Wednesday, 9/23: Wkbk: E1 (all) E2 (Treble, Bass, and Alto -TBA- clefs for “Root Given”; Treble, Bass, and Tenor – TBF – for “Third Given”; and Treble and Bass for “Fifth Given”) E3 (all, but I haven’t talked about it yet) E4 (TBA clefs) E5 (TBT clefs) E6 (all) E7 (TBA clefs) E8 (TB…
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(musTh1) Second Species Counterpoint
Second species counterpoint uses two notes in the counterpoint line for every one note in the cantus firmus. When writing second species counterpoint you need to make sure that the counterpoint line maintains shape and direction, rather than continually circling around the same few notes. The meter for second species is cut time (2/2), with…