Author: Keith Kothman
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(maxmsp) Class Intro
I’ve posted the class syllabus with the full course outline for the semester in my iLocker account. I also posted a slightly cleaned-up version of the patch I demonstrated in class (you will have to control-click or right-click on the Day1.maxpat file, and choose save link as… from the popup menu to save the file…
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(musth1) Non-Chord Tones
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…
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(musth1) Assignment 14: Non-Chord Tones
Due Wednesday, 12/9: From the workbook, Exercise 8.1 (2 and 3). The instructions are on p. 72. Parts 2 and 3 refer to examples in the anthology, which starts on p. 241 of the workbook. Also complete this handout.
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(orch) Last Orchestration Assignment
Final Orchestration Assignment: Due December 16th. Our final exam time is 12/16, 4:30 pm – 6:30 pm. We will read all assignments at this time. From the two-piano arrangement of the Rite of Spring, you will orchestrate the first 28 measures of the “Apparition of the Young Girls.” (Indicated on the score) You may use…
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(musth1) Inversions of V7
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.…
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(musth1) Dominant 7th Chords
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).
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(musth1) Mediant and Leading Tone Harmonies
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.…
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(musth1) Assignment 12: Submediant Harmonies
Due Wednesday, 11/18: Assignment 12, using submediant and cadential 6/4 chords. The pdf is in iLocker. Youtube videos of the analysis examples are below. Mozart, Quintet in A Major, K. 582 (I) (music starts around 45 seconds) Schubert, Die Winterreise, D. 911, No. 11 “Frülingstraum” (analysis portion begins with the start of the voice part,…
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(musth1) The Submediant Chord
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…
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(musth1) Cadential 6/4 chords
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…