Author: Keith Kothman
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(musth1) First Inversion Triads
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…
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(musth1) Melody Harmonization
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,…
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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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(orch) String Orchestration Assignment
Due 10/27/09: Orchestrate two different excerpts from Mussorgsky’s Pictures at an Exhibition for some combination of strings (3 violins, 1 viola, 1 cello, 1 double bass, harp). You must include the harp in one of the excerpts. Excerpt 1: The opening Promenade, mm. 1 – 16 (the first two beats of m. 16, ending on…
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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…