Category: lectureNotes_musth2

A few odds and ends from today’s (3/2) lecture: Secondary dominants can resolve deceptively, just like a V7 – vi progression in a key. A deceptive resolution of a secondary dominant will resolve to a harmony with a root a third lower than the target temporary tonic. The most common secondary dominant deceptive progression is…

Addition to Previous Post on Secondary Dominants I left out an important step in the process for identifying and resolving secondary dominants when given the secondary dominant (without a resolution). Here’s the list of steps. Number 3 is new. If you’re given a secondary dominant without a Roman numeral (like #2), use the following process:…

Hierarchy (high to low) Key Change Modulation Tonicization Chromatic inflection/embellishment Chromatic Inflection/Embellishment Any chromatic alteration of a pitch that does not fit the current tonal area (loosely, the “key”). Absent a “higher” function, chromatic inflections are just embellishments (chromatic neighbor, chromatic passing tone). Later on we’ll learn about “borrowed” chords, or modal mixture. Tonicization Tonicization…

[Note: To print this post (not all of the posts), click on the title of the post. This takes you to a page with only this post and the side bars. Print that page, usually starting with page 2 in your print settings dialog. The first page-and-a-half contains the sidebar information.] Harmonic Sequence Defined A…

Focus on resolving the two tritones properly. In all cases except vii°6-5, resolving d5’s in and A4’s out by step will give the proper chord resolution. Note: resolving the tritones leaves you with a doubled third in the tonic chord.

The subdominant seventh (IV7 and iv7): another choice to harmonize scale-degree 3-2-1 descents at cadences, but unlike the cadential 6-4 can be on a strong or weak beat. The third of the iv7 must leap down to double the fifth of the V chord to avoid parallel fifths. can be part of V – IV6-5…

Start by remembering the general stuff: 7ths are dissonant intervals. The chordal seventh must be PREPARED (approached by step or same tone, P – N – Sus; rarely as an appoggiatura), and RESOLVED (down by step). This applies no matter what the root is (or Roman numeral classification) Fully diminished leading tone seventh chords are…

Terms: You should learn the bold-face terms in Chapter 18. Compound Single Meter Complex Beat Division Hypermeasures Rhythmic Dissonance Substituted Beat Division Superimposed Beat Division Syncopation Displaced Accents/accentuation Metrical Dissonance Hemiola Substituted Meter Polyrhythm Metric Shift Changes of Meter

Download the 6-4 chords handout.