Category: lectureNotes_musth3

When part-writing augmented sixth chords, like the assignment on page 276, having a set of things to focus on, and an order to approach the problem, can be a big help. Here’s my approach for part-writing augmented sixth chords: If you’ve been given Roman numerals with inversion symbols, then the bass line is given. Write…

Some added things to consider with Augmented Sixth chords: Never double either tone of the +6 interval. In four-voice texture, only the Italian +6 would involve doubling, and you would double the third of the chord (tonic), the only other chord tone not part of the +6 interval. You should learn the figured bass along…

Augmented Sixth chords (+6) use the interval of an augmented sixth to resolve outwards to (typically) ^5 and dominant harmonies (cadential 6-4 included). Remember that augmented intervals will generally resolve outward. The chord is built on the b^6 scale degree, with the inclusion of #^4 to form the augmented sixth interval. These two scale degrees…

Bring your Anthology on Wednesday.  Chromatic Harmony and Enharmonic Spellings With chromaticism increasing, be prepared for some harmonies to be enharmonically spelled. Enharmonic spellings can be used to make the music easier for the performer to read. For example, in Ab Major the bII chord is Bbb – Db – Fb. Yuck! It can be…

Important Concept: When you use Roman numerals to label harmonies, you are identifying three things: The scale degree of the root of the chord The type and quality of the chord (triad, seventh chord, major, minor, etc.) The bass or inversion of the chord If the root of the chord contains the “borrowed” scale degree,…

What the book refers to as “modal exchange” is sometimes referred to as modal mixture, or borrowed chords. The harmonic palette is expanded through the use of scale degrees and harmonies from the parallel major or minor mode. Most modal exchange involves bringing harmonies from the parallel minor into the major mode. The lowered scale…