Category: musicTheory3
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(musTh211) Test upcoming on bII, Aug 6ths, and Modal Mixture
We need to break up the material before heading into the midterm, so we will have a test on modal mixture, Neapolitan chords, and augmented sixth chords this coming Wednesday, 10/3. Note, this date varies from what I told you in class. As always, come to class (I’m keeping track). We’ll review part-writing and analysis…
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(musTh211) Assignment 11: Augmented Sixth Chord Analysis
Due Friday 9/28: Wkbk: p. 282, #7 (Schumann, “Die Beiden Grenadiere,” Op. 49, No. 1) There is a recording available on the Naxos Music Library (search for “Schumann beiden grenadiere”, ignore the “did you mean…” message, and pick the first result). This excerpt interrupts what would be the second verse. This excerpt includes modal mixture,…
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(musTh211) Part-Writing Augmented Sixth Chords
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…
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(musTh211) Assignment 10: Analysis
Due Wednesday, 9/26: Anthology, p. 303, Schubert Waltz in A-Flat Major Analyze with Roman numerals (with inversion symbols). Pay close attention to modal mixture, secondary tonicizations, bII and bVI. Be able to distinguish the NCT’s. You don’t have to label them – just know when not to include certain notes in your analysis.
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(musTh211) Augmented Sixth Chords, More Info… (updated)
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…
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(musTh211) Augmented Sixth Chords
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…
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(musTh211) Review for Test 1
No new homework assigned for Monday, 9/17. Use your wealth of free time to study for the test. Review: Writing and resolving secondary dominants and secondary leading tone chords. Be sure that you understand about resolving tendency tones, and non-permitted doublings. (Never double the leading tone of the key, or the secondary leading tone of…
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(musTh211) bII/Neapolitan: Enharmonic Spellings and Review
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…