Music Theory Last Section

Alberti Bass

-A one bar rhythm of chords in the bass line to repeat throughout an arrangement -Could be two half notes, four quarter notes, etc., could also be more complicated

Phrase

-A self contained idea with a beginning, middle, and end; a musical sentence -Phrases are groups of measures, often groups of four or eight measures -Phrases end with a cadence

Harmonic Progression

-A succession of harmonies in which each leads purposefully to the next -Progressions often start and end on the tonic; tonal motion is usually directed toward the tonic as a goal -The main function of the dominant harmony is to lead back to the tonic; most basic harmonic progression is I - V - I -This progression can be intensified by adding the interval of a seventh above the root of the dominant triad; turns it into a dominant seventh chord (V⁷) -Many melodies can be harmonized using only the tonic and dominant harmonies (I and V or V⁷) -I, IV, V are the most popular chords in Western music (rare to see iii)

Authentic Cadence (AC)

-Authentic cadence (AC): involves a progression from dominant to tonic (V - I), providing a strong sense of arrival on the tonic at the end of a phrase -This progression can occur anywhere in a phrase; only when it occurs at the end of a phrase is it called an authentic cadence -Common phrase arrangement: four measures, begins on tonic and ends with an authentic cadence

Major-Minor Seventh Chord

-Consists of a major triad and minor 7th -Or you can think of it as a Major triad with a minor triad added on top -Also called a dominant 7th chord; it's the quality you get when you build a 7th chord on scale degree V in a Major key -In minor kets, scale degree 7 is raised when creating a dominant 7th chord -So, a minor key and its parallel major will have the same dominant 7th chord

Seventh Chord

-Consists of a triad plus the interval of a 7th over a shared root -Or you can think of a seventh chord as a triad (a stack of two 3rds) with an additional 3rds on top -Contains a root, 3rd, 5th, and 7th and can be written on four successive lines or spaces on the staff

Voices

-Each triad is written in four voices: 1. Soprano (highest note, written on treble staff with an upward stem) 2. Alto (next highest note, written on treble staff with a shared downward stem with tenor) 3. Tenor (next highest note, written on treble staff with a shared downward stem with alto) 4. Bass (lowest note, written by itself on bass staff) -Triads contain three notes but are conventionally written in 4 voices - one note in each triad has to be doubled -This arrangement is called keyboard style because it's easy to read and play on the piano

Dominant Preparation/Predominant Chords

-Harmonies that lead to the dominant (V) -Most important are ii and IV (ii often occurs in first inversion, as ii⁶ -Dominant preparation chords can also lead to V⁶ or to the dominant seventh chord in any of its positions -IV sometimes leads to V, and sometimes goes directly to I -Ex: I - IV - V⁷ - I, or i - iv - V⁷ - i

Major Triad

-Has a Major 3rd and a Perfect 5th above the root -Or can look at it from the bottom up as one Major 3rd followed by one minor 3rd

Augmented Triad

-Has a Major 3rd and an Augmented 5th above the root -Or can look at it from the bottom up as one Major 3rd followed by one Major 3rd -Augmented triads occur very rarely and only under special conditions

Minor Triad

-Has a minor 3rd and a Perfect 5th above the root -Or can look at it from the bottom up as one minor 3rd followed by one Major 3rd

Diminished Triad

-Has a minor 3rd and a diminished 5th above the root -Or can look at it from the bottom up as one minor 3rd followed by one minor 3rd

Period (Antecedent, Consequent, Parallel Period)

-Longer phrases that are created by combining shorter ones -Ex: an 8 measure phrase might result from a combination of two 4 measure phrases, and might combine with another eight measure phrase to create a sixteen measure phrase -A common arrangement involved one phrase that ends with a half cadence followed by another that ends on the tonic -When these two balanced phrases begin in the same way, the first is called an antecedent and the second is called a consequent, while their combination is called a parallel period

Plagal Cadence (PC)

-Progression from subdominant to tonic (IV - I) -Doesn't occur nearly as often as authentic cadence or half cadence -Subdominant doesn't have the same strong pull toward the tonic that the dominant has -So, the PC is weaker than the AC and usually occurs after an AC as a kind of extra confirmation

Seventh Chord Inversions

-Root position: Root is the bass -First inversion: 3rd is the bass -Second inversion: 5th is the bass -Third inversion: 7th is the bass -Figured bass numbers indicate different inversions -Chord symbols also useful for indicating inversions; actual bass note is shown with a slash -Ex: V⁷ (G⁷), V 6/5 (G⁷/B), etc.

Chord Symbols

-Single letter to represent a chord -Do not distinguish between the root position and inversions of a triad -Ex: CMaj, dmin, etc. -However, sometimes composers indicate the position of a triad by providing the bass note following the chord symbol -Ex: C/E, E/G#, etc. -The first letter indicates the root of the triad, the second letter indicates the actual bass note (either the 3rd of 5th of the triad)

Half Cadence (HC)

-Term for when a phrase ends on the dominant (V) -The dominant has a more tense, unresolved quality than the tonic; a half cadence does not sound like a definitive ending -Common phrase arrangement: four measures, begins on the tonic and ends on the dominant

Triad

-The basic harmony of tonal music; consists of three notes, a 5th divided into two 3rds -The three notes of a triad can always be written on three consecutive lines or three consecutive spaces -The lowest note is called the root, the middle note is the third, and the highest note is the fifth -Any note can act as the root of a triad - a triad is named for its root

Figured Bass Numbers

-Used to describe the position of triads and other chords -Identify the intervals formed above a bass note -Ex: 5/3, 6/3, 6/4, etc.

Second Inversion

-When the fifth of the triad is in the bass -6/4 symbol used to clarify that there is a fourth and sixth above the bass -Cannot be shortened, always have to write the full 6/4

Root Position

-When the root of the triad is in the bass -5/3 symbol used to clarify that there is a third and a fifth above the bass -If a chord is written without a figured bass number, it's assumed to be in root position

First Inversion

-When the third of the triad is in the bass -6/3 symbol used to clarify that there is a third and sixth above the bass -Sometimes shortened and written simply with a subscript 6 (3rd above the bass note is assumed) -Inversions are used to make arrangements easier to play, especially on the piano

How to Harmonize a Melody

1. Identify the scale degree of each melody note and figure out if it belongs to the tonic triad (1, 3, 5) the dominant triad (5, 7, 2), the dominant seventh chord (5, 7, 2, 4) or more than one 2. Choose a strong progression or harmonies and write the bass line; the first chord should be I, the last two should be V-I or V⁷-I 3. Add inner voices (alto and tenor) to fill out the chords

Cadence

A musical period; the end to a phrase

Seven Natural Triads

CEG, DFA, EGB, FAC, GBD, ACE, BDF

Minor Roman Numerals

i, ii°, III, iv, (v) V, VI, (VII) vii* Often raised seventh in a v chord and VII chord, turning v into V and VII into vii*

Steps for Figuring Out Triads in Inversion

Figure out: 1. Root 2. Quality 3. Inversion And always look from the lowest note up to the top!

Major Roman Numerals

I ii iii IV V vi vii*