Category: Theory
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Analyzing Melody
Range Distance from highest to lowest pitch Smaller ranges generally easier to sing Interval Structure Conjunct– mostly stepwise Disjunct– mostly leaps Gesture Shape of smaller pitch/rhythm patterns Ascending, descending Arch, inverted arch Stationary Repetition Composer choices: repeat, vary, something new Can be exact or varied Promotes a sense of unity Motive-short musical figure Rule of…
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Embellishing Tones
Non-harmonic tones – don’t fit in chord structures To analyze, circle and identify embellishment. Embellishing tones are classified by their approach, resolution, and melodic direction. They can also be described by their metric placement as accented or unaccented. Passing Tone (PT) Approach: Step Resolution: Step Direction: Same Neighbor Tone (NT) Approach: Step Resolution: Step Direction:…
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Cadences
Cadence – Relative resting point. Can be harmonic or rhythmic. Cadences correspond to the structure of spoken language. They deliver one of two messages: “This is the END!” “This pause is only momentary.” In the Common Practice Period, cadences followed standard formulas. Authentic Cadence Most common Very strong resolution: Leading tone to tonic Most direct…
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Dominant Seventh Chords
Pythagoras 6th century B.C. Fable of the Blacksmith Hammers Harmony of the Spheres Relation of the proportion of heavenly bodies Planet “hums” based on orbital rotation Overtones Fundamental – Base sounding tone Overtone – sympathetic vibrations Harmonics – overtones whose frequencies are whole number ratios with the fundamental The presence or absence of certain overtones…
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Functional Harmony
Potential Energy of Harmony Classical western harmony is very rarely stagnant. It is built upon building tension, then releasing that tension. The circle of fourths shows this momentum. Each chord is the dominant of the next tonic when you travel clockwise around the circle: This also works diatonically (within a given key): A progression releases harmonic…
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Figured Bass
Inversions Inversions occur when a tone other than the root is the lowest sounding voice in a chord. Figured Bass Shorthand dating back to the Baroque era. Performers were expected to improvise a harmony above a written figured bass note. The notation describes diatonic (or chromatic) intervals above a given bass note. “Realizing” A Figured…
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Parallel Scale Number Patterns
Major (Ionian) 1 2 3 4 5 6 7 Lydian 1 2 3 ↑4 5 6 7 Mixolydian (Dominant) 1 2 3 4 5 6 ↓7 Dorian 1 2 ↓3 4 5 6 ↓7 Natural Minor (Aeolian) 1 2 ↓3 4 5 ↓6 ↓7 Harmonic Minor 1 2 ↓3 4 5 ↓6 7 Melodic Minor…
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Roman Numeral Analysis
Roman Numeral Analysis (RNA) is very efficient as it shows many things at once in your analysis: Chord quality Chord function Scale degree RNA is written under the staff The following would be a more common progression: Chord Functions The same chord can often be analyzed in multiple keys. Its true function will depend on…
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Triads
Three pitches can be arranged to form a root, 3rd, and 5th. Tertian Harmony – harmony based on 3rds Possible Combinations of Major and Minor Thirds Parallel Triads Triads in Major Major triads in major are called Primary Triads Primary triads can be used to harmonize any diatonic melody. Lead Sheet Symbols Notated above the melodic…
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Modes
Overview Pope Gregory “the Great” Collector of sacred chants “Gregorian” chant Modes are scales, but not all scales are modes. A mode tonicizes a note other than the tonic. Modes of Major Modes of major are named after Ancient Greek city states: 1st mode: Ionian 2nd mode: Dorian 3rd mode: Phrygian 4th mode: Lydian 5th mode:…
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