The ____ __ ___ ______ (___) allies the Harmonic model to the bass voice generating specific harmonies and inversions for each note of the scale.
Rule of the Octave (RoO)
The ____ __ ___ ______ (___) is a fixed harmonization for ascending and descending scales that dictates harmonies and inversions that are to be used for each degree of the scale.
Rule of the Octave (RoO)
Cadence
the conclusion or punctuation point in a musical phrase; the formula upon which such a conclusion is based
Perfect Authentic Cadence (PAC) (also called authentic, final, full, or closed)
Melodic motion?
Soprano: 7-1 or 2-1
Perfect Authentic Cadence (PAC) (also called authentic, final, full, or closed)
Harmonic motion?
Root position V-I
Bass: 5-1
Perfect Authentic Cadence (PAC) (also called authentic, final, full, or closed)
Function?
Reserved for the end of a phrase, a period, or the end of a piece. They are the most conclusive cadence.
Imperfect Authentic Cadence (IAC)
Melodic motion?
Soprano: 2-3, 4-3, or 5-5.
Imperfect Authentic Cadence (IAC)
Harmonic motion?
V-I or V-i.
Most often in root position, but V may be inverted.
Imperfect Authentic Cadence (IAC)
Function?
Often appear internally in phrase groups. When scale degrees other than the tonic appear in the soprano voice, the cadence is less conclusive than PAC.
Half Cadence (HC)
Phrygian Half Cadence
Melodic motion?
2 or 5 are common at the chord of the resolution
Half Cadence (HC)
Phrygian Half Cadence
Harmonic motion?
Any chord leading to the V of the key (x-V). Phrygian half cadence uses iv6-V in a minor key. Half-step (Bass: b6-5) gives the cadence its name.
Half Cadence (HC)
Phrygian Half Cadence
Function?
HC’s appear at the ends of phrases where continuation is implied. They are inconclusive with respect to the home key.
Plagal Cadence
(Plagal)
Melodic motion?
No specific requirement. Soprano is often 1.
Plagal Cadence
(Plagal)
Harmonic motion?
IV-I or iv-i
Plagal cadences may employ root position or inverted chords
Plagal Cadence
(Plagal)
Function?
May embellish the final arrival of the tonic. “Amen” cadence. Considered less conclusive than PAC or IAC.
Deceptive Cadence (DEC)
Sometimes called Interrupted
Melodic motion?
Tones of V or V7 resolve as if going to I except bass 5-6
Deceptive Cadence (DEC)
Sometimes called Interrupted
Harmonic motion?
V-vi or V-VI
Deceptive resolution of V-vi usually employs root position chords (Bass: 5-6 or 5-b6)
Deceptive Cadence (DEC)
Sometimes called Interrupted
Function?
The unexpected resolution from V to vi/VI gives the cadence its name. DEC often precede IAC or PAC interrupting the arrival of the Tonic chord.
___ are any authentic cadence (V-I/i) that does not follow the PAC formula.
IAC
When the _______ ____ (_) is an outer voice (soprano or bass) it must always be resolved to the tonic (1).
leading tone (7)
_________ and ____ ________ are the 2 most common cadence types.
Authentic
half cadences
In the _________ cadence the dominant (V) moves to vi instead of I.
deceptive
In practice, the _________ for each voice is in the middle of the given range except for the bass.
tessitura
Voice range for Soprano?
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Voice range for Alto?
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Voice range for Tenor?
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Voice range for Bass?
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Stems go __ for top voice on each staff (soprano, tenor).
up
Stems for the bottom voices (alto, bass) go ____.
down
Distribute the notes of a chord on the staff so that there is an ______ or less between adjacent Soprano, Alto, and Tenor voices.
octave
The interval between Bass and Tenor may exceed an ______.
octave
Open voicing
an octave or less between adjacent voices, and more than an octave between an octave
Close voicing
an octave or less between the soprano and tenor
The interval between Bass and Tenor may exceed an ______.
octave
Open voicing
an octave or less between adjacent voices, and more than an octave between an octave
Closed voicing
an octave or less between the soprano and tenor
The interval between the bass and tenor often exceeds an ______.
octave
The interval between the bass and tenor generally does not exceed ___ octaves.
two
If the interval between adjacent voices exceeds an ______, whenever possible re-voice the chord by “switching”chord members between voices.
octave
Three types of motion
Contrary, parallel/similar. oblique
Contrary motion
Voices move in opposite directions (ascending or descending); preferred in most cases; in particular between outer voices (soprano bass)
Oblique motion
On voices moves against a stationary note. Used when chords share common tones and frequently at cadence.
Similar motion
When voices move in the same direction, by the same interval (parallel); or same direction, by a different interval (similar).
Avoid ________ motion when approaching or leaving perfect intervals.
parallel
________ (stepwise) motion is preferred for note-to-note connections in one voice.
Conjunct
Parallel perfect octaves, fifths, and unisons are to be _______.
avoided
Approach and leave perfect intervals using ________ motion.
contrary
Double the ____ voice except when it is a tendency or chromatically altered tone.
bass
Double the ____ as an alternate to doubling the bass.
root
Tendency tone
Leading tone, chordal seventh, or a chromatically altered tone
In four-part writing, avoid ________ one voice over another y keeping voices in their appropriate ranges, and avoiding leaps into the register formerly occupied by another voice.
crossing
When connecting ______ one to the next, keep common tones in the same voice, and move other voices by step whenever possible.
triads
Conjunct
smooth
Disjunct
opposite
Consecutive leaps of a _____ (arpeggio) in one voice may be used sparingly.
third
Leaps of a ______ or greater must be followed by a step in the opposite direction.
fourth
____ motion by ascending fourth/descending fifth is the most common harmonic motion in tonal music and all chords in the key can be related by that interval.
Root
When connecting triads related by the interval of a fifth:
keep common tones in the same voice
move other voices by step in contrary motion to the bass if possible
resolve tendency tones
When connecting triads related by the interval of a third:
keep common tones in the same voice
move the other voices in contrary motion to the bass whenever possible
The V7 chord has two tendency tones:
the leading tone and the chordal 7th
Passing tone
A non-chord tone that passes between two chord tones connecting them through ascending or descending motion; can occur on weak or strong beats
Neighbor tone
A non-chord occurring a step above or a step below a chord tone whose resolution is to the same chord tone; may also be referred to as upper or lower depending on their relationship to the chord tone they embellish
Three stages of realization of suspension:
Preparation
Suspension
Resolution by step
Retardation
Upward resolving suspensions
Appogiatura
Occurs when a melodic line leaps to a dissonance and resolves by step (in opposite direction) to a consonant chord tone
Escape tone
Occurs when a line steps to a dissonance and then leaps to a consonance
Anticipation
The incidence of a tone before the arrival of its supporting harmony
The _____ pitch is the most common tone employed as an anticipation.
tonic
Sometimes the anticipation is an entire harmony. This is called a ________ anticipation.
rhythmic
The chordal seventh often arises as a _______ tone.
passing
Criteria for chordal seventh or passing tone: (1) the roots of the two harmonies must be separated by a descending _____, an ascending ______, or an ascending ______.
fifth
fourth
second
Criteria for chordal seventh or passing tone: (2) the chordal seventh must resolve ________.
downward
Passing 6/4
Occurs as the middle chord of a three pitch scalar ascent or descent in the bass voice
Cadential 6/4
Part of an authentic cadence
The _______ and _________ 6/4 are the two most common uses of second inversion triads.
Passing
Cadential
Pedal 6/4
The bass voice is typically the root of the tonic chord, and the second inversion IV chord comes about by raising the 3rd and 5th of the tonic chord by on step
Arpeggiated 6/4
The second inversion triad arises when the bass voice arpeggiates a triad