Book 3, Unit 1

Total Page:16

File Type:pdf, Size:1020Kb

Book 3, Unit 1 Music Moves for Piano Book 3 Practice Pages: Created for Brookline Music School and may not be reproduced, reused or adapted without prior ​ ​ written permission from BMS. Practice Pages for Books 1 and 2 can be downloaded from www.musiclearningacademy.com. Book 3, Unit 1 Pattern CD Track 20: Sing Minor Tonality TP with TS Track 4: Chant a different Duple Meter RP with RS Track 13: Chant a different Duple Meter RP with RS Track 14: Chant a different Duple Meter RP with RS Skills Db Major Scale, p. 53 (Book 2) E Major Tonic Arpeggio, p. 42 (Book 2) E Major Tonic-Dominant-Tonic Melodic Cadence, p. 42 (Book 2) E Major Scale, p. 43 (Book 2) C# Minor Tonic Arpeggio, p. 44 (Book 2) C# Minor Tonic-Dominant-Tonic Melodic Cadence, p. 44 (Book 2) Performance Pieces (use checklist) Teacher Notes: Review: American Tune, p. 52 (Book 2) Review: Russian Folk Song One, p. 34 (Book 2) Minor Old Woman, p. 2 Triple Old Woman, p. 3 Additional ways to practice: ❏ Track 1: Listen to/sing “Song to Sing” ❏ Tracks 4, 5: Listen to Unit 2 ❏ Harmonic Minor Tonality: Tonal Syllables for Subdominant Pattern, p. 1 ❏ Exploration/Creativity/Improvisation, p. 1 © Brookline Music School Book 3, Unit 2 Pattern CD Track 20: Sing Minor Tonality TP with TS Track 21: Chant Duple Meter Rest RP with NS Track 6: Chant a different Triple Meter RP with RS Track 15: Chant a different Triple Meter RP with RS Track 16: Chant a different Triple Meter RP with RS Skills Db Major Scale two octaves, p. 53 (Book 2) D Major Tonic Arpeggio, p. 6 D Major Tonic-Dominant-Tonic Melodic Cadence, p. 6 D Major Scale, p. 7 B Minor Tonic Arpeggio, p. 8 B Minor Tonic-Dominant-Tonic Melodic Cadence, p. 8 Performance Pieces (use checklist) Teacher Notes: Review: Minor Old Woman, p. 2 Review: Triple Old Woman, p. 3 Review: Butterfly, p. 36 (Book 2) Monkey Game, p. 5 Additional ways to practice: ❏ Track 4: Listen to/sing “Song to Sing” ❏ Tracks 6, 7: Listen to Unit 3 ❏ Keyboard Skills: Letter-Names for the Piano Keys, p. 4 © Brookline Music School Book 3, Unit 3 Pattern CD Track 20: Sing the tones for Minor Tonality tonic and subdominant patterns in different orders with TS Track 22: Chant Duple Meter Rest RP with RS Skills D Major Tonic Arpeggio, p. 6 D Major Tonic-Dominant-Tonic Melodic Cadence, p. 6 D Major Scale, p. 7 B Minor Tonic Arpeggio, p. 8 B Minor Tonic-Dominant-Tonic Melodic Cadence, p. 8 G Major Tonic-Subdominant-Tonic Melodic Cadence, p. 11 G Major Tonic-Subdominant-Tonic Melodic Arpeggios, p. 11 E Minor Tonic-Subdominant-Tonic Melodic Cadence, p. 12 E Minor Tonic-Subdominant-Tonic Melodic Arpeggios, p. 12 Performance Pieces (use checklist) Teacher Notes: Review: Monkey Game, p. 5 Review: Russian Folk Song Two, p. 38 (Book 2) Mexican Dance, p. 10 Additional ways to practice: ❏ Track 6: Listen to/sing “Song to Sing” ❏ Tracks 8, 9: Listen to Unit 4 ❏ Keyboard Skills: Articulation Symbols, p. 9 ❏ Keyboard Skills: Pentascales and Intervals, p. 9 © Brookline Music School Book 3, Unit 4 Pattern CD Track 20: Sing the tones for Minor Tonality tonic and subdominant patterns in different orders with TS Track 22: Chant a different Duple Meter RP with RS Skills D Major Tonic Arpeggio, p. 6 D Major Tonic-Dominant-Tonic Melodic Cadence, p. 6 D Major Scale, p. 7 B Minor Tonic Arpeggio, p. 8 B Minor Tonic-Dominant-Tonic Melodic Cadence, p. 8 G Major Tonic-Subdominant-Tonic Melodic Cadence, p. 11 G Major Tonic-Subdominant-Tonic Melodic Arpeggios, p. 11 E Minor Tonic-Subdominant-Tonic Melodic Cadence, p. 12 E Minor Tonic-Subdominant-Tonic Melodic Arpeggios, p. 12 D Major Tonic-Dominant-Tonic Arpeggios, p. 15 B Minor Tonic-Dominant-Tonic Arpeggios, p. 15 Performance Pieces (use checklist) Teacher Notes: Review: Mexican Dance, p. 10 Review: Circus Tricks, p. 40 (Book 2) French Folk Song, p. 14 Additional ways to practice: ❏ Track 8: Listen to/sing “Song to Sing” ❏ Tracks 10, 11: Listen to Unit 5 ❏ Keyboard Skills: The Damper Pedal, p. 13 © Brookline Music School Book 3, Unit 5 Pattern CD Track 19: Label each TP as Major Tonic (DO MI SO), Subdominant (FA LA DO), or Dominant (SO, FA RE, TI) Track 17: Label each TP as Major Tonic or Major Subdominant Track 14: Chant a different Triple Meter RP with RS Skills D Major Tonic Arpeggio, p. 6 D Major Tonic-Dominant-Tonic Melodic Cadence, p. 6 D Major Scale, p. 7 B Minor Tonic Arpeggio, p. 8 B Minor Tonic-Dominant-Tonic Melodic Cadence, p. 8 D Major Tonic-Dominant-Tonic Arpeggios, p. 15 B Minor Tonic-Dominant-Tonic Arpeggios, p. 15 D Major Tonic-Subdominant-Tonic Cadence, p. 18 D Major Tonic-Subdominant-Tonic Arpeggios, p. 18 B Minor Tonic-Subdominant-Tonic Cadence, p. 19 B Minor Tonic-Subdominant-Tonic Arpeggios, p. 19 Performance Pieces (use checklist) Teacher Notes: Review: French Folk Song, p. 14 Polish Folk Song, p. 17 Additional ways to practice: ❏ Track 10: Listen to/sing “Song to Sing” ❏ Tracks 12, 13: Listen to Unit 6 ❏ Exploration/Creativity/Improvisation, p. 16 © Brookline Music School Book 3, Unit 6 Pattern CD Track 19: Label each TP as Major Tonic (DO MI SO), Subdominant (FA LA DO), or Dominant (SO, FA, RE, TI) Track 17: Label each TP as Major Tonic or Major Subdominant Track 23: Chant Triple Meter Rest RP with NS Skills C Major Tonic Arpeggio, p. 45 (Book 1) C Major Tonic-Dominant-Tonic Melodic Cadence, p. 45 (Book 1) C Major Scale, p. 46 (Book 1) A Minor Tonic Arpeggio, p. 47 (Book 1) A Minor Tonic-Dominant-Tonic Melodic Cadence, p. 47 (Book 1) C Major Tonic-Dominant-Tonic Arpeggios, p. 10 (Book 2) A Minor Tonic-Dominant-Tonic Arpeggios, p. 10 (Book 2) C Major Tonic-Subdominant-Tonic Cadence, p. 22 C Major Tonic-Subdominant-Tonic Arpeggios, p. 22 A Minor Tonic-Subdominant-Tonic Cadence, p. 23 A Minor Tonic-Subdominant-Tonic Arpeggios, p. 23 Performance Pieces (use checklist) Teacher Notes: Review: Polish Folk Song, p. 17 Review: English Folk Song, p. 46 (Book 2) Dutch Folk Dance, p. 21 Additional ways to practice: ❏ Track 12: Listen to/sing “Song to Sing” ❏ Tracks 14, 15: Listen to Unit 7 ❑ Keyboard Skills: Major Triads, p. 20 © Brookline Music School Book 3, Unit 7 Pattern CD Track 3: Sing Major Tonality Tonic and Dominant TP with TS Track 17: Sing Major Tonality Tonic and Subdominant TP with TS Track 24: Chant Triple Meter Rest RP with RS Skills C Major Tonic Arpeggio, p. 45 (Book 1) C Major Tonic-Dominant-Tonic Melodic Cadence, p. 45 (Book 1) C Major Scale, p. 46 (Book 1) A Minor Tonic Arpeggio, p. 47 (Book 1) A Minor Tonic-Dominant-Tonic Melodic Cadence, p. 47 (Book 1) C Major Tonic-Dominant-Tonic Arpeggios, p. 10 (Book 2) A Minor Tonic-Dominant-Tonic Arpeggios, p. 10 (Book 2) C Major Tonic-Subdominant-Tonic Cadence, p. 22 C Major Tonic-Subdominant-Tonic Arpeggios, p. 22 A Minor Tonic-Subdominant-Tonic Cadence, p. 23 A Minor Tonic-Subdominant-Tonic Arpeggios, p. 23 Performance Pieces (use checklist) Teacher Notes: Review: Dutch Folk Dance, p. 21 Review: French Lullaby, p. 48 (Book 2) Honeybee, p. 25 Additional ways to practice: ❏ Track 14: Listen to/sing “Song to Sing” ❏ Track 16: Listen to Unit 8 ❑ Exploration/Creativity/Improvisation, p. 24 © Brookline Music School Book 3, Unit 8 Pattern CD Track 3: Sing Major Tonality Tonic and Dominant TP with TS Track 17: Sing Major Tonality Tonic and Subdominant TP with TS Track 24: Chant Triple Meter Rest RP with RS Skills F Major Tonic Arpeggio, p. 15 (Book 2) F Major Tonic-Dominant-Tonic Melodic Cadence, p. 15 (Book 2) F Major Scale, p. 16 (Book 2) D Minor Tonic Arpeggio, p. 17 (Book 2) D Minor Tonic-Dominant-Tonic Melodic Cadence, p. 17 (Book 2) F Major Tonic-Dominant-Tonic Arpeggios, p. 31 (Book 2) D Minor Tonic-Dominant-Tonic Arpeggios, p. 31 (Book 2) F Major Tonic-Subdominant-Tonic Cadence, p. 27 F Major Tonic-Subdominant-Tonic Arpeggios, p. 27 D Minor Tonic-Subdominant-Tonic Cadence, p. 28 D Minor Tonic-Subdominant-Tonic Arpeggios, p. 28 Performance Pieces (use checklist) Teacher Notes: Review: Honeybee, p. 25 Review: German Folk Song, p. 50 (Book 2) Additional ways to practice: ❏ Track 16: Listen to/sing “Song to Sing” ❏ Tracks 17, 18: Listen to Unit 9 ❏ Keyboard Skills: Major Cadences, p. 26 © Brookline Music School Book 3, Unit 9 Pattern CD Track 3: Sing Major Tonality Tonic and Dominant TP with TS Track 17: Sing Major Tonality Tonic and Subdominant TP with TS Track 25: Chant Duple Meter Tie RP with NS Skills F Major Tonic Arpeggio, p. 15 (Book 2) F Major Tonic-Dominant-Tonic Melodic Cadence, p. 15 (Book 2) F Major Scale, p. 16 (Book 2) D Minor Tonic Arpeggio, p. 17 (Book 2) D Minor Tonic-Dominant-Tonic Melodic Cadence, p. 17 (Book 2) F Major Tonic-Dominant-Tonic Arpeggios, p. 31 (Book 2) D Minor Tonic-Dominant-Tonic Arpeggios, p. 31 (Book 2) F Major Tonic-Subdominant-Tonic Cadence, p. 27 F Major Tonic-Subdominant-Tonic Arpeggios, p. 27 D Minor Tonic-Subdominant-Tonic Cadence, p. 28 D Minor Tonic-Subdominant-Tonic Arpeggios, p. 28 Performance Pieces (use checklist) Teacher Notes: Review: American Tune, p. 52 Love Somebody, p. 29 Additional ways to practice: ❏ Track 17: Listen to/sing “Song to Sing” ❏ Tracks 19, 20, 21: Listen to Unit 10 ❏ Exploration/Creativity/Improvisation, p.
Recommended publications
  • Day 17 AP Music Handout, Scale Degress.Mus
    Scale Degrees, Chord Quality, & Roman Numeral Analysis There are a total of seven scale degrees in both major and minor scales. Each of these degrees has a name which you are required to memorize tonight. 1 2 3 4 5 6 7 1 & w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic A triad can be built upon each scale degree. w w w w & w w w w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic The quality and scale degree of the triads is shown by Roman numerals. Captial numerals are used to indicate major triads with lowercase numerals used to show minor triads. Diminished triads are lowercase with a "degree" ( °) symbol following and augmented triads are capital followed by a "plus" ( +) symbol. Roman numerals written for a major key look as follows: w w w w & w w w w w w w w CM: wI (M) iiw (m) wiii (m) IV (M) V (M) vi (m) vii° (dim) I (M) EVERY MAJOR KEY FOLLOWS THE PATTERN ABOVE FOR ITS ROMAN NUMERALS! Because the seventh scale degree in a natural minor scale is a whole step below tonic instead of a half step, the name is changed to subtonic, rather than leading tone. Leading tone ALWAYS indicates a half step below tonic. Notice the change in the qualities and therefore Roman numerals when in the natural minor scale.
    [Show full text]
  • Discover Seventh Chords
    Seventh Chords Stack of Thirds - Begin with a major or natural minor scale (use raised leading tone for chords based on ^5 and ^7) - Build a four note stack of thirds on each note within the given key - Identify the characteristic intervals of each of the seventh chords w w w w w w w w % w w w w w w w Mw/M7 mw/m7 m/m7 M/M7 M/m7 m/m7 d/m7 w w w w w w % w w w w #w w #w mw/m7 d/wm7 Mw/M7 m/m7 M/m7 M/M7 d/d7 Seventh Chord Quality - Five common seventh chord types in diatonic music: * Major: Major Triad - Major 7th (M3 - m3 - M3) * Dominant: Major Triad - minor 7th (M3 - m3 - m3) * Minor: minor triad - minor 7th (m3 - M3 - m3) * Half-Diminished: diminished triad - minor 3rd (m3 - m3 - M3) * Diminished: diminished triad - diminished 7th (m3 - m3 - m3) - In the Major Scale (all major scales!) * Major 7th on scale degrees 1 & 4 * Minor 7th on scale degrees 2, 3, 6 * Dominant 7th on scale degree 5 * Half-Diminished 7th on scale degree 7 - In the Minor Scale (all minor scales!) with a raised leading tone for chords on ^5 and ^7 * Major 7th on scale degrees 3 & 6 * Minor 7th on scale degrees 1 & 4 * Dominant 7th on scale degree 5 * Half-Diminished 7th on scale degree 2 * Diminished 7th on scale degree 7 Using Roman Numerals for Triads - Roman Numeral labels allow us to identify any seventh chord within a given key.
    [Show full text]
  • Major and Minor Scales Half and Whole Steps
    Dr. Barbara Murphy University of Tennessee School of Music MAJOR AND MINOR SCALES HALF AND WHOLE STEPS: half-step - two keys (and therefore notes/pitches) that are adjacent on the piano keyboard whole-step - two keys (and therefore notes/pitches) that have another key in between chromatic half-step -- a half step written as two of the same note with different accidentals (e.g., F-F#) diatonic half-step -- a half step that uses two different note names (e.g., F#-G) chromatic half step diatonic half step SCALES: A scale is a stepwise arrangement of notes/pitches contained within an octave. Major and minor scales contain seven notes or scale degrees. A scale degree is designated by an Arabic numeral with a cap (^) which indicate the position of the note within the scale. Each scale degree has a name and solfege syllable: SCALE DEGREE NAME SOLFEGE 1 tonic do 2 supertonic re 3 mediant mi 4 subdominant fa 5 dominant sol 6 submediant la 7 leading tone ti MAJOR SCALES: A major scale is a scale that has half steps (H) between scale degrees 3-4 and 7-8 and whole steps between all other pairs of notes. 1 2 3 4 5 6 7 8 W W H W W W H TETRACHORDS: A tetrachord is a group of four notes in a scale. There are two tetrachords in the major scale, each with the same order half- and whole-steps (W-W-H). Therefore, a tetrachord consisting of W-W-H can be the top tetrachord or the bottom tetrachord of a major scale.
    [Show full text]
  • Lesson 3 Augmented 6Th Chords.Key
    Augmented 6th Chords 1. It’s a chord that contains the interval of an augmented 6th, usually above its bass Key: C major tone. 2. This interval is usually between the minor 6th degree of the scale ($6) and GRADE 8 MUSIC THEORY the raised fourth degree (#4).This Dr. Declan Plummer creates an augmented 6th interval Lesson 3: Augmented Sixth Chords (hence the name). 3. Augmented 6th chords tend to resolve outwards to the 5th degree of the scale, usually to chord V! Aug 6th V 4. So augmented chords can be another type of pre-dominant chord! Creating Augmented 6th Chords Italian Augmented 6th chords French Augmented 6th chords • Don’t have the 5th that German • Don’t have the 5th that German augmented chords have. augmented chords have. • Instead the tonic is doubled (the • Instead the 5th is substituted for a E$ is substituted for another C) 4th (the E$ is substituted for a D) Key C Major Key C Minor • A$ - C - C - F# • A$ - C - D - F# Gr+6 Gr+6 German Augmented 6th Key C Major Key C Minor Key C Major Key C Minor • Find the minor 6th degree of the key: A$ • Build a major triad on top of it: A$ - C - E$ • Then add an augmented 6th on top of this triad (which is also It+6 It+6 Fr+6 Fr+6 the #4 of the tonic): A$ - C - E$ - F# All notes are part of the whole • The German type of augmented 6th chord is the most common. tone scale (French impressionism) 5.
    [Show full text]
  • The Strategic Half-Diminished Seventh Chord and the Emblematic Tristan Chord: a Survey from Beethoven to Berg
    International Journal ofMusicology 4 . 1995 139 Mark DeVoto (Medford, Massachusetts) The Strategic Half-diminished Seventh Chord and The Emblematic Tristan Chord: A Survey from Beethoven to Berg Zusammenfassung: Der strategische halbverminderte Septakkord und der em­ blematische Tristan-Akkord von Beethoven bis Berg im Oberblick. Der halb­ verminderte Septakkord tauchte im 19. Jahrhundert als bedeutende eigen­ standige Hannonie und als Angelpunkt bei der chromatischen Modulation auf, bekam aber eine besondere symbolische Bedeutung durch seine Verwendung als Motiv in Wagners Tristan und Isolde. Seit der Premiere der Oper im Jahre 1865 lafit sich fast 100 Jahre lang die besondere Entfaltung des sogenannten Tristan-Akkords in dramatischen Werken veifolgen, die ihn als Emblem fUr Liebe und Tod verwenden. In Alban Bergs Lyrischer Suite und Lulu erreicht der Tristan-Akkord vielleicht seine hOchste emblematische Ausdruckskraft nach Wagner. If Wagner's Tristan und Isolde in general, and its Prelude in particular, have stood for more than a century as the defining work that liberated tonal chro­ maticism from its diatonic foundations of the century before it, then there is a particular focus within the entire chromatic conception that is so well known that it even has a name: the Tristan chord. This is the chord that occurs on the downbeat of the second measure of the opera. Considered enharmonically, tills chord is of course a familiar structure, described in many textbooks as a half­ diminished seventh chord. It is so called because it can be partitioned into a diminished triad and a minor triad; our example shows it in comparison with a minor seventh chord and an ordinary diminished seventh chord.
    [Show full text]
  • Diatonic Harmony
    Music Theory for Musicians and Normal People Diatonic Harmony tobyrush.com music theory for musicians and normal people by toby w. rush although a chord is technically any combination of notes Triads played simultaneously, in music theory we usually define chords as the combination of three or more notes. secundal tertial quartal quintal harmony harmony harmony harmony and œ harmony? œœ œ œ œ œœ œ œ tertial œ œ œ septal chords built from chords built from chords built from chords built from seconds form thirds (MORE perfect fourths perfect fifths tone clusters, SPECifically, from create a different can be respelled as respectively. harmony, which are not major thirds and sound, used in quartal chords, harmonic so much minor thirds) compositions from and as such they harmony? as timbral. form the basis of the early 1900s do not create a most harmony in and onward. separate system of are the same as as with quintal harmony, these harmony, as with quintal the common harmony. secundal practice period. sextal well, diminished thirds sound is the chord still tertial just like major seconds, and if it is built from diminished augmented thirds sound just thirds or augmented thirds? like perfect fourths, so... no. œ œ the lowest note in the chord & œ let’s get started when the chord is in simple on tertial harmony form is called œ the the & œ with the smallest root. fifth œ chord possible: names of the œ third ? œ when we stack the triad. other notes œ the chord in are based on root thirds within one octave, their interval we get what is called the above the root.
    [Show full text]
  • Modal Prolongational Structure in Selected Sacred Choral
    MODAL PROLONGATIONAL STRUCTURE IN SELECTED SACRED CHORAL COMPOSITIONS BY GUSTAV HOLST AND RALPH VAUGHAN WILLIAMS by TIMOTHY PAUL FRANCIS A DISSERTATION Presented to the S!hoo" o# Mus%! and Dan!e and the Graduate S!hoo" o# the Un%'ers%ty o# Ore(on %n part%&" f$"#%""*ent o# the re+$%re*ents #or the degree o# Do!tor o# P %"oso)hy ,une 2./- DISSERTATION APPROVAL PAGE Student: T%*othy P&$" Fran!%s T%t"e0 Mod&" Pro"on(ation&" Str$!ture in Se"e!ted S&!red Chor&" Co*)osit%ons by Gustav Ho"st and R&")h Vaughan W%""%&*s T %s d%ssertat%on has been ac!e)ted and ap)ro'ed in part%&" f$"#%""*ent o# the re+$%re*ents for the Do!tor o# P %"oso)hy de(ree in the S!hoo" o# Musi! and Dan!e by0 Dr1 J&!k Boss C &%r)erson Dr1 Ste) en Rod(ers Me*ber Dr1 S &ron P&$" Me*ber Dr1 Ste) en J1 Shoe*&2er Outs%de Me*ber and 3%*ber"y Andre4s Espy V%!e President for Rese&r!h & Inno'at%on6Dean o# the Gr&duate S!hoo" Or%(%n&" ap)ro'&" signatures are on f%"e w%th the Un%'ersity o# Ore(on Grad$ate S!hoo"1 Degree a4arded June 2./- %% 7-./- T%*othy Fran!%s T %s work is l%!ensed under a Creat%'e Co**ons Attr%but%on8NonCo**er!%&"8NoDer%'s 31. Un%ted States L%!ense1 %%% DISSERTATION ABSTRACT T%*othy P&$" Fran!%s Do!tor o# P %"oso)hy S!hoo" o# Musi! and Dan!e ,une 2./- T%t"e0 Mod&" Pro"on(ation&" Str$!ture in Se"e!ted S&!red Chor&" Co*)osit%ons by Gustav Ho"st and R&")h Vaughan W%""%&*s W %"e so*e co*)osers at the be(%nn%n( o# the t4entieth century dr%#ted away #ro* ton&" h%erar! %!&" str$!tures, Gustav Ho"st and R&")h Vaughan W%""%&*s sought 4ays o# integrating ton&" ideas w%th ne4 mater%&"s.
    [Show full text]
  • The Augmented Sixth Chord
    CHAPTER24 The Augmented Sixth Chord Characteristics, Derivation, and Behavior The two excerpts in Example 24.1 are from different style periods, yet they share several features. In terms of form and harmony, both divide into two subphrases and close with strong half cadences. Further, the pre-dominant harmony in both examples is the same: an altered iv6 chord. Indeed, we hear not a Phrygian cadence (iv6-V), but rather some chromatic version, where the diatonic major sixth above the bass is raised a half step to create the strongly directed interval of the augmented sixth (+6). The new half-step ascent (#4-5) mirrors the bass's half-step descent (6-5). We refer to such chromatic pre-dominants as augmented sixth chords because of the characteristic interval between the bass 6 and the upper-voice #4. Listen to both excerpts in Example 24.1, noting the striking sound of the augmented sixth chords. EXAMPLE 24.1 A. Schubert, WaltzinG minor, Die letzte Walzer, op. 127, no. 12, D. 146 472 CHAPTER 24 THE AUGMENTED SIXTH CHORD 473 B. Handel, "Since by Man Came Death," Messiah, HWV 56 Example 24.2 demonstrates the derivation of the augmented sixth chord from the Phrygian cadence. Example 24.2A represents a traditional Phrygian half cadence. In Example 24.2B, the chromatic F# fills the space between F and G, and the passing motion creates an interval of an augmented sixth. Finally, Example 24.2C shows the augmented sixth chord as a harmonic entity, with no consonant preparation. EXAMPLE 24.2 Phrygian Cadence Generates the Augmented Sixth Chord Given that the augmented sixth chord also occurs in major, one might ask if it is an example of an applied chord or a mixture chord? To answer this question, consider the diatonic progression in Example 24.3A.
    [Show full text]
  • The Death and Resurrection of Function
    THE DEATH AND RESURRECTION OF FUNCTION A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By John Gabriel Miller, B.A., M.C.M., M.A. ***** The Ohio State University 2008 Doctoral Examination Committee: Approved by Dr. Gregory Proctor, Advisor Dr. Graeme Boone ________________________ Dr. Lora Gingerich Dobos Advisor Graduate Program in Music Copyright by John Gabriel Miller 2008 ABSTRACT Function is one of those words that everyone understands, yet everyone understands a little differently. Although the impact and pervasiveness of function in tonal theory today is undeniable, a single, unambiguous definition of the term has yet to be agreed upon. So many theorists—Daniel Harrison, Joel Lester, Eytan Agmon, Charles Smith, William Caplin, and Gregory Proctor, to name a few—have so many different nuanced understandings of function that it is nearly impossible for conversations on the subject to be completely understood by all parties. This is because function comprises at least four distinct aspects, which, when all called by the same name, function , create ambiguity, confusion, and contradiction. Part I of the dissertation first illuminates this ambiguity in the term function by giving a historical basis for four different aspects of function, three of which are traced to Riemann, and one of which is traced all the way back to Rameau. A solution to the problem of ambiguity is then proposed: the elimination of the term function . In place of function , four new terms—behavior , kinship , province , and quality —are invoked, each uniquely corresponding to one of the four aspects of function identified.
    [Show full text]
  • Harmonic Progressions Dominant to Tonic Motion V
    HARMONIC PROGRESSIONS We already know the nuts and bolts of harmony, the origins of diatonic triads and 7th chords in their possible inversions and how these inversions are represented via roman numeral and figured bass notation. The next step is to arrange the diatonic chords into some kind of order that makes “sense” according to common practice standards. To arrange and play chords/harmonies in a particular order is to create a harmonic (or chord) progression. As the term implies, a progression should be constructed such that the sequence of chords has a sense of direction and “progress”, meaning that the progression is not aimless, but directed towards a goal. We can liken this idea to the natural direction that we hear in a scale as it ascends and descends. While the idea of direction or “goal-oriented” can be arguably subjective, the western music aesthetic has some basic and consistent models that inform the notion of what a truly “progressive” progression is. DOMINANT TO TONIC MOTION The most fundamental harmonic gesture in western music is based on the circle of 5ths/4ths relationship of keys. This gesture (small progression) consists of chords whose roots move up a 4th or down a 5th (ii to V, iii to vi, I to IV, etc.) in the same way that the keys in the circle of 5ths relate to one and other (G to C, C to F, etc.). The most “important” of these possible combinations is the V to I progression (or V to i in minor). The V chord (the dominant) moves up a 4th or down a 5th to the I or i chord (the tonic).
    [Show full text]
  • Carl Dahlhaus. Studies on the Origin of Harmonic Tonality. Translated by Robert O. Gjerdingen. Princeton: Princeton University Press, 1990
    Document generated on 09/30/2021 11:31 p.m. Canadian University Music Review Revue de musique des universités canadiennes Carl Dahlhaus. Studies on the Origin of Harmonic Tonality. Translated by Robert O. Gjerdingen. Princeton: Princeton University Press, 1990. xv, 389 pp. ISBN 0-691-09135-8 Paul Cadrin Number 14, 1994 URI: https://id.erudit.org/iderudit/1014318ar DOI: https://doi.org/10.7202/1014318ar See table of contents Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this review Cadrin, P. (1994). Review of [Carl Dahlhaus. Studies on the Origin of Harmonic Tonality. Translated by Robert O. Gjerdingen. Princeton: Princeton University Press, 1990. xv, 389 pp. ISBN 0-691-09135-8]. Canadian University Music Review / Revue de musique des universités canadiennes, (14), 188–210. https://doi.org/10.7202/1014318ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 1994 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ REVIEW ESSAY Carl Dahlhaus. Studies on the Origin of Harmonic Tonality. Translated by Robert 0. Gjerdingen. Princeton: Princeton University Press, 1990.
    [Show full text]
  • Keyalities & Tonalities
    Keyalities & Tonalities The Complete Book of Arpeggios, Cadences & Scales Music Moves for Piano By Marilyn Lowe In Cooperation with Edwin E. Gordon DO Signatures The flats and sharps that give us the letter name of DO (traditionally called a ‘key signature’) is a DO signature. DO is the resting tone for Major tonality. Each DO signature represents all tonalities (see Unit 13 of this book) when the moveable DO with a LA-based-minor solfege system is used. This solfege system is the only one that fosters audiation. The resting tones for tonalities other than Major are: RE/Dorian, MI/Phrygian, FA/Lydian, SO/Mixolydian, LA/Harmonic Minor and Aeolian, and TI/Locrian. The DO signatures in this book are presented in the circle of 4ths (circle of dominants). C is DO F is DO Bb is DO Eb is DO Ab is DO Db is DO Gb is DO Cb is DO C# is DO F# is DO B is DO E is DO A is DO D is DO G is DO C is DO Music Moves for Piano Keyalities and Tonalities The Complete Book of Arpeggios, Cadences and Scales By Marilyn Lowe In cooperation with Edwin E. Gordon Music Moves for Piano is designed to develop improvisation, audiation and keyboard performance skills. The piano series builds on the ideas and theories of Orff, Kodaly, Dalcroze, Suzuki, Taubman and Gordon. © 2006, 2007, 2013, 2015 Music Moves LLC All Rights Reserved G-7056 ©2006, 2007, 2013, 2015 Music Moves LLC www.musicmovesforpiano.com [email protected] ISBN-10: 1-57999-634-5 Distributed by GIA Publications, Inc.
    [Show full text]