Second Inversion Triads
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PRESS RELEASE Contact: Mary Ladd Public Information Coordinator Ponca City Public Schools 580-352-4188 [email protected] #TeamPCPS #WildcatWay PCPS Big Blue Band Reports Great Results from Red Carpet Honor Band Auditions The Ponca City Senior High School Big Blue Band members participated in the Red Carpet Honor Band Auditions held on Saturday, November 16 in Chisholm, Oklahoma. The Senior High School Honor Band consists of students in grades 10th through 12th grade. The 9th grade students participated in the Junior High Honor Bands, which is made up of students in grades 7th through 9th. High schools that participated included: Alva, Blackwell, Cashion, Chisholm, Cimarron, Covington-Douglas, Drummond, Enid, Fairview, Fargo-Gage, Garber, Kingfisher, Kremlin-Hillsdale, Laverne, Medford, Mooreland, Newkirk, Okeene, Oklahoma Bible Academy, Perry, Pioneer-Pleasant Vale, Ponca City, Pond Creek-Hunter, Ringwood, Seiling, Texhoma, Timberlake, Tonkawa, Waukomis, Waynoka, and Woodward. There were two Junior High Honor Bands selected, an “A” Band and a “B” Band. This is made up of students in grades 7th through 9th grade. Ponca City 9th grade students competed in the junior high area. The 17- 9th graders who earned their positions is the largest number of freshmen Ponca City has ever had make one of the two bands. Schools represented in the junior high tryouts included: Alva, Blackwell, Cashion, Chisholm, Cimarron, Covington-Douglas, Emerson (Enid), Enid, Fairview, Garber, Hennessey, Kingfisher, Kremlin-Hillsdale, Laverne, Longfellow (Enid), Medford, Mooreland, Newkirk, Okarche, Okeene, Oklahoma Bible Academy, Perry Pioneer-Pleasant Vale, Ponca City, Ponca City East, Ponca City West, Pond Creek-Hunter, Ringwood, Seiling, Texhoma, Tonkawa, Waller (Enid), Waukomis, Waynoka, and Woodward. -
6-4 Chords (Second Inversion Triads)
LearnMusicTheory.net 2.9 SATB Part Writing 5: Second Inversion Triads Second inversion triads double the bass and almost always follow one of these four patterns: 6 note voice exchange (marked "X")! 1. Passing 4 Bass moves by step up or down a third. 3 upper parts (any order): [OR] 1. Voice exchange: one voice has bass notes backwards In the example, bass is C-D-E, tenor is E-D-C. 2. Common tone: repeated note 3. Lower neighbor figure: from root of outer harmony 6 6 6 6 C: I V4 I C: I V4 I note upper neighbor pattern! 6 2. Pedal 4 Bass has the same note three times. 3 upper parts (any order): 1. / 2. Upper neighbor figure (2 parts): step up, then step down 3. Common tone: repeated note 6 C: I IV 4 I 3. Arpeggio 6 4 Any harmonic Bass leaps from the root or third of the same harmony. progression that fits the stylistic progression 3 upper parts repeat or freely arpeggiate, guidelines is possible. following stylistic guidelines. 6 C: I I 4 IV 4. Cadential 6 4th M3 4 above bass above bass **Bass is always the dominant pitch of the key!** Metrically stronger than the resolution chord: 1. 2-beat measures: Beat 1 only, resolves on beat 2 6th P5 2. 3-beat measures: Beat 1 or beat 2 (must then resolve on beat 3) above bass above bass 3. 4-beat measures: Beat 1 or beat 3 (must then resolve on beat 4) Bass repeats the dominant pitch. -
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. -
Music in Theory and Practice
CHAPTER 4 Chords Harmony Primary Triads Roman Numerals TOPICS Chord Triad Position Simple Position Triad Root Position Third Inversion Tertian First Inversion Realization Root Second Inversion Macro Analysis Major Triad Seventh Chords Circle Progression Minor Triad Organum Leading-Tone Progression Diminished Triad Figured Bass Lead Sheet or Fake Sheet Augmented Triad IMPORTANT In the previous chapter, pairs of pitches were assigned specifi c names for identifi cation CONCEPTS purposes. The phenomenon of tones sounding simultaneously frequently includes group- ings of three, four, or more pitches. As with intervals, identifi cation names are assigned to larger tone groupings with specifi c symbols. Harmony is the musical result of tones sounding together. Whereas melody implies the Harmony linear or horizontal aspect of music, harmony refers to the vertical dimension of music. A chord is a harmonic unit with at least three different tones sounding simultaneously. Chord The term includes all possible such sonorities. Figure 4.1 #w w w w w bw & w w w bww w ww w w w w w w w‹ Strictly speaking, a triad is any three-tone chord. However, since western European music Triad of the seventeenth through the nineteenth centuries is tertian (chords containing a super- position of harmonic thirds), the term has come to be limited to a three-note chord built in superposed thirds. The term root refers to the note on which a triad is built. “C major triad” refers to a major Triad Root triad whose root is C. The root is the pitch from which a triad is generated. 73 3711_ben01877_Ch04pp73-94.indd 73 4/10/08 3:58:19 PM Four types of triads are in common use. -
Conductus and Modal Rhythm
Conductus and Modal Rhythm BY ERNEST H. SANDERS T HAS BEEN MORE THAN EIGHTY YEARS since Friedrich Ludwig (1872-193o), arguably the greatest of the seminal figures in twenti- eth-century musicology, began to publish his studies of medieval music. His single-handed occupation of the field, his absolute sover- eignty over the entire repertoire and all issues of scholarly significance arising from it, and his enormous, inescapably determinative influ- ence on the thinking of his successors, most of whom had studied with him, explain the epithet der Grossehe was given on at least one occasion.' Almost his entire professional energies were devoted to the music of the twelfth and, particularly, the thirteenth centuries, as well as to the polyphony of the fourteenth century, which he began to explore in depth in the 1920s. His stringent devotion to the facts and to conclusions supported by them was a trait singled out by several commentators.2 Ludwig's insistence on scholarly rigor, however, cannot be said to account completely for his Modaltheorie,which appeared to posit the applicability of modal rhythm to all music of the Notre Dame period-except organal style-and of the pre-Garlandian (or pre- Franconian) thirteenth century, including particularly the musical settings of poetry. Much of the pre-Garlandian ligature notation in thirteenth-century sources of melismatic polyphonic compositions of the first half of that century (clausulae, organa for more than two voices) and of melismatic portions of certain genres, such as the caudae of conducti,3 signifies modal rhythms, and the appropriatenessof the modal system cannot be disputed in this context. -
Graduate Music Theory Exam Preparation Guidelines
Graduate Theory Entrance Exam Information and Practice Materials 2016 Summer Update Purpose The AU Graduate Theory Entrance Exam assesses student mastery of the undergraduate core curriculum in theory. The purpose of the exam is to ensure that incoming graduate students are well prepared for advanced studies in theory. If students do not take and pass all portions of the exam with a 70% or higher, they must satisfactorily complete remedial coursework before enrolling in any graduate-level theory class. Scheduling The exam is typically held 8:00 a.m.-12:00 p.m. on the Thursday just prior to the start of fall semester classes. Check with the Music Department Office for confirmation of exact dates/times. Exam format The written exam will begin at 8:00 with aural skills (intervals, sonorities, melodic and harmonic dictation) You will have until 10:30 to complete the remainder of the written exam (including four- part realization, harmonization, analysis, etc.) You will sign up for individual sight-singing tests, to begin directly after the written exam Activities and Skills Aural identification of intervals and sonorities Dictation and sight-singing of tonal melodies (both diatonic and chromatic). Notate both pitch and rhythm. Dictation of tonal harmonic progressions (both diatonic and chromatic). Notate soprano, bass, and roman numerals. Multiple choice Short answer Realization of a figured bass (four-part voice leading) Harmonization of a given melody (four-part voice leading) Harmonic analysis using roman numerals 1 Content -
RECITATIVE STYLE and the FIGURFD BASS THESIS Presented
/O i0 A COURSE IN KEYBOAIO AIMOBy BASED ON THE RECITATIVE STYLE AND THE FIGURFD BASS THESIS Presented to the Graduate Council of the North Texas State Teachers College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By George S. Thompson, B. M. 158610 Garland, Texas August, 1948 158610 TABLE OF CONTENTS LIST OF ILLUSTFAJTIO.S., Page . 9 , 9 0 v Chapter I. INTRODUCTION . * , " 4 4 . , Statement of the Problem Need for the Study Sources and Validity of Data Method of Presentation II. YIGUREDBASS . * 0 g , * ." 4 III. RECITATIVE . IV. TRIADS . * 0 0* * , I * 13 Root Position of Triads First Inversion of Triads Second Inversion of Triads Modulation V. NON-IARMONIC TONES * * , 9 a 9 , 0 , . The Passing Tone The Suspension The Neighboring Tone The Anticipation The Escape Tone The Appoggiatura The Pedal Point VI. SEVENTH CHORDS . * . * * * . , 43 The Dominant Seventh Chord The Supertonic Seventh Chord The Leading Tone Seventh Chord in Minor The Subdominant Seventh Chord The Tonic Seventh Chord in Major VII* ALTERED CHORDS. .. Altered Chords in Minor Altered Chords in Major 6ii Chapter Page VIII. THE CHORD OF TIE AUGEEIN SIXTH . 58 IX. MODULATIONTO FOREIGNaYS . 61 x. REVIEW . 64 BIBLIOGRAPHY . 67 iv LIST OF ILLUSTRATIONS Figure Page 1. Example of the Figurations for the Triad in Root Position . 14 2. Example of the Figurations for the First Inversion of Triads . 21 3. Example of the Figurations for the Second Inversion of Triads . 24 4. Example of the Figurations for the Passing Tone . 29 5. Example of the Figurations for the Suspension . , . 32 6. -
Figured-Bass Notation
MU 182: Theory II R. Vigil FIGURED-BASS NOTATION General In common-practice tonal music, chords are generally understood in two different ways. On the one hand, they can be seen as triadic structures emanating from a generative root . In this system, a root-position triad is understood as the "ideal" or "original" form, and other forms are understood as inversions , where the root has been placed above one of the other chord tones. This approach emphasizes the structural similarity of chords that share a common root (a first- inversion C major triad and a root-position C major triad are both C major triads). This type of thinking is represented analytically in the practice of applying Roman numerals to various chords within a given key - all chords with allegiance to the same Roman numeral are understood to be related, regardless of inversion and voicing, texture, etc. On the other hand, chords can be understood as vertical arrangements of tones above a given bass . This system is not based on a judgment as to the primacy of any particular chordal arrangement over another. Rather, it is simply a descriptive mechanism, for identifying what notes are present in addition to the bass. In this regime, chords are described in terms of the simplest possible arrangement of those notes as intervals above the bass. The intervals are represented as Arabic numerals (figures), and the resulting nomenclatural system is known as figured bass . Terminological Distinctions Between Roman Numeral Versus Figured Bass Approaches When dealing with Roman numerals, everything is understood in relation to the root; therefore, the components of a triad are the root, the third, and the fifth. -
Table of Contents
Table of Contents Introduction and Background The Guitar _________________________________ 1 Related Instruments _____________________ 1 Guitar Parts and Names __________________ 2 Acoustic vs. Electric __________________ 3 Brand Names _______________________ 3 The Neck _____________________________ 4 Fretboard __________________________ 4 Width______________________________ 5 Thickness __________________________ 5 Intonation __________________________ 5 Action _____________________________ 5 Adjustable Truss Rod _________________ 5 Strings _______________________________ 6 Electric Pickup Configurations _____________ 7 Tele _______________________________ 7 Strat ______________________________ 7 Peavey Copies ______________________ 7 Les Paul ___________________________ 7 Active Pickups ______________________ 7 Guitar Amps ___________________________ 8 Accessories_________________________________ 9 Case _________________________________ 9 Guitar Stand ___________________________ 9 CAPO ________________________________ 9 Music Stand ___________________________ 9 Strap_________________________________ 10 Guitar Strings __________________________ 10 Picks_________________________________ 10 String Changing Kit _____________________ 11 Peg Winder _________________________ 11 Wire Clippers _______________________ 11 Polishing Cloth and Polish _____________ 11 Electronic Tuner ________________________ 11 Metronome/Drum Machine/Sequencer_______ 12 Tape Recorder _________________________ 12 Effects _______________________________ 12 Harvard -
The Aquitanian Sacred Repertoire in Its Cultural Context
THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, IN HOC ANNI CIRCULO, AND CANTUMIRO SUMMA LAUDE by ANDREA ROSE RECEK A THESIS Presented to the School ofMusic and Dance and the Graduate School ofthe University of Oregon in partial fulfillment ofthe requirements for the degree of Master of Arts September 2008 11 "The Aquitanian Sacred Repertoire in Its Cultural Context: An Examination ofPetri clavigeri kari, In hoc anni circulo, and Cantu miro summa laude," a thesis prepared by Andrea Rose Recek in partial fulfillment ofthe requirements for the Master ofArts degree in the School ofMusic and Dance. This thesis has been approved and accepted by: Dr. Lori Kruckenberg, Chair ofth xamining Committee Committee in Charge: Dr. Lori Kruckenberg, Chair Dr. Marc Vanscheeuwijck Dr. Marian Smith Accepted by: Dean ofthe Graduate School 111 © 2008 Andrea Rose Recek IV An Abstract ofthe Thesis of Andrea Rose Recek for the degree of Master ofArts in the School ofMusic and Dance to be taken September 2008 Title: THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, INHOC ANNI CIRCULO, AND CANTU MIRa SUMMA LAUDE Approved: ~~ _ Lori Kruckenberg Medieval Aquitaine was a vibrant region in terms of its politics, religion, and culture, and these interrelated aspects oflife created a fertile environment for musical production. A rich manuscript tradition has facilitated numerous studies ofAquitanian sacred music, but to date most previous research has focused on one particular facet of the repertoire, often in isolation from its cultural context. This study seeks to view Aquitanian musical culture through several intersecting sacred and secular concerns and to relate the various musical traditions to the region's broader societal forces. -
2-Voice Chorale Species Counterpoint Christopher Bailey
2-Voice Chorale Species Counterpoint Christopher Bailey Preamble In order to make the leap from composing in a 4-part chorale style to composing in a free- texture style, we will first re-think the process of composing chorales in a more contrapuntal manner. To this end, we will compose exercises in 2-voice (soprano and bass) Chorale Species Counterpoint. Species counterpoint is a way of studying counterpoint formulated by J.J. Fux (1660-1741) after the music of Palestrina and the Renaissance masters. Exercises in species were undertaken by many of the great composers--including Mozart, Beethoven, Brahms, Schubert, and so forth. The basic idea is that one starts with simple, consonant, note-against-note counterpoint, and gradually attempts more and more elaborate exercises, involving more rhythmic complexity and dissonance, in constrained compositional situations. We will be learning a modified (simpler and freer) version of this, to fit in with the study of 4-part voice-leading and chorales, and tonal music in general. For each exercise, we will assume, at first, that one is given either a bass line, or a soprano line. Given either line, our first task is to compose the other line as a smooth counterpoint against the given line. With the possible exception of the cadence, we will not think about harmony and harmonic progression at all during this part of the process. We will think about line, and the intervals formed by the 2 voices. After the lines are composed in this way, only then do we go back and consider questions of harmony, and add the 2 inner voices to create a 4-voice chorale texture. -
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.