13.3.2Examples of the “Less Conclusive-More Conclusive” Cadential Formula
13.3.3Antecedents and Consequents
13.3.4Parallel and Contrasting Periods
13.3.5Repeated Phrase
13.4The Asymmetrical Period
13.5The Double Period
13.5.1Repeated Period
13.6Phrase Groups and Phrase Chains
13.7The Elision
13.8Summary of Phrases in Combination
13.9Practice Exercises
14Accompanimental Textures
14.1Texture
14.2Chorale Texture
14.3Arpeggiated Accompaniments
14.3.1Arpeggios
14.3.2Alberti Bass
14.4Block Chord Accompaniments
14.4.1The “1 (2) &” Rhythm
14.4.2The “Barbara Ann” Rhythm
14.4.3Repeated 8th-note Chords
14.4.4Repeated Quarter-note Chords
14.5Afterbeats and Offbeats
14.5.1Afterbeats
14.5.2Offbeats
14.5.2.1Polka
14.5.2.2Reggae
14.6The 3–2 Son Clave
14.6.1The 3+3+2 Rhythm
14.6.1.1Habanera and Reggaeton
14.6.23+3+3+3+2+2
14.6.38 Groups of 3 Plus 4 Groups of 2
14.6.1Other Combinations of 3s and 2s
14.7Distinctive Bass Lines
14.7.1Distinctive Guitar Riffs
15Creating Contrast Between Sections
15.1The Elements of Music
15.2Mozart, Eine kleine Nachtmusik, K. 525, II.
15.3“Rude” by MAGIC!
16Figured Bass
16.1Historical Context
16.2Figured Bass Inversion Symbols
16.3The Cadential Six-Four Chord
16.4Other Occurrences of Six-Four Chords
16.5Additional Information
16.6Practice Exercises
17Secondary Dominant Chords
17.1Examples with Secondary Dominants
17.2Tonicization
17.3Secondary Dominants in Major and Minor
17.4Analyzing Secondary Dominants
17.5Writing Secondary Dominants
17.6Irregular Resolutions of Secondary Chords
17.7Practice Exercises
18Secondary Diminished Chords
18.1Secondary Diminished Chords
18.2Secondary Diminished Chords in Major and Minor
18.3Analyzing Secondary Diminished Chords
18.4Writing Secondary Diminished Chords
18.5Practice Exercises
19Mode Mixture
19.1Mode Mixture
19.2Harmonization of Borrowed Scale Degrees
19.3Analyzing and Writing Borrowed Chords
19.4The Deceptive Cadence with ♭\(\left.\text{VI}\right.\)
19.5The Picardy 3rd
19.6Practice Exercises
20The Neapolitan Chord
20.1The Neapolitan Chord
20.2Examples of the Neapolitan Chord
20.3Practice Exercises
21Augmented Sixth Chords
21.1Augmented Sixth Chords
21.2Types of Augmented Sixth Chords
21.3Analyzing Augmented Sixth Chords
21.4Lead-Sheet Analysis of Augmented Sixth Chords
21.5Examples with Augmented Sixth Chords
21.5.1The Italian Augmented Sixth Chord
21.5.2The French Augmented Sixth Chord
21.5.3The German Augmented Sixth Chord
21.5.4The Enharmonic German Sixth
21.6Distingushing Between Chromatic Harmonies
21.7Descending Chromatic Bass Lines
21.8Chromatic Pre-Dominant Chords
21.9Practice Exercises
22Modulation
22.1Modulation
22.2Tonicization versus Modulation
22.3Key Relationships
22.4Modulations with Diatonic Pivot Chords
22.4.1Determining Common Chords Between Keys
22.4.2Harmonic Functions of Diatonic Pivot Chords
22.5How to Recognize a Key After a Modulation
22.6Modulations with Chromatic Pivot Chords
22.6.1Secondary Common Chord
22.6.2Borrowed Common Chord
22.6.3Neapolitan Common Chord
22.6.4Augmented Sixth Common Chord
22.7Modulations Without Pivot Chords
22.7.1Direct Modulation
22.7.2Common-Tone Modulation
22.7.2.1Chromatic Mediants
22.7.3Sequential Modulation
22.8Practice Exercises
23Enharmonic Modulation
23.1Enharmonic Modulation
23.2The V7 and Ger+6 as Pivot Chords
23.3The Fully Diminished Seventh as Pivot Chord
23.4Practice Exercises
24Binary and Ternary Forms
24.1Binary and Ternary Form
24.2Sectional versus Continuous
24.3Balanced Binary
24.4Rounded Binary
24.5Simple Binary
24.6Binary Principle
24.7Ternary Form
24.7.1Compound Ternary
24.8Distinguishing between Rounded Binary and Ternary
24.8.1Written-Out Repeats
24.9Practice Exercises
25Sonata and Rondo Forms
25.1Sonata Form
25.1.1Diagram of Sonata Form
25.1.2Sonatina Form
25.1.3Sonata Principle
25.1.4The Monothematic Sonata
25.2The Four Structural Functions in Music
25.2.1Expository Function
25.2.2Transitional Function
25.2.3Developmental Function
25.2.4Terminative Function
25.3Rondo Form
25.3.1Sonata Rondo Form
25.4Rondo Character
25.5Standard Forms in a Multimovement Classical Piece
25.6Practice Exercises
26Voice Leading Triads
26.1Voice Leading
26.2Types of Motion
26.3Objectionable Parallels
26.4Voice Ranges
26.5Rules of Melody
26.6Rules of Spacing
26.7Voice Leading Root Position Triads in Four Parts
26.7.1Bass movement of the interval of a 3rd or 6th
26.7.2Bass movement of the interval of a 4th or 5th
26.7.3Bass movement of the interval of a 2nd
26.7.4Repetition of the bass note
26.8Voice Leading First-Inversion Triads
26.8.1Voicing a First Inversion Chord
26.9Voice Leading Second Inversion Triads
26.10Special Situations
26.11Types of Six-Four Chords
26.12Summary of Doubling Rules for Triads
26.13Practice Exercises
27Voice Leading Seventh Chords
27.1Voice Leading Seventh Chords
27.2Voice Leading Successive Seventh Chords
27.3Voice Leading the \(\left.\text{V}^{7}\right.\) to \(\left.\text{I}\right.\) Progression
27.3.1Voice Leading \(\left.\text{I}^{6}_{4}\right.\) to \(\left.\text{V}^{7}\right.\)
27.4The Special Resolution of vii\(\left.\text{}^{\circ}{}^{7}\right.\) (and vii\(\left.\text{}^ø{}^{7}\right.\))
27.5When to Use Seventh Chords
27.6Practice Exercises
28Voice Leading With Non-Chord Tones
28.1Voice Leading With Non-Chord Tones
28.2Avoiding Objectionable Parallels
28.3Adding Non-Chord Tones to a Chord Progression
28.4Practice Exercises
29Voice Leading Chromatic Harmonies
29.1Voice Leading Secondary Chords
29.2Voice Leading Borrowed Chords
29.3Voice Leading the Neapolitan Chord
29.4Voice Leading Augmented Sixth Chords
29.5Practice Exercises
30Introduction to Counterpoint
30.1Species Counterpoint
30.2First Species Counterpoint
30.3Second Species Counterpoint
30.4Third Species Counterpoint
30.5Fourth Species Counterpoint
30.6Fifth Species Counterpoint
30.7Invention Expositions
30.7.1How to Write an Invention Exposition
30.7.2Altering Themes to Fit the Harmonies
30.7.3Adding Counterpoint to the Theme Statements
30.8Fugue Analysis
30.9Practice Exercises
31Introduction to Jazz Theory
31.1Jazz Chord Basics
31.2Chord Symbol Specifics
31.3Altered Dominant Seventh Chords
31.4Chord Labels
31.5How to Write Jazz Chords
31.6How to Analyze Jazz Chords
31.7Jazz Chord Voicings
31.7.1Guide Tones
31.7.2Jazz Chord Voicings
31.8Standard Chord Progressions
31.8.1II–V–I
31.8.2III–VI–II–V
31.8.3The Blues Progression
31.9Scales
31.9.1The Blues Scale
31.9.2The Bebop Scale
31.9.3Table of Scales
31.10How to Determine Chord-Scale Relationships
31.10.1List of Chord-Scale Relationships
31.11Harmonizing the Bebop Scale
31.12Practice Exercises
32Impressionism and Extended Tonality
32.1Impressionism
32.2Pandiatonicism
32.3Quartal, Quintal, and Secundal Harmony
32.4Polychords
32.5Practice Exercises
33Set Theory
33.1Set Theory
33.1.1Atonal Music
33.1.2Integer Notation for Pitches
33.1.3Integer Notation for Intervals
33.1.4Pitch-Class Sets
33.2Normal Form
33.3Prime Form
33.3.1Application of Normal Form and Prime Form
33.3.2Segmentation
33.4Interval Vector
33.5Forte Numbers
33.5.1Z-Relations
33.6Lists of Set Classes
33.7Transposition (T\(\text{}_{n}\))
33.8Inversion (T\(\text{}_{n}\)I)
33.8.1Identifying T\(\text{}_{n}\)I for Inversionally-Related Sets
33.9Practice Exercises
34Serialism
34.1Twelve-Tone Technique
34.1.1Row Forms
34.1.2Transposition Numbers
34.2Determining Row Forms
34.3Writing Row Forms
34.4Twelve-Tone Matrix
34.5Row Form Presentation in Music
34.6Non-Twelve-Tone Serialism
34.7Practice Exercises
35Minimalism
35.1Additive Minimalism
35.2Phase Shifting
35.3Homework Assignments
Back Matter
AAnswers to Practice Exercises
BGNU Free Documentation License
Index
Colophon
Section21.2Types of Augmented Sixth Chords
There are three general types of augmented sixth chords—the Italian augmented sixth chord (“\(\left.\text{It}^{+6}\right.\)”), the French augmented sixth chord (“\(\left.\text{Fr}^{+6}\right.\)”), and the German augmented sixth chord (“\(\left.\text{Ger}^{+6}\right.\)”). These geographic labels have persisted throughout the years despite the fact that no reasoning has been found for these designations. 1 The 1964 Harvard Dictionary of Music states these chords are “rather pointlessly…distinguished as ‘Italian,’ ‘German,’ and ‘French’ sixth…”🔗 All types of augmented sixth chords contain scale degrees ♭\(\hat{6} \) and ♯\(\hat{4} \). To these two scale degrees, the \(\left.\text{It}^{+6}\right.\) adds \(\hat{1} \). The three notes of the \(\left.\text{It}^{+6}\right.\) (♭\(\hat{6} \), ♯\(\hat{4} \), and \(\hat{1} \)) form the foundation of the \(\left.\text{Fr}^{+6}\right.\) and \(\left.\text{Ger}^{+6}\right.\). The \(\left.\text{Fr}^{+6}\right.\) adds \(\hat{2} \) to the Italian augmented sixth chord’s ♭\(\hat{6} \), ♯\(\hat{4} \), and \(\hat{1} \), and the \(\left.\text{Ger}^{+6}\right.\) adds ♭\(\hat{3} \) to the Italian’s ♭\(\hat{6} \), ♯\(\hat{4} \), and \(\hat{1} \), as is shown in the example below.🔗 Figure21.2.1.The Three Types of Augmented Sixth Chords in Major and Minor🔗The final chord on the first line—the Enharmonic German \(\left.\text{}^{+6}\right.\) or \(\left.\text{EnGer}^{+6}\right.\)—respells the ♭\(\hat{3} \) as a ♯\(\hat{2} \) because the \(\left.\text{EnGer}^{+6}\right.\) resolves only to major \(\left.\text{I}^{6}_{4}\right.\). The \(\left.\text{EnGer}^{+6}\right.\) does not occur in minor.🔗 🔗 PrevTopNext PreTeXt logo
