8/9/2019 Music Handbook Composition and Analysis
1/217
MUS 201: Table of Contents
COMMON-PRACTICE TONALI
T A B L E o
Introduction
Sound and Its Notation
Pitch Intervals, Consonance, and
Dissonance
Tonalit
http://www.wm.edu/CAS/music/theorybk/text/tabofcnt.htm#INTRODUCTIONhttp://www.wm.edu/CAS/music/theorybk/text/tabofcnt.htm#SOUNDhttp://www.wm.edu/CAS/music/theorybk/text/tabofcnt.htm#PITCHhttp://www.wm.edu/CAS/music/theorybk/text/tabofcnt.htm#PITCHhttp://www.wm.edu/CAS/music/theorybk/text/tabofcnt.htm#TONALITYhttp://www.wm.edu/CAS/music/theorybk/text/tabofcnt.htm#TONALITYhttp://www.wm.edu/CAS/music/theorybk/text/tabofcnt.htm#PITCHhttp://www.wm.edu/CAS/music/theorybk/text/tabofcnt.htm#PITCHhttp://www.wm.edu/CAS/music/theorybk/text/tabofcnt.htm#SOUNDhttp://www.wm.edu/CAS/music/theorybk/text/tabofcnt.htm#INTRODUCTION
8/9/2019 Music Handbook Composition and Analysis
2/217
MUS 201: Table of Contents
The Black Keys.
Enharmonic Equivalence.
CLEFS
The Horizontal and the Vertical
Timbral Notation
The Score
Dynamics
Articulation
Summary
http://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#The%20Blackhttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#Enharmonichttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#CLEFShttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#The%20Horizontalhttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#Timbral%20Notationhttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#The%20Scorehttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#Dynamicshttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#Articulationhttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#Summaryhttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#Summaryhttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#Articulationhttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#Dynamicshttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#The%20Scorehttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#Timbral%20Notationhttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#The%20Horizontalhttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#CLEFShttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#Enharmonichttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#The%20Black
8/9/2019 Music Handbook Composition and Analysis
3/217
MUS 201: Table of Contents
The Note Tree
The Rest Tree
Ties
Dotted Notes and Rests
Tuplets Rhythmic Organization
Patterning
The Pulse
Tempo
http://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#The%20Notehttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#The%20Resthttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#Tieshttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#Dotted%20Noteshttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#Tupletshttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#Rhythmic%20Organizationhttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#Patterninghttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#The%20Pulsehttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#Tempohttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#Tempohttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#The%20Pulsehttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#Patterninghttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#Rhythmic%20Organizationhttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#Tupletshttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#Dotted%20Noteshttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#Tieshttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#The%20Resthttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#The%20Note
8/9/2019 Music Handbook Composition and Analysis
4/217
MUS 201: Table of Contents
Collections
Modes
Scales
MAJOR KEYS
Key Signatures Scale Degrees
PRINCIPAL SCALE DE
DEPENDENT SCALE D
Passing Notes.
http://www.wm.edu/CAS/music/theorybk/text/tonality.htm#Collectionshttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#Modeshttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#Scaleshttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#MAJOR%20KEYShttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#Key%20Signatureshttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#Scale%20Degreeshttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#PRINCIPAL%20SCALEhttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#DEPENDENT%20SCALE%20DEGREEShttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#Passing%20Noteshttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#Passing%20Noteshttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#DEPENDENT%20SCALE%20DEGREEShttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#PRINCIPAL%20SCALEhttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#Scale%20Degreeshttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#Key%20Signatureshttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#MAJOR%20KEYShttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#Scaleshttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#Modeshttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#Collections
8/9/2019 Music Handbook Composition and Analysis
5/217
MUS 201: Table of Contents
CHORD CONSTRUCTION
Complete Triads
Spacing
OPEN POSITION
CLOSED POSITION Doubling
RULES FOR DOUBLING
Doubled Root.
Doubled Fifth.
Doubled Third
http://www.wm.edu/CAS/music/theorybk/text/4-part.htm#CONSTRUCTIONhttp://www.wm.edu/CAS/music/theorybk/text/4-part.htm#Spacinghttp://www.wm.edu/CAS/music/theorybk/text/4-part.htm#Doublinghttp://www.wm.edu/CAS/music/theorybk/text/4-part.htm#Doublinghttp://www.wm.edu/CAS/music/theorybk/text/4-part.htm#Spacinghttp://www.wm.edu/CAS/music/theorybk/text/4-part.htm#CONSTRUCTION
8/9/2019 Music Handbook Composition and Analysis
6/217
MUS 201: Table of Contents
Summary
BASIC HARONIC GRAMMAR: 5/3 TE
Composing-out: Unfolding and Prolong
Counterpoint
FIRST SPECIES
http://www.wm.edu/CAS/music/theorybk/text/4-part.htm#Summaryhttp://www.wm.edu/CAS/music/theorybk/text/harmgram.htmhttp://www.wm.edu/CAS/music/theorybk/text/harmgram.htm#Compoint-outhttp://www.wm.edu/CAS/music/theorybk/text/harmgram.htm#Species%20Counterpointhttp://www.wm.edu/CAS/music/theorybk/text/harmgram.htm#FIRST%20SPECIEShttp://www.wm.edu/CAS/music/theorybk/text/harmgram.htm#FIRST%20SPECIEShttp://www.wm.edu/CAS/music/theorybk/text/harmgram.htm#Species%20Counterpointhttp://www.wm.edu/CAS/music/theorybk/text/harmgram.htm#Compoint-outhttp://www.wm.edu/CAS/music/theorybk/text/harmgram.htmhttp://www.wm.edu/CAS/music/theorybk/text/4-part.htm#Summary
8/9/2019 Music Handbook Composition and Analysis
7/217
MUS 201: Table of Contents
TECHNIQUE
Bass Arpeggiation
BASS ARPEGGIATION
AS THIRD DIVIDER
Passing s
Neighbor 6s
BASS NEIGHBOR NOTE
INCOMPLETE NEIGHBOR NOTES
8/9/2019 Music Handbook Composition and Analysis
8/217
MUS 201: Table of Contents
The Cadential "I6/4"
The Subdominant Triad (IV)
IV
IV
IV AS LOWER-THIRD DIV
IV AND V
IV IN A DECEPTIVE PROG
8/9/2019 Music Handbook Composition and Analysis
9/217
MUS 201: Table of Contents
The Minor Mode
ALTERED NOTES
Cross Relations
Seventh Scale Degree in the Min RAISED 7^
DIATONIC 7^
Augmented Second
Raised 6^
Th Li Di
http://www.wm.edu/CAS/music/theorybk/text/minor.htmhttp://www.wm.edu/CAS/music/theorybk/text/minor.htm
8/9/2019 Music Handbook Composition and Analysis
10/217
MUS 201: Table of Contents
OTHER TYPES OF MELODIC FIGUR
"Appoggiaturas"
"Escape Notes"
CHROMATIC FIGURATION
Chromatic Lower Neighbor
Melodic Tonicization
TONICIZATION
MELODIC TONICIZAT
LINEAR TONICIZATIO
8/9/2019 Music Handbook Composition and Analysis
11/217
MUS 201: Table of Contents
THE CONSONANT SUSPENS
THE DISSONANT PREPARAT
ANTICIPATIONS
Metrical Considerations
The Anticipation and Parallel 5t
The Indirect Anticipation
THE PEDAL POINT
8/9/2019 Music Handbook Composition and Analysis
12/217
MUS 201: Table of Contents
Structure of the Applied vii and vii
Voice leading and the Applied vii a
Inversions of the Applied vii and v
THE FULL DIMINISHED VII7
vii7 in the Major.
vii7 in the Minor.
Triad Quality and Tonicization.
Structure of the Applied vii7 in a Minor To
MODULATION
General Considerations
8/9/2019 Music Handbook Composition and Analysis
13/217
MUS 201: Table of Contents
PITCH TRANSFORMATIONS
Transposition.
Retrogression.
Inversion.
RHYTHMIC TRANSFORMATIONS
MUS 201 T bl f C
8/9/2019 Music Handbook Composition and Analysis
14/217
MUS 201: Table of Contents
THE DOUBLE SENTENCE
DIATONIC SEQUENCES
STRUCTURE AND FUNCTION OF THE
The Sequential Unit
MUS 201 T bl f C
http://www.wm.edu/CAS/music/theorybk/text/sequence.htmhttp://www.wm.edu/CAS/music/theorybk/text/sequence.htm
8/9/2019 Music Handbook Composition and Analysis
15/217
MUS 201: Table of Contents
Chapter 18 -- Chromatic Voice-Leading to V
AUGMENTED SIXTH CHORDS
The Italian
The German
MUS 201 T bl f C t t
8/9/2019 Music Handbook Composition and Analysis
16/217
MUS 201: Table of Contents
German Sixth as Apparent Dominant Seventh.
German Sixth as Enharmonic Dominant Seventh.
Diminished Sevenths above a Tonic Pedal
COMMON-NOTE DIMINISHED SEVENTHS
LEADING-TONE DIMINISHED SEVENTH AB
MUS 201 T bl f C t t
8/9/2019 Music Handbook Composition and Analysis
17/217
MUS 201: Table of Contents
Appendix E -- Interval Names and Sizes
INTERVAL SIZE AND QUALITY
FOREIGN EQUIVALENTS
Appendix F -- Interval Inversion
file:///C|/Programas/KaZaA/M %20Shared%20Folder/g/A%20Handbo
8/9/2019 Music Handbook Composition and Analysis
18/217
file:///C|/Programas/KaZaA/My%20Shared%20Folder/g/A%20Handbo
COMMON-PRACTICE TONALITY: A
Top | Bottom | P
Introduction
What is "Common Practic file:///C|/Programas/KaZaA/My%20Shared%20Folder/g/A%20Handbo
http://www.wm.edu/CAS/music/theorybk/text/intro.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/intro.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/intro.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/intro.htm#top
8/9/2019 Music Handbook Composition and Analysis
19/217
file:///C|/Programas/KaZaA/My%20Shared%20Folder/g/A%20Handbo
groundings, each incomplete. Today, music th
active one. Most modern texts on tonal theory
musicians), but by scholars--music theorists. A
how to write tonal music (or how it was written
There are as many ways to understand--that is,
alternatively, as there are pieces of tonal music
the music theory spectrum are the chord gramm
Heinrich Schenker (German pianist, music the
concentrate on chords, and the ways in which c file:///C|/Programas/KaZaA/My%20Shared%20Folder/g/A%20Handbo
8/9/2019 Music Handbook Composition and Analysis
20/217
file:///C|/Programas/KaZaA/My%20Shared%20Folder/g/A%20Handbo
. . . because it is a tried and true way, a way tha
three, maybe four, centuries. And what goods t
Bach or Thelonious Monk! As a means of intr
processes of composition, it is unparalled; for c
becoming that "universal language" so often m
For Additional Study
Bamberger, Jeanne Shapiro, and Howar
P ti 5th ed New York: Harper & "Sound and Its Notation " Gutwein/Williams INTRODUCTION TO COMMON-PRACT
8/9/2019 Music Handbook Composition and Analysis
21/217
Sound and Its Notation. Gutwein/Williams, INTRODUCTION TO COMMON PRACT
COMMON-PRACTICE TONALITY: A
Top | Bottom |
Sound and Its Notation
Music is, by a common definition, organized sound. Music n
many for us to record easily in a written notation. As a resul
organized by the composer, or those of most interest to the p
"Sound and Its Notation." Gutwein/Williams, INTRODUCTION TO COMMON-PRACT
http://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#top
8/9/2019 Music Handbook Composition and Analysis
22/217
Sound and Its Notation. Gutwein/Williams, INTRODUCTION TO COMMON PRACT
Psychological studies have shown that when even profession
memories are often very inaccurate when compared to clock
proportional relationships (twice as long, half as long), they
of relative rhythmic proportions. (More on this topic later.)
Pitch Notation
It is doubtful that any person can accurately identify the diff
or write about the difference between two pitches we have n
system profoundly shapes the ways in which we hear, imagi
"Sound and Its Notation." Gutwein/Williams, INTRODUCTION TO COMMON-PRACT
8/9/2019 Music Handbook Composition and Analysis
23/217
Sound and Its Notation. Gutwein/Williams, INTRODUCTION TO COMMON PRACT
PITCH INTERVALS
8/9/2019 Music Handbook Composition and Analysis
24/217
"Sound and Its Notation." Gutwein/Williams, INTRODUCTION TO COMMON-PRACT
8/9/2019 Music Handbook Composition and Analysis
25/217
Sound and Its Notation. Gutwein/Williams, INTRODUCTION TO COMMON PRACT
"Sound and Its Notation." Gutwein/Williams, INTRODUCTION TO COMMON-PRACT
8/9/2019 Music Handbook Composition and Analysis
26/217
w ,
"Sound and Its Notation." Gutwein/Williams, INTRODUCTION TO COMMON-PRACT
8/9/2019 Music Handbook Composition and Analysis
27/217
,
"Sound and Its Notation." Gutwein/Williams, INTRODUCTION TO COMMON-PRACT
8/9/2019 Music Handbook Composition and Analysis
28/217
,
"Sound and Its Notation." Gutwein/Williams, INTRODUCTION TO COMMON-PRACT
8/9/2019 Music Handbook Composition and Analysis
29/217
,
"Sound and Its Notation." Gutwein/Williams, INTRODUCTION TO COMMON-PRACT
8/9/2019 Music Handbook Composition and Analysis
30/217
,
Phrasing Marks. A dependent division of a me
demarcate these divisions and instruct the performer
Descriptive words. Finally, composers use de
(expressively), or tenuto (held, sustained)--to suggest
The sample score (above) uses and explicates many of these
Summary
A musical sound has three qualities: pitch, duration, and tim
symbol is the note A note can have three parts: a note head "Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
http://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#sample%20scorehttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htm#sample%20score
8/9/2019 Music Handbook Composition and Analysis
31/217
va G w / a , O UC O O CO O C
COMMON-PRACTICE TONALITY: A
Top | Bottom | Nex
Pitch Interval, Consonan
As we learned in Sound and Its Notatio
consists of both pitches sounded simultaneously
i t l th t t it h (h i ll "Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
http://www.wm.edu/CAS/music/theorybk/text/interval.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/interval.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/tonality.htmhttp://www.wm.edu/CAS/music/theorybk/text/SNDNOT.htmhttp://www.wm.edu/CAS/music/theorybk/text/SNDNOT.htmhttp://www.wm.edu/CAS/music/theorybk/text/tonality.htmhttp://www.wm.edu/CAS/music/theorybk/text/interval.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/interval.htm#top
8/9/2019 Music Handbook Composition and Analysis
32/217
,
"Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
8/9/2019 Music Handbook Composition and Analysis
33/217
,
"Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
8/9/2019 Music Handbook Composition and Analysis
34/217
,
"Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
8/9/2019 Music Handbook Composition and Analysis
35/217
,
"Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
8/9/2019 Music Handbook Composition and Analysis
36/217
,
major or perfect interval of that diatonic t
it doubly augmented.
Appendix E catalogues interval names, qualities,
SIMPLE AND COMPOUND INTERVALS
Intervals of an octave or less are simple intervals
compound second (that is, the interval of an octa
minor ninth, a compound major second is a majo "Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
http://www.wm.edu/CAS/music/theorybk/text/appendix.htm#ehttp://www.wm.edu/CAS/music/theorybk/text/appendix.htm#e
8/9/2019 Music Handbook Composition and Analysis
37/217
The Acoustic Foundations of
When we hear a note played by some instrument
series of other pitches as well. We call these sub
number multiples of the fundamental frequency.
fundamental, the second is three times that of thefundamental, the interval between successive ov
becomes more complex.
Informally, musicians sometimes call overtones
"Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
8/9/2019 Music Handbook Composition and Analysis
38/217
THE PERFECT CONSONANCES
The perfect unison, the perfect fourth, the perfec
are also perfect consonances.
THE IMPERFECT CONSONANCES
Major and minor thirds and sixths are imperfect
they contain adjacent pitch classes, are not conso
"Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
8/9/2019 Music Handbook Composition and Analysis
39/217
Appendix G provides a graphic synopsis of triad
DISSONANCE AND CONSONANCE
Major and minor triads are consonant since they
augmented triads, however, contain fifths that araugmented and diminished triads are dissonant.
Dissonance
"Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
http://www.wm.edu/CAS/music/theorybk/text/appendix.htm#ghttp://www.wm.edu/CAS/music/theorybk/text/appendix.htm#g
8/9/2019 Music Handbook Composition and Analysis
40/217
"Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
8/9/2019 Music Handbook Composition and Analysis
41/217
SUMMARY:
Intervals have both a diatonic name and a quality
We can invert an interval by placing he bottom p
either consonant or dissonant. Acoustics suggest
Three pitch classes chosen so that none is adjace
triad the root, the third, and the fifth. We conside
dissonant "Intervals." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
8/9/2019 Music Handbook Composition and Analysis
42/217
Top | Bottom | Pre
Appendices to "Introduction to Common-Practice Tonal Composition"
http://www.wm.edu/CAS/music/theorybk/text/interval.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/interval.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htmhttp://www.wm.edu/CAS/music/theorybk/text/sndnot.htmhttp://www.wm.edu/CAS/music/theorybk/text/interval.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/interval.htm#top
8/9/2019 Music Handbook Composition and Analysis
43/217
MU
APPE
A | B | C | D | E | F
Appendices to "Introduction to Common-Practice Tonal Composition"
http://www.wm.edu/CAS/music/theorybk/text/appendix.htm#ahttp://www.wm.edu/CAS/music/theorybk/text/appendix.htm#bhttp://www.wm.edu/CAS/music/theorybk/text/appendix.htm#chttp://www.wm.edu/CAS/music/theorybk/text/appendix.htm#dhttp://www.wm.edu/CAS/music/theorybk/text/appendix.htm#dhttp://www.wm.edu/CAS/music/theorybk/text/appendix.htm#fhttp://www.wm.edu/CAS/music/theorybk/text/appendix.htm#fhttp://www.wm.edu/CAS/music/theorybk/text/appendix.htm#dhttp://www.wm.edu/CAS/music/theorybk/text/appendix.htm#dhttp://www.wm.edu/CAS/music/theorybk/text/appendix.htm#chttp://www.wm.edu/CAS/music/theorybk/text/appendix.htm#bhttp://www.wm.edu/CAS/music/theorybk/text/appendix.htm#a
8/9/2019 Music Handbook Composition and Analysis
44/217
German Ganze Note Halbe Note
French ronde [pause] blanche [demi-paus
Italian semibreve minima, or bianca
Spanish redonda blanca
American Sixteenth Note Thirt
English semiquaver demisemiqu
Appendices to "Introduction to Common-Practice Tonal Composition"
8/9/2019 Music Handbook Composition and Analysis
45/217
mf (mezzo-forte).
f (forte).
ff (fortissimo).
fff (fortississimo).
Variations in Dynamics
cresc. (crescendo). Gradually louder.
decresc. (decrescendo). Gradually softer.
dim. (diminuendo). Gradually softer.
Appendices to "Introduction to Common-Practice Tonal Composition"
8/9/2019 Music Handbook Composition and Analysis
46/217
rubato. Slight, expressive accelerations an
Accelerations
Accelerando. Gradual increase in speed.
Affrettando. Hurriedly; temporary increa Doppio movimento. Twice as fast.
Incalzando. With growing fervor.
Piu. More.
Piu mosso, piu moto. More motion: sudd
Appendices to "Introduction to Common-Practice Tonal Composition"
8/9/2019 Music Handbook Composition and Analysis
47/217
Appendices to "Introduction to Common-Practice Tonal Composition"
8/9/2019 Music Handbook Composition and Analysis
48/217
C-D# augmented 3
THIRD
C-Ebb diminished 2
C-Eb minor 3
C-E major 4
C-E# augmented 5
FOURTH
C-Fb diminished 4
C-F perfect 5
Appendices to "Introduction to Common-Practice Tonal Composition"
8/9/2019 Music Handbook Composition and Analysis
49/217
C-A sixth Sexte sixte sest
C-B seventh Septime septieme sett
C-C' octave Oktave octave otta
Appendix F: Interva
Appendices to "Introduction to Common-Practice Tonal Composition"
8/9/2019 Music Handbook Composition and Analysis
50/217
Name of Seventh Chord
(Less common name in parentheses)Q
Dominant Seventh (MAJOR-minor) M
Major Seventh (MAJOR-MAJOR) M
Minor Seventh (minor-minor) m
Minor-MAJOR m
Appendices to "Introduction to Common-Practice Tonal Composition"
8/9/2019 Music Handbook Composition and Analysis
51/217
Appendices to "Introduction to Common-Practice Tonal Composition"
8/9/2019 Music Handbook Composition and Analysis
52/217
(f) We may abbreviate figures as follows:
[no figure] = 3, or 5 = 5/3
7 = 7/5/3
6 = 6/3 6/5 = 6/5/3
4/3 = 6/4/3 2 or 4/2 = 6/4/2
(g) A dash or dashes following a figure or a verti
the same harmony as the bass moves to another n Appendices to "Introduction to Common-Practice Tonal Composition"
8/9/2019 Music Handbook Composition and Analysis
53/217
THE CYCLE OF PERFECT FO
If we begin on any pitch class, say B, and ascend
(that is by units of 5 or 7 half steps), after twelve
(without repeating any) and, on the thirteenth try
We may represent this cycle more clearly with a
The Cycle of Fifths
Appendices to "Introduction to Common-Practice Tonal Composition"
8/9/2019 Music Handbook Composition and Analysis
54/217
Composers occasionally support the soprano mo
suggests a dominant harmony with the third miss
which was unable to produce the leading tone (th
supporting 2^, even by some other instrument, nacertain pastoral character.
We do not see such omitted thirds in chorale styl
two Mozart excerpts that follow are characteristi
Beethoven. Symphony No. 4, Op. 60. Th
Scale-Degree Trads in Context
8/9/2019 Music Handbook Composition and Analysis
55/217
COMMON-PRACTICE TONALITY
top | bottom | n
Scale-Degree Triads i
As we have seen, harmonic progressions arise from voic
in relation to a particular musical context. In this chapte
triads and various musical contexts in which they might
Scale-Degree Trads in Context
http://www.wm.edu/CAS/music/theorybk/text/context.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/context.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/minor.htmhttp://www.wm.edu/CAS/music/theorybk/text/minor.htmhttp://www.wm.edu/CAS/music/theorybk/text/context.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/context.htm#top
8/9/2019 Music Handbook Composition and Analysis
56/217
I may serve to prolong V, acting as its lower-fifth divid
within the dominant triad (see example 8-1b).
I
I frequently appears as support for bass arpeggiations
UPPER-THIRD DIVIDER
Scale-Degree Trads in Context
8/9/2019 Music Handbook Composition and Analysis
57/217
must resolve. Usually, the 6 resolves down to 5 and the
Scale-Degree Trads in Context
8/9/2019 Music Handbook Composition and Analysis
58/217
results in a dramatic deceptive cadence to IV . Only af
cadence.
Scale-Degree Trads in Context
8/9/2019 Music Handbook Composition and Analysis
59/217
Scale-Degree Trads in Context
8/9/2019 Music Handbook Composition and Analysis
60/217
iv IN THE MINOR
In the minor, iv6 has an additional function. As a minor
often find iv6 functioning as upper neighbor to (see e
IV
We see IV most often as a support for a neighbor-not
7 ) Scale-Degree Trads in Context
8/9/2019 Music Handbook Composition and Analysis
61/217
Scale-Degree Trads in Context
8/9/2019 Music Handbook Composition and Analysis
62/217
Ex. 8-8 Voice-Leading Role of ii and iii
5-6 TECHNIQUE
IV and ii6 function similarly as lower neighbors to V
leading problems. Any time we create successive root p
One common technique retains the best of both these m
begin on IV , we can convert the harmony to a ii6 by m
example 8-7b (above) for example, a root-position ii pro
Scale-Degree Trads in Context
8/9/2019 Music Handbook Composition and Analysis
63/217
VII6 supports the bass passing note between and . A
In Bach's figures, we see that the ii6 becomes a IV7 as t
dissonant chord, a IV7 does not always behave like a lo
Neighboring and Passing iiis
In a bass arpeggiation from to , iii6 may support a b
Scale-Degree Trads in Context
8/9/2019 Music Handbook Composition and Analysis
64/217
Scale-Degree Trads in Context
8/9/2019 Music Handbook Composition and Analysis
65/217
Scale-Degree Trads in Context
8/9/2019 Music Handbook Composition and Analysis
66/217
Scale-Degree Trads in Context
b tit t f th i V
8/9/2019 Music Handbook Composition and Analysis
67/217
serves as a substitute for the passing V .
The ii, iii, and vi function either as fifth dividers or, in in
third dividers as well. In that role they prolong motions
functions additionally as a deceptive substitute for I.
For Additional Study
Aldwell, Edward, and Carl Schachter. Harmony
Jovanovich, 1989. Chapter 16.
Benjamin, Thomas, Michael Horvit, and Robert "Tonality." Gurwein/Williams, INTRODUCTION TO COMMON-PRACT
8/9/2019 Music Handbook Composition and Analysis
68/217
COMMON-PRACTICE TONALITY: A
top | bottom | n
Tonality
The pitch organization of a musical work is its ton
below is one type of tonality. There are many othe
Practice Tonality") is so prevalent that we refer to
"Tonality." Gurwein/Williams, INTRODUCTION TO COMMON-PRACT
Scales
http://www.wm.edu/CAS/music/theorybk/text/tonality.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htmhttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htmhttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/tonality.htm#top
8/9/2019 Music Handbook Composition and Analysis
69/217
Scales
A scale, on the other hand, is a hierarchical orderi
class has a unique position within that scale. We c
In ordering a scale we do more than simply place
certain pitch classes priority over others. In a C sc
degree. By definition, that gives it priority over al
position within that scale. (You will learn more ab
chapter.)
8/9/2019 Music Handbook Composition and Analysis
70/217
"Tonality." Gurwein/Williams, INTRODUCTION TO COMMON-PRACT
the clef in a space or on a line given the note of th
8/9/2019 Music Handbook Composition and Analysis
71/217
the clef in a space or on a line given the note of th
same pitch class that follow. If, for instance, a com
classes of the F major scale for its tonal material),
major scale. We call these universal flats or sharp
key signature for F major.
"Tonality." Gurwein/Williams, INTRODUCTION TO COMMON-PRACT
second scale degree (2^) E the third (3^) and so o
8/9/2019 Music Handbook Composition and Analysis
72/217
second scale degree (2 ), E the third (3 ), and so o
pitch, C, the first scale degree (1^) once again.
Scale degrees attach to pitch classes, not pitches.
In addition to a number, each scale degree has a n
Tonic (1^)
Supertonic (2^)
Mediant (3^)
"Tonality." Gurwein/Williams, INTRODUCTION TO COMMON-PRACT
note or a lower neighbor note
8/9/2019 Music Handbook Composition and Analysis
73/217
note or a lower neighbor note.
"Tonality." Gurwein/Williams, INTRODUCTION TO COMMON-PRACT
8/9/2019 Music Handbook Composition and Analysis
74/217
"Tonality." Gurwein/Williams, INTRODUCTION TO COMMON-PRACT
8/9/2019 Music Handbook Composition and Analysis
75/217
Diminished Fifth. The naturally occ
with 7^ resolving up to 1^ and 4^ resolving
"Tonality." Gurwein/Williams, INTRODUCTION TO COMMON-PRACT
8/9/2019 Music Handbook Composition and Analysis
76/217
Scale-degree triads have the same quality in every
major key, the leading-tone triad (vii) is diminishe
"Tonality." Gurwein/Williams, INTRODUCTION TO COMMON-PRACT
8/9/2019 Music Handbook Composition and Analysis
77/217
"Tonality." Gurwein/Williams, INTRODUCTION TO COMMON-PRACT
8/9/2019 Music Handbook Composition and Analysis
78/217
"Tonality." Gurwein/Williams, INTRODUCTION TO COMMON-PRACT
the equivalent of a whole step plus a half step--an
8/9/2019 Music Handbook Composition and Analysis
79/217
q w p p p
sale degrees (between 6^ and raised 7^) sounds ra
whole step between adjacent scale degrees becom
familiar to us as a third and so we hear it more like
To reestablish the conventional distance between
becomes F-sharp, or raised 6^.) Since meloic consthe melodic minor .
"Tonality." Gurwein/Williams, INTRODUCTION TO COMMON-PRACT
THE RELATIONSHIP BETWEEN
8/9/2019 Music Handbook Composition and Analysis
80/217
THE RELATIONSHIP BETWEEN
Major and minor scales use the same key signatur
However, the major and minor scales that share th
the major and minor keys that share the same toni
The Relative Relation
The minor key that shares the same key signature
minor is the relative minor of C major Conversely "Tonality." Gurwein/Williams, INTRODUCTION TO COMMON-PRACT
Ald ll Ed d d C l S h h H
8/9/2019 Music Handbook Composition and Analysis
81/217
Aldwell, Edward, and Carl Schachter. Har
Jovanovich, 1979. Chapter 1-2.
Bamberger, Jeanne Shapiro, and Howard B
5th ed. New York: Harper & Row, 1988. C
Fux, Johann Joseph. The Study of Counterp
and edited by Alfred Mann. New York: No
Jonas Oswald Introduction to the Theory "Contrapuntal Progressions and Voice-Leading Harmonies." Gutwein/W
COMMON-PRACTICE TON
8/9/2019 Music Handbook Composition and Analysis
82/217
COMMON-PRACTICE TON
top | bottom
Contrapuntal The techniques discussed so far allow us to s
"Contrapuntal Progressions and Voice-Leading Harmonies." Gutwein/W
figure represents the first-inversion triad
http://www.wm.edu/CAS/music/theorybk/text/ctptprog.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/ctptprog.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/ctptprog.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/ctptprog.htm#top
8/9/2019 Music Handbook Composition and Analysis
83/217
figure represents the first inversion triad.
The inversion of a consonant triad is itself co
bass, it is unstable. Being both consonant and u
progressions.
Bass Arpeggiation
"Contrapuntal Progressions and Voice-Leading Harmonies." Gutwein/W
l th ti t B h t it ith
8/9/2019 Music Handbook Composition and Analysis
84/217
prolongs the motion to , Bach supports it with
"Contrapuntal Progressions and Voice-Leading Harmonies." Gutwein/W
In this way s frequently support neighbor no
8/9/2019 Music Handbook Composition and Analysis
85/217
In this way, s frequently support neighbor no
another example of a bass neighbor supported b
7] - ) receives the same support as in exam
"Contrapuntal Progressions and Voice-Leading Harmonies." Gutwein/W
voices.
8/9/2019 Music Handbook Composition and Analysis
86/217
Passing
We often see s support passing note prolonga
the bass of a ii-V6 progression with a passing n
inversion more dissonant and unstable than the
between ii and V6 "Contrapuntal Progressions and Voice-Leading Harmonies." Gutwein/W
8/9/2019 Music Handbook Composition and Analysis
87/217
The most familiar common-note embellishes
upper voices remain on the upper neighbors of
However, as the bass repeats , these upper ne
proper.
"Contrapuntal Progressions and Voice-Leading Harmonies." Gutwein/W
8/9/2019 Music Handbook Composition and Analysis
88/217
Ex. 7-6--Origins of the V7
"Contrapuntal Progressions and Voice-Leading Harmonies." Gutwein/W
The dissonant tritone formed by the seventh of
8/9/2019 Music Handbook Composition and Analysis
89/217
The dissonant tritone formed by the seventh of
dissonant resolves down to and the leading
Inversions of the V7
A seventh chord has three inversions. The third
dissonant chord in an unstable position, the pas
"Contrapuntal Progressions and Voice-Leading Harmonies." Gutwein/W
8/9/2019 Music Handbook Composition and Analysis
90/217
"Contrapuntal Progressions and Voice-Leading Harmonies." Gutwein/W
sonority! The text of Chorale 83 considers Chri
8/9/2019 Music Handbook Composition and Analysis
91/217
the word acht ("take care" or "heed"). The cade
or "delivered"). Christ "delivers" the sinner fro
half cadence to V7 frequently in free style.
The V and vii6
The active interval of the V7 (the tritone betwe
"Contrapuntal Progressions and Voice-Leading Harmonies." Gutwein/W
THE CONTRAPUNTAL CADE
8/9/2019 Music Handbook Composition and Analysis
92/217
A cadence in which the bass moves by step rath
contrapuntal cadence is useful as a way of endi
authentic close. Most often, contrapuntal caden
"Contrapuntal Progressions and Voice-Leading Harmonies." Gutwein/W
8/9/2019 Music Handbook Composition and Analysis
93/217
Aldwell, Edward, and Carl Schachter. H
Harcourt Brace Jovanovich, 1989. Chap
Bamberger, Jeanne Shapiro, and Howar
Perception. 5th ed. New York: Harper &
Jonas, Oswald. Introduction to the Theo
Rothgeb. New York: Longman, 1982. C
Piton, Walter. Harmony. 5th ed. Revised
1987. Chapter 6.
Salzer Felix Structural Hearing New Y "The Basics of Four-Part Writing." Gutwein/Williams, INTRODUCTION TO CO
COMMON-PRACTICE TO
8/9/2019 Music Handbook Composition and Analysis
94/217
top | bottom
The Basics of Fo
We begin the study of harmony with a four-voiced text
of voices and definition of tonality.
T t i i h l t l t t l b th "The Basics of Four-Part Writing." Gutwein/Williams, INTRODUCTION TO CO
This makes the two voices visually distinct. We place t
bass stems descend
http://www.wm.edu/CAS/music/theorybk/text/4-part.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/4-part.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/4-part.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/4-part.htm#top
8/9/2019 Music Handbook Composition and Analysis
95/217
bass stems descend.
Range of the Four Voices
With the exception noted below (see "Keyboard Style"
example 5-2.
"The Basics of Four-Part Writing." Gutwein/Williams, INTRODUCTION TO CO
CLOSED POSITION
8/9/2019 Music Handbook Composition and Analysis
96/217
CLOSED POSITION
Disposing the voices so that the upper three are as clos
Doubling
Given the three pitch classes of a triad distributed amon
When two voices have the same pitch class we say that
RULES FOR DOUBLING
8/9/2019 Music Handbook Composition and Analysis
97/217
"The Basics of Four-Part Writing." Gutwein/Williams, INTRODUCTION TO CO
When an individual voice moves by an interval greater
8/9/2019 Music Handbook Composition and Analysis
98/217
y g
skip a "leap." For our purposes, "skip" and "leap" are th
Consonant Skips. A voice may skip any c
Dissonant Skips. Disjunct motion by a d
skip up a minor seventh if there is some compel
consonant step. A voice may skip down a diminand if it then moves up by a consonant step.
Successive Skips. Since conjunct motion
When used, successive skips work best if small
i ki i th di ti if th "The Basics of Four-Part Writing." Gutwein/Williams, INTRODUCTION TO CO
8/9/2019 Music Handbook Composition and Analysis
99/217
Ex. 5
You should avoid parallel motion between outer voices
Parallel motion between inner voices or between an inn
"The Basics of Four-Part Writing." Gutwein/Williams, INTRODUCTION TO CO
CONTRARY MOTION
8/9/2019 Music Handbook Composition and Analysis
100/217
CONTRARY MOTION
When two voices move in opposite directions, contrary
"The Basics of Four-Part Writing." Gutwein/Williams, INTRODUCTION TO CO
octaves completely.
8/9/2019 Music Handbook Composition and Analysis
101/217
"The Basics of Four-Part Writing." Gutwein/Williams, INTRODUCTION TO CO
Hidden Parallel Octaves. If, in the ou
hidden octaves These implicit octaves weaken
8/9/2019 Music Handbook Composition and Analysis
102/217
hidden octaves. These implicit octaves weaken
avoid such voice leading, except when the sopra
implicit parallels that otherwise might result.
"The Basics of Four-Part Writing." Gutwein/Williams, INTRODUCTION TO CO
8/9/2019 Music Handbook Composition and Analysis
103/217
Ex. 5
8/9/2019 Music Handbook Composition and Analysis
104/217
"Rhythm and Meter." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
COMMON-PRACTICE TONALITY: A
8/9/2019 Music Handbook Composition and Analysis
105/217
COMMON-PRACTICE TONALITY: A
top | bottom |
Pulse, Rhythm, & Mete
The durations of tonal music are divisible by the pulse. P
patterns of accents.
Accents result from both rhythmic placement and harmo
"Rhythm and Meter." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
http://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#top
8/9/2019 Music Handbook Composition and Analysis
106/217
8/9/2019 Music Handbook Composition and Analysis
107/217
"Rhythm and Meter." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
The addition of a dot after any note head or rest increasewhole note or dotted whole rest has the same duration as
8/9/2019 Music Handbook Composition and Analysis
108/217
dotted half rest has the same duration as a half note tied
"Rhythm and Meter." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
Our sensory nervous systems navigate safely through th
8/9/2019 Music Handbook Composition and Analysis
109/217
stuff -- originally survival related ), from noise (unimpo
detect patterns is to keep a temporary list of the most rec
incoming sounds to them.
We recognize the incoming sound-stream as a reiteratio
similar, especially features related to their beginnings..
the higher cognitive functions of the brain. After all, at
sounds and respond with "reflex-speed".
The Pulse
8/9/2019 Music Handbook Composition and Analysis
110/217
"Rhythm and Meter." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
The meter signature appears after the key signature a
8/9/2019 Music Handbook Composition and Analysis
111/217
The Numerator. The to
The Denominator. The bottom
For example, 34 indicates a meter in which there are thre
note. The meter signature 48 indicates a meter in whic
pulse. Like other meters of the type, 34 and48 are calle
there is another type of meter called compound . For
"Rhythm and Meter." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
naturally in half, we must represent a compound pulsevalue with a simple integer, though. As a result, the de
8/9/2019 Music Handbook Composition and Analysis
112/217
p g g
pulse. Rather it shows the note va
To interpret a compound meter signature then, we must
in the compound measure. Then, we must group togeth
duration of these three
For example, 68 is a compound meter (see example 4-2
these subdivisions make up the pulse, so three eighth noduration of a dotted quarter note. There are six eighth n
equals three eighth notes. A measure equals
As a rule, the numerator of a compound met
"Rhythm and Meter." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
8/9/2019 Music Handbook Composition and Analysis
113/217
When we place unstable notes on the pulse, thy are ac
pattern. They create an especially exp
A i d di
"Rhythm and Meter." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
form themselves into phrases, phrases grou
8/9/2019 Music Handbook Composition and Analysis
114/217
We often see two simple phra
The period is m
Antecedent. The first phrase, or antec
Consequent. The second phrase, or c
s
"Rhythm and Meter." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
8/9/2019 Music Handbook Composition and Analysis
115/217
"Rhythm and Meter." Gutwein/Williams, INTRODUCTION TO COMMON-PRAC
Bamberger, Jeanne Shapiro, and HowardNew Yor
l h h h l
8/9/2019 Music Handbook Composition and Analysis
116/217
Lester, Joel. The Rhythms of Tonal Music
Mitchell, William J. Elementary Harm
Piston, Walter. Harmony. 5th ed. Revise
Sachs, Curt. Rhythm and Temp
Williams, Edgar W. Harmony antop | botto
"Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C
COMMON-PRACTICE TONALITY: A
http://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/rhythm.htm#top
8/9/2019 Music Handbook Composition and Analysis
117/217
COMMON-PRACTICE TONALITY: A
top | bottom | n
Basic Harmoni
Harmonic progressions arise when the tonic triad
notes prolong this process which we call compo "Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C
Traditionally, composers learn counterpoint in stcounterpoint that results species counterpoint . Of
http://www.wm.edu/CAS/music/theorybk/text/harmgram.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/harmgram.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/ctptprog.htmhttp://www.wm.edu/CAS/music/theorybk/text/ctptprog.htmhttp://www.wm.edu/CAS/music/theorybk/text/harmgram.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/harmgram.htm#top
8/9/2019 Music Handbook Composition and Analysis
118/217
p p p
us here. First- and second-species counterpoint w
voices (soprano and bass). They will teach you a
progressions. (Click |here| to read Appendix O: P
FIRST SPECIES
In first-species counterpoint, the voices move in
remains consonant with the other.
"Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C
http://www.wm.edu/CAS/music/theorybk/text/species.htmhttp://www.wm.edu/CAS/music/theorybk/text/species.htm
8/9/2019 Music Handbook Composition and Analysis
119/217
"Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C
1^-3^. However, the harmonic fifth between bassfact that fifth suggests the dominant triad (B-flat)
8/9/2019 Music Handbook Composition and Analysis
120/217
dominant triad fully realized.
"Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C
8/9/2019 Music Handbook Composition and Analysis
121/217
"Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C
The following example illustrates the same lower
8/9/2019 Music Handbook Composition and Analysis
122/217
"Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C
8/9/2019 Music Handbook Composition and Analysis
123/217
"Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C
8/9/2019 Music Handbook Composition and Analysis
124/217
"Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C
8/9/2019 Music Handbook Composition and Analysis
125/217
"Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C
imperfect authentic cadences end on 3^ in the sopconsonant support from V. Therefore, most cade
8/9/2019 Music Handbook Composition and Analysis
126/217
than imperfect authentic cadences.
"Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C
The cadence from the lower-fifth divider to I is cambiguous. Is this a plagal cadence in C (I-IV-I)
h l l d l d d
8/9/2019 Music Handbook Composition and Analysis
127/217
reason, we see the plagal cadence rarely and und
upper neighbor (6^), or at the end of a compositi
prolongation of the tonic triad.
THE IMPERFECT PLAGAL CADENCE
V contains neither 4^ nor 6^, the neighbors of 5^
then, needs the lower -fifth divider, IV. IV contai
"Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C
8/9/2019 Music Handbook Composition and Analysis
128/217
"Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C
8/9/2019 Music Handbook Composition and Analysis
129/217
"Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C
8/9/2019 Music Handbook Composition and Analysis
130/217
"Basic Harmonic Grammar." Gutwein/Williams, INTRODUCTION TO C
When we cadence to I from IV, we create a plagaA plagal cadence beneath 6^-5^ is imperfect.
8/9/2019 Music Handbook Composition and Analysis
131/217
The deceptive cadence completes all voice-leadin
substitutes the lower-third divider (vi) for I, and 6
a direct return to V follows in a later progression
Avoid repeating a chord or a bass note from a we
unintentional syncopations.
Simple Melodic Line (MUS 201)
Procedure
8/9/2019 Music Handbook Composition and Analysis
132/217
a Simple, Metri
Composing the Metric Structure | Composing the Cadence
I. Compose the Rhythm and the MIn this course we want to compose common-practic
Simple Melodic Line (MUS 201)
http://www.wm.edu/CAS/music/theorybk/text/smpltune.htm#rhythmhttp://www.wm.edu/CAS/music/theorybk/text/smpltune.htm#pitcheshttp://www.wm.edu/CAS/music/theorybk/text/smpltune.htm#pitcheshttp://www.wm.edu/CAS/music/theorybk/text/smpltune.htm#rhythm
8/9/2019 Music Handbook Composition and Analysis
133/217
3. A rhythnically contrasting relationship bet
Simple Melodic Line (MUS 201)
cadence.) In any event, the fundamental rhform, a more dramatic contrast of rhythms w
structures
8/9/2019 Music Handbook Composition and Analysis
134/217
structures.
6. Fill in the remaining measure of each phr
do this by simply insert quarter notes:
Simple Melodic Line (MUS 201)
8/9/2019 Music Handbook Composition and Analysis
135/217
Simple Melodic Line (MUS 201)
or in some case
III "Compose o t" the pitches for
8/9/2019 Music Handbook Composition and Analysis
136/217
III. "Compose-out" the pitches for
1. Since we have not yet learned how to design
measures, subphrases, and phrases, you will
of the following three:
Simple Melodic Line (MUS 201)
Motion
8/9/2019 Music Handbook Composition and Analysis
137/217
8. The line should move predominantly by step
9. No leaps larger than an octave.
10. Two or more consecutive leaps in the sam
members of different triads. This is prohibit
in the opposite direction to the 1st note of thit is a component of the preceding triad, and
11. A leap of a fifth or more should be followe
appogiature (See this on how to handle leap "The Minor Mode." Gutwein/Williams, Introduction to Common-Prac
COMMON-PRACTICE TONALITY:
http://www.wm.edu/WILLIAMS/201/4-part.htm#DISJUNCT%20MOTIONhttp://www.wm.edu/WILLIAMS/201/4-part.htm#DISJUNCT%20MOTION
8/9/2019 Music Handbook Composition and Analysis
138/217
.top | bottom | ne
The Minor Mod
The minor mode requires special attention. Fir
"The Minor Mode." Gutwein/Williams, Introduction to Common-Prac
In free style, composers often use the cross-rel
http://www.wm.edu/CAS/music/theorybk/text/minor.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/minor.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/melofig.htmhttp://www.wm.edu/CAS/music/theorybk/text/melofig.htmhttp://www.wm.edu/CAS/music/theorybk/text/minor.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/minor.htm#top
8/9/2019 Music Handbook Composition and Analysis
139/217
"The Minor Mode." Gutwein/Williams, Introduction to Common-Prac
Ex. 9-3--Leading Tone in the Minor
8/9/2019 Music Handbook Composition and Analysis
140/217
RAISED
Raise whenever it acts as leading tone--that
cadence to the minor tonic (see example 9-3a)
will, eventually, resolve to i (see example 9-3b
"The Minor Mode." Gutwein/Williams, Introduction to Common-Prac
raised to approach raised . If you must appr
8/9/2019 Music Handbook Composition and Analysis
141/217
"The Minor Mode." Gutwein/Williams, Introduction to Common-Prac
8/9/2019 Music Handbook Composition and Analysis
142/217
"The Minor Mode." Gutwein/Williams, Introduction to Common-Prac
8/9/2019 Music Handbook Composition and Analysis
143/217
"The Minor Mode." Gutwein/Williams, Introduction to Common-Prac
The resulting VII-III progression, however, micreates tonal ambiguity and a momentary tonic
8/9/2019 Music Handbook Composition and Analysis
144/217
In example 9-6b, Bach supports the bass passin
sounds, for the moment, like V6 in the key of F
minor) sounds like V6-I in III, (F major). The
draws us back into D minor (i), however, creat
When using VII as upper-fifth divider of III, b
"The Minor Mode." Gutwein/Williams, Introduction to Common-Prac
reestablishes tonic A minor with a contrapunta- linear progression.
8/9/2019 Music Handbook Composition and Analysis
145/217
We will discuss tonicization techniques more t
Summary
"Melodic Figuration." Gutwein/Williams, Introduction to Common-Practice
COMMON-PRACTICE TONALITY: A
8/9/2019 Music Handbook Composition and Analysis
146/217
top | bottom | n
Melodic Figura
Tonal music contains many passing and neighborin
smooth and sometimes even correct voice leading f
"Melodic Figuration." Gutwein/Williams, Introduction to Common-Practice
Ex. 10-1--Chordal Skips
http://www.wm.edu/CAS/music/theorybk/text/melofig.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/melofig.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/rhytfig.htmhttp://www.wm.edu/CAS/music/theorybk/text/rhytfig.htmhttp://www.wm.edu/CAS/music/theorybk/text/melofig.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/melofig.htm#top
8/9/2019 Music Handbook Composition and Analysis
147/217
Remember: A chordal skip moves to a note in the s
Chordal Skips and Faulty Voice Leading
What smooths out the voice leading in one voice mfaulty parallel motions when adding chordal skips.
"Melodic Figuration." Gutwein/Williams, Introduction to Common-Practice
8/9/2019 Music Handbook Composition and Analysis
148/217
"Melodic Figuration." Gutwein/Williams, Introduction to Common-Practice
8/9/2019 Music Handbook Composition and Analysis
149/217
"Melodic Figuration." Gutwein/Williams, Introduction to Common-Practice
PASSING NOTES
8/9/2019 Music Handbook Composition and Analysis
150/217
When a voice skips by third (or fourth) from a note
between them with passing notes. Passing notes tha
support from the bass. In this way they differ from
We distinguish between two types of passing notes
between two accented chord notes. (The several pa
passing notes arise on a metrical accent. In example
"Melodic Figuration." Gutwein/Williams, Introduction to Common-Practice
8/9/2019 Music Handbook Composition and Analysis
151/217
"Melodic Figuration." Gutwein/Williams, Introduction to Common-Practice
We can correct the parallel fifths of example 10-9a soprano (10-9c).
8/9/2019 Music Handbook Composition and Analysis
152/217
Passing Notes and Other Forbidden Paral
Passing notes may not create parallel unisons or oct
present in basic part writing.
Passing Notes in the Minor
"Melodic Figuration." Gutwein/Williams, Introduction to Common-Practice
and 10-11b) or incomplete. In example 10-11c, Bac
than return the upper neighbor (D) to C and comple
neighbor incomplete.
8/9/2019 Music Handbook Composition and Analysis
153/217
"Melodic Figuration." Gutwein/Williams, Introduction to Common-Practice
8/9/2019 Music Handbook Composition and Analysis
154/217
"Melodic Figuration." Gutwein/Williams, Introduction to Common-Practice
The Appoggiatura
Wh h i ki t t d i l
8/9/2019 Music Handbook Composition and Analysis
155/217
When we have a voice skip to an accented incompl
this accented incomplete neighbor is dissonant as w
by skipping to the dissonant upper neighbor of C be
appoggiatura because (1) it is accented, (2) the voic
The Escape Note
When we have a voice skip from an unaccented inc "Melodic Figuration." Gutwein/Williams, Introduction to Common-Practice
Melodic Tonicization
8/9/2019 Music Handbook Composition and Analysis
156/217
So effective is the chromatic lower neighbor in stre
may become tonicized .
TONICIZATION
A tonal composition has one tonic. However, we m
momentarily, like a tonic. The technique that create
i i i h i i i i d l
"Melodic Figuration." Gutwein/Williams, Introduction to Common-Practice
When I serves as the upper-fifth divider of IV, we f
degree.
8/9/2019 Music Handbook Composition and Analysis
157/217
"Melodic Figuration." Gutwein/Williams, Introduction to Common-Practice
When we have a voice skip to an accented incomplskip from an unaccented incomplete neighbor, we c
8/9/2019 Music Handbook Composition and Analysis
158/217
Chromatic figurations can tonicize certain scale deg
neighbor frequently tonicizes . Lowered freque
For Additional Study
Diatonic Seventh Chords
COMMON-PRACTICE TON
8/9/2019 Music Handbook Composition and Analysis
159/217
top | bottom | n
Diatonic
Diatonic seventh chords arise on all scale degre
leading. The dissonant seventh must resolve do
Diatonic Seventh Chords
Subdominant Seventh
http://www.wm.edu/CAS/music/theorybk/text/sevenths.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/sevenths.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/sevenths.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/sevenths.htm#top
8/9/2019 Music Handbook Composition and Analysis
160/217
The subdominant seventh functions the same in
motion as part of a IV7-V7-I progression. The
The other chord notes move by step to those of
Diatonic Seventh Chords
8/9/2019 Music Handbook Composition and Analysis
161/217
Diatonic Seventh Chords
8/9/2019 Music Handbook Composition and Analysis
162/217
Diatonic Seventh Chords
8/9/2019 Music Handbook Composition and Analysis
163/217
Diatonic Seventh Chords
RESOLUTION OF THE SEVEN
As a rule the seventh must resolve down by step
8/9/2019 Music Handbook Composition and Analysis
164/217
As a rule, the seventh must resolve down by step
common variants of this resolution.
Transferred Resolution
The seventh can resolve in another voice if the
resolution is called a transferred resolution.
Diatonic Seventh Chords
We often see the resolution of the seventh embe
decorated resolution resembles the decorated re
8/9/2019 Music Handbook Composition and Analysis
165/217
The Delayed Resolution
We may delay the resolution of the seventh by
between chords. Eventually, however, the disso
extreme) example of the delayed resolution.
Diatonic Seventh Chords
8/9/2019 Music Handbook Composition and Analysis
166/217
Diatonic Seventh Chords
8/9/2019 Music Handbook Composition and Analysis
167/217
Diatonic Seventh Chords
seventh as a dissonant common note between c
We can treat the resolution of the seventh as a s
8/9/2019 Music Handbook Composition and Analysis
168/217
Pedal points, dissonant passing or neighboring
look like sevenths. These chords, called appare
most common apparent sevenths are the "6/5" (
in sound, is a decorated 6/3).
For Additional Study
Harmonic Tonicization and Modulation
COMMON-PRACTICE TON
top | bottom |
http://www.wm.edu/CAS/music/theorybk/text/modulat.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/modulat.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/modulat.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/modulat.htm#top
8/9/2019 Music Handbook Composition and Analysis
169/217
top | bottom |
Harmonic Tonicizati
and Modulation We can highlight a scale degree triad by treating it
Harmonic Tonicization and Modulation
http://www.wm.edu/CAS/music/theorybk/text/modulat.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/modulat.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/modulat.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/modulat.htm#top
8/9/2019 Music Handbook Composition and Analysis
170/217
Harmonic Tonicization and Modulation
Structure of the Applied V7. The V7 must be a p
must stand a minor seventh above the root.
8/9/2019 Music Handbook Composition and Analysis
171/217
Harmonic Tonicization and Modulation
So powerful a tonic-defining interval is the tritone
Applied vii and vii7
8/9/2019 Music Handbook Composition and Analysis
172/217
pp
The leading-tone triad contains as its defining fifth
vii to enhance its voice-leading potential. Both vii
triad with an applied vii or vii7.
Structure of the Applied vii and vii7. The root o
applied tonic--that is it must be built on an applied
8/9/2019 Music Handbook Composition and Analysis
173/217
Harmonic Tonicization and Modulation
prominent role in composing out the true tonic.
CLOSELY RELATED KEYS
8/9/2019 Music Handbook Composition and Analysis
174/217
Notice that the key signatures of the primary scale
no more than one sharp or flat. Keys related in this
For example, the following keys are considered cloone flat), vi (A minor, no flats or sharps), iii (E mi
triad of each of these keys is a scale degree triad w
8/9/2019 Music Handbook Composition and Analysis
175/217
Harmonic Tonicization and Modulation
8/9/2019 Music Handbook Composition and Analysis
176/217
Harmonic Tonicization and Modulation
key area. This confirming progression may be an a
triads of the new key area. In either event, it must triad.
8/9/2019 Music Handbook Composition and Analysis
177/217
Modulation can be either gradual or abrupt. We ef
chords, called pivot chords, shared by the old and
takes us immediately from a chord not found in th
must be careful either to keep the cross-relation in
voice.
F Additi l St d Harmonizing a Melody
COMMON-PRACTICE TONALITY
top | bottom | n
http://www.wm.edu/CAS/music/theorybk/text/harmoniz.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/harmoniz.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/harmoniz.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/harmoniz.htm#top
8/9/2019 Music Handbook Composition and Analysis
178/217
top | bottom | n
Harmonizing a
Harmonizing a chorale melody gives you the opportun
chapters Harmonization is a three stage process First Harmonizing a Melody
Ex. 14-2 Basi
The first phrase (example 14-2b, measure 1) arpeggiate
http://www.wm.edu/CAS/music/theorybk/text/harmoniz.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/harmoniz.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/harmoniz.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/harmoniz.htm#top
8/9/2019 Music Handbook Composition and Analysis
179/217
passing notes. The half cadence arises as this prolonged
between them to create this half cadence. The second p
arpeggiation from to . However, the repetition of t
and without the second passing 4^ (D). This allows t
from to . The second phrase ends on a perfect auth
phrase) through a passing (half cadence) to Harmonizing a Melody
We support the repetition of that structure in the secondits fifth divider will form the backbone of any complete
8/9/2019 Music Handbook Composition and Analysis
180/217
The Cadences
The simple analysis in example 14-2c now allows us to
should involve a perfect authentic cadence. This appropfrom to . Notice that the bass line of example 14-3
- Harmonizing a Melody
8/9/2019 Music Handbook Composition and Analysis
181/217
Harmonizing a Melody
We now must complete measure 1. To complete the fir
opening root-position tonic to the final cadential domin
Consider what this means First each chord must be a v
8/9/2019 Music Handbook Composition and Analysis
182/217
Consider what this means. First, each chord must be a v
structure outlined above.) Second, each voice-leading c
V. (These voice-leading chords will not lead to the I6 o
leading motion to the cadential V. I6 is not the goal her
From Chapters 6 and 7, we know that IV (or ii) provide
beat of measure 2, creates a IV(or ii)-V progression bet
4^ (IV ii6 l 14 7 ) b (ii l Harmonizing a Melody
8/9/2019 Music Handbook Composition and Analysis
183/217
Harmonizing a Melody
8/9/2019 Music Handbook Composition and Analysis
184/217
Harmonizing a Melody
example 14- 10. Bach uses not a I6 but a root-position
support.) If you consider the bass line, ignoring the figufrom the third beat of measure 1 (bass ) all the way to
on from that bass to the following root-position I (m
8/9/2019 Music Handbook Composition and Analysis
185/217
w g p (
Harmonizing a Melody
Ex. 14-
Notice that (except for the second phrase tenor) both al
8/9/2019 Music Handbook Composition and Analysis
186/217
Not ce t at (e cept o t e seco d p ase te o ) bot a
common notes. As a rule, the inner voices arise natura
bass in relation to the soprano is strong.
INNER VOICES OF THE FIRST PHRASE
8/9/2019 Music Handbook Composition and Analysis
187/217
Harmonizing a Melody
8/9/2019 Music Handbook Composition and Analysis
188/217
Harmonizing a Melody
1983. Chapter 16.
top | bottom | n
http://www.wm.edu/CAS/music/theorybk/text/harmoniz.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/harmoniz.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/harmoniz.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/harmoniz.htm#top
8/9/2019 Music Handbook Composition and Analysis
189/217
file:///C|/Programas/KaZaA/My%20Shared%20Folder/g/A%20Handbo
COMMON-PRACTICE TONALITY: A
Top | Bottom | P
http://www.wm.edu/CAS/music/theorybk/text/intro.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/intro.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/intro.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/intro.htm#top
8/9/2019 Music Handbook Composition and Analysis
190/217
Introduction
What is "Common Practic file:///C|/Programas/KaZaA/My%20Shared%20Folder/g/A%20Handbo
groundings, each incomplete. Today, music th
active one. Most modern texts on tonal theory musicians), but by scholars--music theorists. A
how to write tonal music (or how it was written
8/9/2019 Music Handbook Composition and Analysis
191/217
There are as many ways to understand--that is,
alternatively, as there are pieces of tonal music
the music theory spectrum are the chord grammHeinrich Schenker (German pianist, music the
concentrate on chords, and the ways in which c file:///C|/Programas/KaZaA/My%20Shared%20Folder/g/A%20Handbo
. . . because it is a tried and true way, a way tha
three, maybe four, centuries. And what goods tBach or Thelonious Monk! As a means of intr
processes of composition, it is unparalled; for c
8/9/2019 Music Handbook Composition and Analysis
192/217
p p p
becoming that "universal language" so often m
For Additional Study
Bamberger, Jeanne Shapiro, and Howar
P ti 5th ed New York: Harper &
8/9/2019 Music Handbook Composition and Analysis
193/217
Diatonic Sequences
Ex. 16-1 Basic Diatonic Sequences
8/9/2019 Music Handbook Composition and Analysis
194/217
Notice that the sequential units of examples 16-1a, 16-1b, and 16-1c mov
is, each measure of these three examples is transposed down (or up) by ste
(examples 16-1a and 16-1b) or by a combination of thirds and fifths (exam
fifths.
In contrast, the sequential unit of example 16-1d moves down by thirds. T
A l d di l i d h di Diatonic Sequences
8/9/2019 Music Handbook Composition and Analysis
195/217
Diatonic Sequences
Ex. 16-3 Mozart, Piano Sonata, K. 284, first movement
Here a succession of s prolongs the motion from a contrapuntal domina
"progression." The succession of 7-6 appoggiaturas descends by step - as
8/9/2019 Music Handbook Composition and Analysis
196/217
ASCENDING SEQUENCES
Ascending Fifths. Sequences by ascending fifths are rare by comparison
example 16-1b. As often as not, they prolong the motion from I to the low
Diatonic Sequences
8/9/2019 Music Handbook Composition and Analysis
197/217
Diatonic Sequences
Sequential Motion by Thirds
Sequences by descending thirds move from I through the lower-third divi
move to the dominant.
8/9/2019 Music Handbook Composition and Analysis
198/217
DESCENDING s
We often see descending s paired to create a sequence of descending th
Diatonic Sequences
8/9/2019 Music Handbook Composition and Analysis
199/217
8/9/2019 Music Handbook Composition and Analysis
200/217
"Modal Mixture." Gutwein/Williams, INTRODUCTION TO COMMO
COMMON-PRACTICE T
top | bottom | n
http://www.wm.edu/CAS/music/theorybk/text/modalmix.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/modalmix.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/modalmix.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/modalmix.htm#top
8/9/2019 Music Handbook Composition and Analysis
201/217
Modal Mixture
Tonality recognizes two modes: major and minor. To m
degrees from the parallel major We do so to create stro "Modal Mixture." Gutwein/Williams, INTRODUCTION TO COMMO
8/9/2019 Music Handbook Composition and Analysis
202/217
"Modal Mixture." Gutwein/Williams, INTRODUCTION TO COMMO
In the minor, not only stands in a stronger voice lead
minor is a major triad. This makes of the deceptive cadVI major, but it stands just a half step above the major
the minor mode.)
8/9/2019 Music Handbook Composition and Analysis
203/217
Composers often borrow this sixth scale degree from th
major.
8/9/2019 Music Handbook Composition and Analysis
204/217
"Modal Mixture." Gutwein/Williams, INTRODUCTION TO COMMO
a leading tone but as upper neighbor to . Now, the pla
neighbor to . When returns as a passing note to
to avoid the augmented second that would otherwise re
8/9/2019 Music Handbook Composition and Analysis
205/217
This cadence is tonally ambiguous. Is it a plagal cadenc
flat minor? Perhaps the text will help.
The cadence arises above the word büssen (German, aton the world by our sins, pleads the sinner. Is the hard-
"sufferings" (borrowed from the parallel minor) in the e "Modal Mixture." Gutwein/Williams, INTRODUCTION TO COMMO
Example 17.4 is the final phrase of Chorale 324. The pparallel major and minor - as well as a startling borrow
enhance good voice leading, the voice leading here is a
8/9/2019 Music Handbook Composition and Analysis
206/217
g g g
clashes dramatically with the raised neighbor in the
the raised needed for the applied V of V creates a j
the cross relation moves the "wrong" way - from an outis going on here?
"Modal Mixture." Gutwein/Williams, INTRODUCTION TO COMMO
For Further Study
Aldwell, Edward, and Carl Schachter. Harmon
Jovanovich, Inc. 1989. Chapter 22.
K k S f d D h P T l H
8/9/2019 Music Handbook Composition and Analysis
207/217
Koska, Stefan, and Dorothy Payne. Tonal Harm
Schoenberg, Arnold. Structural Functions of H
Company, Inc. 1969. Chapter VII.
top | bottom | n
Species Counterpoint (MUS 201)
Procedures for Writ
Purpose of First Species Counterpoint
http://www.wm.edu/CAS/music/theorybk/text/modalmix.htm#tophttp://www.wm.edu/CAS/music/theorybk/text/modalmix.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/modalmix.htm#bottomhttp://www.wm.edu/CAS/music/theorybk/text/modalmix.htm#top
8/9/2019 Music Handbook Composition and Analysis
208/217
Purpose of First Species Counterpoint
First species counterpoint requires us to use th
consonant, and requires a predominance of obl
these constraints we will learn to control the co
melodic lines without the added complexity offifth species counterpoint gradually introduce r
Species Counterpoint (MUS 201)
1. Fill melodic 3rds with P.T.s or arpeggia
2. Embellish repeated tones with N.T.s or
3. Embellish melodic steps with dissonant
4 Simultaneous embellishments in both li
8/9/2019 Music Handbook Composition and Analysis
209/217
4. Simultaneous embellishments in both li
perfects)
5. Arpeggiations may be followed with ac
subdivision.
B. Check for the following errors
8/9/2019 Music Handbook Composition and Analysis
210/217
8/9/2019 Music Handbook Composition and Analysis
211/217
8/9/2019 Music Handbook Composition and Analysis
212/217
8/9/2019 Music Handbook Composition and Analysis
213/217
8/9/2019 Music Handbook Composition and Analysis
214/217
8/9/2019 Music Handbook Composition and Analysis
215/217
8/9/2019 Music Handbook Composition and Analysis
216/217
8/9/2019 Music Handbook Composition and Analysis
217/217