Upload
megan-berry
View
130
Download
0
Embed Size (px)
Citation preview
Harmony 3
Harmony 3Week 6- Deceptive Resolution
Learning OutcomesBy the end of todays session, students will be able to:Identify and analyse standard deceptive resolutions of V7 chordsBe familiar with deceptive resolution patterns involving IVm7(5) and maj7 chordsBegin work on the Midterm Harmony Project
V7 Standard Deceptive ResolutionsWe are already familiar with two of the standard deceptive resolutions of V7:Dominant Tonic(V7) IIIm7Dominant Tonic(V7) VIm7
(V7) to IIIm7 or VIm7See example 1 on page 18 of your book:
V7 to IVm7(5)V7 may resolve deceptively to IVm7(5)See example 2 on page 18 of your book
IVm7(5) is a diatonic functioning chord which will be explained later in the course
V7 to IIImaj7V7 moving to a natural minor modal interchange chordIIImaj7 has tonic function
NATURAL MINOR:Im7 IIm7(5)IIImaj7 IVm7 Vm7 VImaj7 VII7 MAJOR Imaj7 IIm7 IIIm7 IVmaj7 V7 etc.
TONIC FUNCTIONEX 1 P.19
V7 to IImaj7Example 2 p. 19
V7 to VImaj7Example 3 p.19
V7 to VIImaj7This is a less common deceptive resolutionIt can be seen as a resolution to a mixolydian cadence chord (Book 4)Example 4 p.19
Generally:When V7 resolves deceptively to any of this chords, it will most often happen at a melodic cadenceIt will sound as though the progression will eventually move to the tonic
The strongest melodic pitches at cadence points are degrees 1 and 5 of key (Do and Sol)These two diatonic notes have the most final sound melodicallyEach of the deceptive resolution chords has either scale degrees 1 or 5 available either as a chord tone or tension
Progressions: IVm7(5)When V7 resolves deceptively to IVm7(5), the progression often continues with step-wise descending root motionExample 1, p. 21
http://youtu.be/uPyJLRFk_UY 4.0515
Progressions: maj7When V7 resolves deceptively to a maj7th chord, the progression often follows the cycle of fifths to return to tonicExamples 2-4 p. 21
USAGE:These kinds of deceptive resolutions are commonly used to extend the ending of a piece
Summary:Analyse the resolution to tonic using roman numeral analysis and the arrow:
V7 I(V7) is used to analyse deceptive resolution to any chord other than I
The diatonic or diatonically related deceptive resolution chords are: IIIm7, VIm7, IVm7(5), IIImaj7, VImaj7, IImaj7, VIImaj7 and IVm7
The melody pitches must be compatible with any of the deceptive resolution chords