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Harmonic Continuity and Guide Tone LinesWeek 4

WorksheetsWe are up to Worksheet 12Worksheet 12 and 13 deal with more Roman Numeral analysisThis weeks worksheets are Worksheets 14-16

Any problems with worksheets?

Learning OutcomesBy the end of todays session, students will be able to:Revise related IIm7 chordsUnderstand voice leading principlesApply methods for developing harmonic continuityConstruct guide tone lines

IIm7-V7The IIm7 V7 relationship is so strong that any dominant chord may be preceded by its related IIm7 chord

I.E. Secondary and extended dominants

Dual FunctionThe related IIm7 chord may also be diatonic. These related IIm7 chords have dual functionI.e. they function both as the related IIm7 and as a diatonic chord.See example 1 on p.16 of your book

Available TensionsDual Function related IIm7s usually have diatonic tensionsHowever, since they have two functions, their available tensions may reflect their IIm7 functionIIm7 chords have available tensions of 9 and 11See example 2 on p.16 of your book

VariationsThe relation may appear asIIm7(b5) V7(b9)

See ex1 on page 17 of your Harmony 2 text.

Harmonic RhythmHarmonic rhythm directly affects the relationshipThe harmonic activity is increased with the inclusion of the related IIm7But it doesnt detract from the dominant resolution

Repeated A can be repeated. In this case, the IIm7 will be on a stronger stress point than the V7 The resolution of the V7 will be to a strong stress

Extended DominantsRelated IIm7 chords of extended dominants may be the chord of resolutionSee ex3 on p18 of your Harmony 2 text

Interpolated IIm7Related IIm7 of extended dominants may be interpolated (placed in between) prior to the chord of resolution (the related V7)See ex4 on Pg 18 of your Harmony 2 text

Voice-Leading ReviewScale tone tendencies:Stable tones are 1, 3 and 5 of keyUnstable tones (2,4,6,7) tend to move towards the nearest stable toneNon-diatonic pitches tend to move to the nearest diatonic pitchs move ups move down

Linkage between chord tones is preferred in the following order:Common tone (C C)Chromatic steps ( C C)Whole steps (C D)Major or minor 3rds (C E)

Roots are in the bass voice unless a new bass note is called forSpacing between adjacent voiced is less than an 8ve except between tenor and bass voices (any interval acceptable)The 5th of the chord may be omitted and any other chord tone doubled or available tension added.

The idea is to present a complete harmonic contextThe fewer voices available, the more difficult the taskIf there are only three voices, one must consider what to omit and still present a complete harmonic context

Three Part Voice Leading:Omit the 5th Consider scale tone tendencies, but not as much as the need for smooth movement and as complete as possible chord soundBass content and considerations are the same

Harmonic ContinuityHarmonic continuity is developed in the top two voices by considering the root motion in the bassThere are two voice leading techniques for any given bass motion

1. Bass Motion in 5ths or 3rdsFor bass motion in 5ths up or down:The 3rd of the first chord moves to the 7th of the nextOr the 7th of a chord moves to the 3rd of the next3-77-3This is for bass motion in 5ths or 3rds

2. Bass Motion in stepsFor bass motion in steps (whole or half) or alternatively in 3rds, similar motion is used3-37-7When the roots do not change, simply adjust the chord tones

Some problems and how to solve them:As harmonic continuity is developed, the two top voices get lower and lowerA good range for the top voices is:

It is also possible to adjust the voices transposing them up an 8ve when they get below this rangeThis should be done at the tonic chordOr at the end of a phrase

See page 22 of your book

ACTIVITY:

Guide Tone LinesGuide tone lines are single lines that are developed from the harmonic continuity processThey guide the listener through the harmonies

ConfigurationsOne of the lines created by the previous processThe other line created by the previous processA combination of the two linesThe basic guide tone line can be improved by adding pitches that meet the requirements of scale tone tendencies

Common adjustments include:Placing the root of a chord before the 7thUsing the root or 5th as the guide tone line if it is logical to voice lead in to them.

Range ConsiderationsWithin the duration of any chord, the line may make an octave leapWithin the duration of any chord, the line may leap to the other guide toneVoice leading may be suspended after a I chordVoice leading may be suspended at the end of a phrase.

UntitledBass ( BB ) Drums ( BB )Piano ( BB )Guitar ( BB ) (none)Strings ( BB ) (none)Melody ( BB ) (none)Soloist ( BB ) (none)