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Chapter 9

Chapter 9. Primary Triads : Tonic, Dominant, & Subdominant Chordss. Tonic & Dominant Triads. Tonic Triad – I & i Built on ^1, ^3, ^5 Four-part Texture – double the root Dominant Triad – V Built on ^5, ^7, ^2 Commonly resolves to I or i ( Authentic Cadence)

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Chapter 9

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  1. Chapter 9 PrimaryTriads: Tonic, Dominant, & SubdominantChordss

  2. Tonic & Dominant Triads Tonic Triad – I & i • Built on ^1, ^3, ^5 • Four-part Texture – double the root Dominant Triad – V • Built on ^5, ^7, ^2 • Commonlyresolves to I or i (Authentic Cadence) • Phrase ending on V (Half Cadence) • Four-part Texture – double root, never the third

  3. Dominant Function - V In root position: • Soprano/Alto move to the nearesttone • Maintain all commontones • Bass moves to root • Leadingtone (^7 of tonic) must move stepwise to tonic (^1)

  4. Subdominant Triad in Root Position – IV or iv • Functions in the ‘predominant’ area • Uppervoices to the nearest place in the new chord • Retain structure; Open to Open / Closed to Closed Function in a progression IV to I • Keep the resolution as easy as possible • ^3 - ^1 and ^5 - ^3 Function in a progression IV to V • Bass moving up? Everyoneelsegoes down!

  5. Subdominant Function IV to I • Keep the resolution as easy as possible IV to V • Bass moving up? All other must move down! • If the soprano and bass are moving up in tenths, use contrary motion in the alto and tenor to avoid parallel fifths and octaves! You will get an open IV and a closed V.

  6. The Authentic Cadences Perfect Authentic Cadence (PAC) • Stepwise motion to tonic ^2-^1 or ^7-^8 in the soprano voice over a root position V- I progression  • Strong feeling of conclusion  • Typically approached by a subdominant (IV) chord Imperfect Authentic Cadence (IAC) • The soprano voice ends on ^3 or ^5; ^2-^3, ^5-^3, and ^5-^5 • Less conclusive feeling than PAC

  7. The Authentic Cadences PAC • Bass :^5 - ^1 • Soprano :^7 - ^8 or ^2 - ^1 • IAC • Soprano ends on ^3 or ^5 • Less conclusive than PAC

  8. Other Cadences Half Cadence • I – V or IV (iv) – V • medial – does not create a sense of closure Plagal Cadence a/k/a Plagal Resolution • Conclusivity is evident; not as strong as an Authentic Cadence • Functions as an extension of tonic • Used as a ‘tag’ after an authentic cadence; i.e. “Amen”

  9. Voice – Leading Reductions • Essential tonal anatomy of a musical phrase 1 – Label all harmonies; mind the first and last chords 2 – ID all embellishing tones to expose all chordal tones 3 – Notate the main chord tones of the bass line 4 – Notate the main chord tones of the soprano line (try to maintain the best melodic line if they are multiple tones over the same harmony.)

  10. Cadential Expansion In a Phrase • Reducing full voicing to one harmony per measure • Used to clarify melodic line; performance nuances • Two notes over a harmony? Defer to the best melodic motion • Placement on strong beats and repetition are good indicators of essential harmony • Two voices suggesting a compound melody? • Write both strands as harmonic intervals with

  11. Harmonizing Melodies • Uses knowledge of harmony and voice-leading in a more creative way than figured-bass realization • Many more choices in chords, bass lines, and embellishing tones • At first stick to root position primary triads • Limits the choice of melody but keeps things simple Ex. 9.14 for a closer look! • First - check out opening and closing chordal structure • Second - check out the closing melodic line; cadence point • Third – check out the remaining melody to determine a possible progression

  12. Putting it Together • Determine which notes are essential chord tones; circle the embellishing tones • Use a melodic reduction to get a better view of the basics • Determine chordal implications by the soprano line for the opening and cadence of each phrase • Determine supporting harmonies implied by the soprano in the interior of the phrase

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