music104

|  | Lecture notes 4 Introduction to Chords,Triads, Harmony, Voice Leading chords/triads Structure and classification of chords, relative to the scale the basic major triads, I, IV, V, tonic, subdominant, dominant. the importance of tonic and dominant triads The dominant 7th as an entity the tritone brief introduction to concept of prolongation. distinctions between harmony and counterpoint Just as every note is referential with respect to some scale, each note is also referenced by a triad. The note is either considered a consonance, e.g. a member of the triad, or a dissonance, e.g. not in the triad. The way notes are treated has to do with this relation The notes in a triad are called 'root', 'third' and 'fifth' and they have important qualities that fall out of this relation; Triads are usually referential structures for periods of time longer than one note Except for II and VII where ever there is a major chord in the major scale there is a minor chord in the natural minor passing notes, neighbor notes, arpeggiation, chord as reference strong and weak beats in measure consonance normally occurs on strong beats but, concept of accented dissonance difference between skips and steps in defining dissonances. Normally, you step to and away from dissonances, and leap to consonances. dissonant notes upper and lower neighbors passing notes accented passing notes unresolved (and uprepared) neighbors and passing notes anticipations suspensions 12 days of christmas streets of laredo A tune that only uses chordal tones, I Will compose tune based on iv v i look at schubert Basic progressions If I and V are pivotal/cadential, you can think of other chords as ways to travel between I and V. Some music that lives in I,IV,(sometimes II) V Maria Muldaur, My Tennessee Mountain Home listen to bass Paul Simon, Me and Julio Extending 'neighbor' concept to chords Dolly Parton, Little Sparrow (in minor key) Blues, Muddy Waters, Howlin Wolf, Highway 49 12-bar blues I(4) (sometimes I(1), IV(1), I(2)), IV (2), I (2), V(1), IV (1), I (2) (sometimes I(1), V(1) the basic minor triads, II, III, VI concept of chord substitution / common tones Slip Sliding Away (VI), Bach, Vergnugte Ruhe (cantata 170) Duke of Earl. (I-VI-IV-V) deceptive cadence Mariah Carey, You'll Always Be my Baby The importance of the bass. special treatment of 5th in bass Chord 'inversions', 6, and 6/4 Cadences, semi-cadences, phrases Schubert Wiegenlied (xerox) tonic-dominants as phrase delimiter Other routes between I and V different progressions have different voice-leading and common-tone qualities I-II-V (II as surrogate subdominant) Mozart Bflat Piano sonata, K333 note use of accented passing notes as motive Shirells, Will you Still love me tomorrow Ronettes, Be My Baby - note circle of 5ths sequence Bach, 1st prelude in WTC (I, II7, V, I) I-VI-IV-V (changing one note in the chords) Duke of Earle Everly Brothers, All I want I-III-IV-(II)-V both sides now Elvis, In the Ghetto Puff the Magic Dragon Mariah Carey, You'll Always Be my Baby Radiohead Creep note chromatic voiceleading, deceptive cadence the circle of 5ths (based on dominant-> tonic progressions) Bach minuet 2 from French Suite I Rachmaninoff Symphony 2, mvt. 2, opening |