music104

|  | Lecture Notes 5 review Cadences, semi-cadences, phrases Schubert Wiegenlied (xerox) tonic-dominants as phrase delimiter anticipations, suspensions, passing and neighbor notes 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, chord succession is colored by number of 'common tones' between adjacent chords 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 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 two chord song (I III) : O superman |