Music 21 notes * NEEDS A FIXED-WIDTH FONT * December 2, 2003 ======================================================================== Copyright (c) 2003 L. Peter Deutsch. All rights reserved. Permission is hereby given to copy and distribute this document verbatim (without changes, additions or deletions) for any purpose and without fee. ---------------- Chords ---------------------------------------- Triad inversions -inv- -symbol- -bass- root none root 1st 6 3rd 2nd 6/4 5th 7th chord types -type- -symbol- -intervals- major M M,m,M=M7 dom none M,m,m=m7 minor m m,M,m=m7 half-dim o/ m,m,M=m7 dim o m,m,m=M6 7th chord inversions -inv- -symbol- -bass- -2nd- (except dim) root none root none 1st 6/5 3rd top 2nd 4/3 5th middle 3rd (4/)2 7th bottom Recognizing 7th chords in 1st inversion (6/5): M has minor 2nd on top dom has LT in bass m has major triad + major 2nd o/ has minor triad + major 2nd o sounds same in all inversions (all minor 3rds) Chord types in scale major: I ii iii IV V vi viio minor: i iio III iv V/v VI viio/VII Remember that in minor, v is not a dominant chord. ---------------- Chord progressions ---------------------------- ------------------->|--------------------------------->| ^ *^ * Major: [iii] ---> [vi] ---> [IV --> ii] ---> [viio --> V] ---> [I] ^-----------------------------------* ------------------->|---------------------------------->| ^ *^ * Minor: [VII] ---> [III] ---> [VI] ---> [iv --> iio] ---> [viio --> V] ---> [i] ^------------------------------------* ---------------- Non-chord tones ------------------------------- Stepwise passing tone (in a 3rd) neighbor tone neighbor group (neighbors in opposite directions) suspension (down) / retardation (up) (typically accented) Other appoggiatura (leap + opposite step, typically accented) escape tone (step + opposite leap, typically unaccented) anticipation (more common by step, more commonly unaccented) pedal point Most common suspension types (when only one of the two voices moves): 7-6, 4-3, 9-8 (upper voices) 2-3 (bass) ---------------- Voice leading "recipes" ----------------------- (all assume doubled root) root moves by 5 or 4 1) keep common tone other 2 voices move by step (contrary for 5, similar for 4) 2) (only for movement by 4, to avoid all 4 voices moving similarly) other 3 voices move contrarily, no leap >3rd (typically 1 step, 2 3rds) 3) (typically for changing between open and close structures) keep common tone voice providing 3rd of first chord leaps to 3rd of second other voice moves by step (similar for 5, contrary for 4) root moves by 3 or 6 keep both common tones other voice moves by step (contrary for 3, similar for 6) root moves by 2 (mirror image if moves by 7) 1) (except for V/v-vi/VI) other voices move contrarily to nearest chord tone (typically 2 steps, 1 3rd) 2) (for V/v-vi/VI) as above, but LT may need to resolve by moving similarly (creates doubled 3rd: be careful) (LT in an inner voice need not resolve, but avoid 2+ interval in minor) ---------------- Voice leading hints --------------------------- Doubling: * Don't double the LT. * When harmonizing viio (and iio in minor), prefer to double the 3rd (least dissonant). * In 1st inversion, it's more OK to double the bass = 3rd. Movement: * To avoid augmented 2nds in minor, approach a LT from above, or use a melodic (not harmonic) 7. * In any 7th chord, the 7th note wants to move down, e.g. in a closing V(7)-i, the 4 (the 7th of the first chord) wants to move to 3. * Use V-I rather than viio-I in a cadence -- V is stronger. * V(6/5) moves the LT up to 1. * ii(6/5) moves up to I(6/4) (typically cadential). Preferences: * Avoid omitting the 5th from a chord in 1st inversion. * Diminished triads in root position are undesirable because of the tritone with the bass. ---------------- Voice/chord progression idioms ---------------- A common phrase framework is I-ii(6)-V[(7)]-I. Another common framework (for ostinato) is I-vi-ii-V. For soprano 1-7-6, I-iii-VI-I(6) is an example./4 For soprano 6-7-1, I-IV-viio(6)-I is an example. For opening 1-2-3, I-viio(6)-I(6) is common. Similarly, I(6)-viio(6)-I is common for 3-2-1. The most common passing 6/4 chords are 1-2-3 as I-V(6/4)-I(6) and 6-5-4 as IV(6)-I(6/4)-ii(6). For 1-7-6-5 in minor (melodic -- 7 and 6 not raised), i-v(6)-ii(6/4)-III(6), i-v(6)-iv(6)-i(6/4), and i-v(6)-VII(4/2)-III(6) are common. More generally, 1-7 in minor often uses i-v(6) rather than i-VII. In minor, VII-III is common. I-V(6)-I as an opener establishes the key without sounding like a cadence. For 6-7-1, IV(6)-V(6)-I is a good choice. iio(6)-V-i is a common cadence, as is its relative iio(6/5)-V-i. Can use i-v-i for variety in place of i-V-i. 4-5-4-3 as iv-i(6/4)-V(4/2)-i(6) is an alternative use of a cadential 6/4, especially if the top voice goes to 1 rather than 5 -- not really a cadence because i(6) is not final. Practice progressions including 7th chords: I-V(6/5)-I I-vi(6)-ii-V(6/4)-I(6) (or ii(7), V(4/3)) I-IV-ii-V(6/4)-I (or ii(7), V(4/3)) Cadential I(6/4)-V(6) isn't OK, but I(6/4)-V(4/2)-I(6) is common (but not really cadential, because I(6) is not final). A typical Phrygian half cadence is i-v(6)-iv(6)-V. V(4/2) typically goes to I(6); V(4/3) goes to I or I(6) (2 doesn't have a strong tendency); V(6/5) goes to I; V(7) goes to I. For 3-2-1, a common idiom is i(6/4)-V[(7)]-i, also for 1-7-1 [this isn't right, ask GC]; for 1-7-1, IV(6/4)-V(6[/5])-I is also common. Minor pieces often go to v or III internally rather than V. IV-V(4->3)-I is a common suspension at a cadence, often with embellishment.