Harmony Vol1 Issuu Sample

Four-Part Harmony Volume POF

David Powell

HARMONY AND VOICE LEADING

Unit 1 ~ Welcome to the Study of Harmony! In this course we will learn how to compose simple four-part vocal music. That means music for four different voice parts. Imagine a choir in a church. The choir is made up of men and women. Some of the women can sing high notes quite easily. They are called sopranos. Others sing low notes well. They are called altos. Likewise, among the men, some are good at singing higher notes. They are called tenors. The basses are the guys who can sing really low. When we write music for these four voice types, we arrange it on a system of two staves. The music that is sung by the sopranos and altos is written on the top staff, and the men's music is on the bottom staff. To avoid confusion, the stems on the soprano and tenor notes always go up, and the stems on the alto and bass notes always go down. That way, everyone knows which note they should sing and can follow their line. Here's an example of music written for four voices. This is the beginning of a hymn called All through the Night.

Soprano Alto Tenor Bass

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œ . œ œj œœ œ œ œœ œœ œœ œœ

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j œœ . œœ . J j . œ œœ œ œ

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You may be wondering why we begin studying harmony using music for singing. This is because vocal music tends, in general, to be a bit simpler than instrumental music. This makes it a good place to start for first time harmony students. One big difference between vocal music and instrumental music is that vocal music tends to move by step (a step is a 2nd), as in a scale. In instrumental music, it is easier to leap around. A leap is any melodic interval of a 3rd or more.

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Types of voice movement There are some other terms and concepts with which you should be familiar before we begin: 1. Contrary motion: When two voices are moving in opposite directions, we say that they are moving in contrary motion.

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2. Similar motion: When 2 parts are moving in the same direction, we say that they are moving in similar motion.

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3. Parallel motion: When 2 parts move in similar motion and stay exactly the same distance apart, we say that they are moving in parallel motion.

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4. Oblique motion: When one voice moves and another stays on the same note, this is called 'oblique motion'.

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Triads You will remember triads from your rudiments studies. They are formed by adding a 3rd and a 5th to each note of a major or minor scale. There are four different kinds of triads: Major, Minor, Diminished and Augmented. Major triads contain a major 3rd and a perfect 5th Minor triads contain a minor 3rd and a perfect 5th Diminished triads contain a minor 3rd and a diminished 5th Augmented triads contain a major 3rd and an augmented 5th Here are the 7 triads found in C major:

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In major keys, the tonic, subdominant and dominant triads are major The supertonic, mediant and submediant triads are minor The leading note triad is diminished There is no augmented triad in major keys Labelling chords When we analyse music we use systems of notation to label the chords. There are two systems we will learn about: Functional Chord Symbols and Root/Quality Chord Symbols. Functional Chord Symbols use Roman numerals to label the chords:

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C: I

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ii

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iii

www IV

www V

www vi

www viio

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This system is called Functional Chord Symbols because it tells us the function of each chord in a particular key. You will notice that some of these triad symbols are written in capital numerals, and others in small numerals. The rule is that triads containing a major 3rd are written in capital numerals, and those triads with minor thirds are written in small numerals. The vii triad is diminished and the convention is to put a small circle next to diminished triads. The Root/Quality system The Root/Quality system labels each chord with its root and quality (i.e. major, minor, diminished or augmented). Major triads are simply designated by the root. So a C major triad is just labelled "C" Minor triads are labelled by the root, followed by 'm' for 'minor', e.g. a D minor triad is "Dm" Diminished triads are labelled by the root and a small circle: Bo

Here are the triads of C major labelled using the Root/Quality system:

C

Dm

Em

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F

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G

Bo

www

Am

www

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Minor Keys Here are the triads derived from C minor harmonic scale. (you can create more triads if you use the melodic minor - we will look at these later on)

b & b b www

Cm

C-

i

Do

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iio

E baug

n www

IIIx

Ab

www

n www

www

iv

V

VI

Fm

G

n www

Bo

viio

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Homework for Unit 1 ~ Introduction

1. Name the 4 voice parts, starting with the highest and going down. 2. Which 2 parts are written in the bass clef.? 3. Which 2 parts are written in the treble clef ? 4. Which 2 parts have their stems always going up? 5. Which 2 always have their stems going down? 6. How many triads can you make using the notes of a major scale? 7. What is contrary motion?

8. What is similar motion?

9. What is parallel motion?

10. What is oblique motion?

11. Name one difference between music written for voices and music written for instruments.

Homework for Unit 1 - page 1 of 1

Unit 2 ~ Rules for Writing Vocal Music in Four Parts When you are writing, you must remember that there are limits to how high and low people can sing. Here are the highest and lowest notes of the four voices:

Soprano

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Alto

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Tenor

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Bass

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Distance between parts: The soprano and the alto parts should never get more than an octave apart from each other. Nor should the alto and tenor. However, the tenor and bass may be separated by as much as a perfect 12th.

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Overlapping

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Look at the bass and tenor parts in the above example. Notice how the tenor part in the second chord is lower than the bass part in the first. This is called overlapping. Overlaps should be avoided in all parts. For example, the alto should never sing a note that is higher than the previous soprano note. The soprano should never sing a note that is lower than the previous alto note, and so on.

Crossing

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Here, the soprano and alto are actually trading places, and the alto is singing higher than the soprano. This is called crossing and should also be avoided.

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Consecutives We learned in Unit 1 about parallel motion. This is when two voices move in the same direction and stay the same distance apart. Sometimes this is OK. For example, it's fine for two voices to move in parallel motion a third apart. However, it is not permitted for two voices to move in parallel motion a 5th apart, or an octave apart, or to move together on the same notes (parallel unisons). See the examples below:

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Consecutive perfect 5ths between the soprano and alto voices (some people use the word 'parallel' instead of consecutive, as in 'parallel 5ths').

Consecutive unisons between tenor and alto.

Consecutive octaves between tenor and bass.

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OK

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Note: it is not a mistake to have two consecutive fifths or octaves or unisons if the parts are not moving to different notes.

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Finally, try to make the voices move as smoothly as you can. This means using mostly stepwise motion, and keeping leaps to a minimum (the bass part tends to have more leaps than the other voices - this is fine). Usually, you should always try to move each part to the next nearest note. This example is poor. Look how many leaps there are:

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Here is an improved version of the same progression. Most of the leaps have been removed simply by re-arranging the parts.

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Summary: 1. Each voice has a limited range within which it must sing. 2. The soprano and alto may be as much as an octave apart. 3. The alto and tenor may be as much as an octave apart. 4. The bass and tenor may be as much as a 12th apart. 5. No two voices may cross or overlap. 6. No two voices may move in consecutive unisons, 5ths, or octaves. 7. Parts should move, as much as possible, by step or small leap.

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Homework for Unit 2 ~ Rules for Writing Vocal Music in Four Parts

In this line, find and circle any notes that are too high or too low. Refer to page 1 of unit 2.

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In this line, find and circle the parts that are too far apart - see page 1 of unit 2

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In this line, find and circle the note that is overlapping. Sometimes there are 2 notes that overlap see page 2 of unit 2

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Homework for Unit 2 - page 1 of 4

In this line, find and circle the 2 parts which have crossed - see page 2 of unit 2

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In the next 2 lines, find the consecutive 5ths, octaves and unisons - see page 3 of unit 2

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Homework for Unit 2 - page 2 of 4

Practise writing triads in 4 parts in root position using the given notes as bass notes. Arrange the 3 upper voices differently in each one. Double the root of each one. Make sure each voice is in its proper range and that there is not too much space between the voices. I've done the first 4 as an example:

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Homework for Unit 2 - page 3 of 4

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Homework for Unit 2 - page 4 of 4

Unit 3 ~ Introduction to Primary Triads The first triads we will learn about are the tonic, subdominant and dominant triads. These triads are called the primary triads. To begin with, we will look at the primary triads only in root position.

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C+: I

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IV

V

As you know, there are three notes in a triad. Since we are writing music for 4 voices, one of the notes must be sung by 2 of the voices. We call this 'doubling'. The best note to double in a primary triad is the root. The 5th is an acceptable second choice. The 3rd of V is the leading note of the key. It is a very strong note and we only need one of them at a time, so never double the leading note. Note that in minor keys you must raise the leading note with an accidental.

Phrases and Cadences Pieces of tonal music are made up of phrases, which are a bit like sentences in speech. In the kind of music we will be studying and writing, phrases are very often four bars long. You will also see short phrases that are two bars long. As you probably already know, phrases are separated from each other by cadences. A cadence is a pair of chords that creates a sense of partial or full closure or rest, rather like commas and periods in spoken and written language. There are four kinds of cadence: perfect, imperfect, plagal, and deceptive. Perfect and imperfect cadences are the most common. We'll learn about them today, and save plagal and deceptive cadences for later.

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The Perfect Cadence A perfect cadence consists of the dominant chord, V, going to the tonic chord, I. This is like a full stop in speech. There is a feeling that the idea is complete. Figure 3.2 shows a four-bar phrase, with a perfect cadence at the end. fig. 3.2

# 3 & 4 œ œ ? # 34 œ œ

œœ œ œ

œœ œœ œ œœ œ

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œ œ œœ

œœ œ œ

œœ œ œ

William Croft

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Perfect cadence: V - I When writing this progression, there are a couple of things to remember. One is that the part that has the leading note of the scale in the V triad should sing the tonic note in the I triad (there are exceptions that we'll learn about later). In figure 3.2, the soprano has the leading note, F #, which then rises to G. In figure 3.3, the soprano has the leading note B, which then rises to C.

fig. 3.3

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C+: V

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There's another thing to notice about these examples. Notice in figure 3 that both triads contain the note G. This is referred to as a 'common tone'. Whenever possible, try to keep the common tone in the same voice. In figure 3.3, the G is in the tenor in both chords. In figure 3.2, the common tone is the D, and is in the alto in both chords.

I

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The Imperfect Cadence Sometimes a phrase comes to rest on the dominant chord. This is known as an imperfect cadence. Why is it called imperfect? Because although V is a good place to rest for a moment, it doesn't quite feel like home. The piece only really feels finished when we return to our starting place, the tonic triad. The imperfect cadence consists of a V chord, and a chord before it. Here's a phrase that ends with an impefect cadence.

& b 34 ˙˙ ? b 34 ˙œ œ

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jœ œ˙ . œ œ j œ˙ . œ œœ

˙˙ œœ œ œ œ œ œ œ Imperfect cadence:

Rowland Prichard

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œœ œœ œœ œ œ

vi

V

There is a family of chords that go well before the V chord. We can call them dominant approach chords. The first one of these we will look at is IV ("iv" in minor keys), the subdominant triad. IV goes very well to V. fig. 3.5

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Figure 3.5 shows you IV going to V. In this progression there are no common tones, but the voices are moving quite smoothly - by step or small leap.

V

You must always be on the lookout to avoid consecutive octaves and 5ths. It's surprisingly easy to let them slip into your work. One trick you can use with the progression IV - V is to have the upper three parts descend while the bass rises. Two of the voices descend by step, and one leaps down a third. This is what happens in figure 3.5. ________________________________________________________________________ 3-3

Leaps: Avoid leaps bigger than a 4th in the soprano, alto and tenor. The bass may leap as much as a 5th or 6th (you can even leap an octave in the bass, but not a 7th - more about leaps later). If you find yourself making leaps larger than these, there's usually a way to rearrange the voices to reduce the leaps. Now that we've seen I and V together, and IV and V together, let's put the 3 of them together to make a phrase, starting and ending with I: fig. 3.6

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F+: I

IV

V

I

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Homework for Unit 3 ~ Primary Triads 1. Complete these exercises by adding the alto and tenor. voices All the triads in these exercises are in root position. Write the functional chord symbols beneath the exercises and root/quality symbols above. Name the keys of the exercises. Double the root of each triad and hold common notes in the same part. G

C

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C: V

I

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Homework for Unit 3 - page 1 of 3

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Homework for Unit 3 - page 2 of 3

2. In the following blank bars, write these progressions: a. I - IV in C, G, D, and B b. IV - V in E, C, A b and C # Let the top 3 voices come down as the bass rises. c. V - I in A b, E b, B b and C Do them exactly in exactly the same way as they're done in this unit: write each one in root position and double the root of each. Keep common notes in the same voice where possible, and make sure that when V goes to I, whoever has the leading note in V gets the tonic in I. a.

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Unit 4 ~ Introduction to Secondary Triads In the last unit, we met the primary triads, I, IV, and V. The remaining triads - ii, vi, and vii - are known as secondary triads. In this unit we'll look at vi and ii. You'll learn about iii and vii in a later unit. Both ii and vi like to go to V. Let's have a look at each in turn.

Approaching V with vi fig. 4.1

C

Am

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G

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I

vi

V

I

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C

The submediant triad is a minor triad in major keys. Figure 4.1 shows the vi triad approaching the dominant. When it comes right before or right after V, the best note to double is the 3rd. The root can also be doubled. Notice the common notes. The tonic and submediant triads share two common notes. In figure 4.1 I have kept them in the same voice, which makes the movement of the voices between the chords (known as 'voice leading') very smooth.

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Approaching V using ii fig. 4.3

˙ c & ˙ ? c ˙˙

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I

ii

V

I

Figure 4.3 shows V being approached using ii, the supertonic triad. Like vi, ii is a minor triad. Also like vi, the best notes to double are the root and the 3rd. ii goes realy well to V, but this progression usually doesn't work well in reverse, so don't go from V to ii.

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Homework for Unit 4 ~ Introduction to Secondary Triads Use the blank bars for questions 1 - 3. Use one bar per progression. Write functional chord symbols below the staff and root/quality symbols above. 1. Write the progression vi - V in G, A, B b, D and F. Double the 3rd of vi and the root of V. Em

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vi

D

˙ ˙ ˙˙ V

2. Write the progression ii - V in C, G, D, E,and C #. Let the soprano have the supertonic going to the leading note (2-7). Double the root of ii and of V.

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? Homework for Unit 4 - page 1 of 3

4. Add the inner voices to the following. Use I, IV, ii, vi, and V. Write the chord symbols and name the keys. Let the leading note rise to the tonic when V goes to I. Double the 3rd of vi. These are all in major keys. Example:

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Homework for Unit 4 - page 2 of 3

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Homework for Unit 4 - page 3 of 3

Unit 5 ~ The Basics of Chord Progression In this course you will learn how to handle each chord in detail. First however, let's take a look at general principles of chord progression. Where does each chord like to go? Pieces of tonal music generally begin on the tonic chord, leave it for a while, and come back to it by way of the dominant. We put the tonic chord, I, at the top of the chart. It's a "Level 1" chord. The I chord can go to any other chord. All the other chords tend to move up one level. So: Level 2 chords are dominant chords: V and vii. These chords like to go to level 1, to I. Level 3 chords are pre-dominant chords. This means they like to go to the Level 2 chords V or vii. The lonely iii chord on level 4 likes to go up to level 3, either to vi or IV.

level 1:

I

level 2:

V

level 3:

vi

level 4:

vii IV

ii

iii

I have used major key triads in the chart, but this principle applies equally to minor key triads, which you will learn all about later on. Now you have a basic grasp of the principle of chord progression in tonal music. There is more for you to learn about this but this is the basic principle. If you can remember the information on this page you already know most of what you need to know to write good progressions! ________________________________________________________________________ 5-1

Common Progressions There are many progressions that are frequently found in tonal music, and these progressions often use a particular soprano line. For example, IV - V - I is a common progression in many styles of music. In classical music we might use the melody 4 - 2 - 1, which means that the soprano sings the subdominant in IV, the supertonic in V, and the tonic in I, like this:

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œ œ œœ IV

4

œœ œœ V

2

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1

I

There are actually a couple of different melody lines that could be used with this progression, but there are some progressions that tend to use only one specific melody line. Throughout this book you will periodically see summaries of the common progressions you should know so far, and they will look like this: Progression IV - V - I

Soprano 4-2-1

It's very important to memorize these progressions, as knowing them will really help you on your exams.

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Unit 6 ~ Consonance and Dissonance Some notes sound stable together. They are restful to hear. They sound as if they 'agree' with each other. We say these intervals are 'consonant'. The consonant intervals are:

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P1

b ww

n ww

-3

bw w

ww

+3

P5

-6

nw w

+6

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P8

Other pairs of notes sound like they disagree. Instead of sounding restful and relaxed, they sound tense and restless, and want to resolve or release their tension. These are dissonances. Although they create tension, dissonances can be very beautiful. In fact, it is the resolution of dissonance into consonance that gives music much of its power. The dissonant intervals are:

-2&

b ww

n ww

-2

+2

ww

# ww

b ww

bw w

nw w

P4*

X4

o5

-7

+7

There are special guidelines that you must follow when you use dissonances. We will begin to learn about this in later units. *The Perfect 4th is a special case. It is considered dissonant only when the lowest note of the 4th is in the bass part.

_______________________________________________________________________ 6-1

Homework for Unit 6 ~ Consonance and Dissonance Name these intervals, and state whether each is consonant or dissonant.

&

&

#w # w

b ww

ww

bw w

ww

#w w

ww

bw w

bw bw

#w #w

ww

b b ww

w bw

# ww

bw w

# ww

+3 Consonant

&

b ww

ww

&

# ww

&

w w

Homework for Unit 6 page 1 of 1

Unit 7 ~ Introduction to First Inversion Triads So far we have only looked at triads in root position. These triads sound strong and solid. Usually cadences use root position chords. Away from cadences we can add more variety and interest to our music by using chords in first inversion as well as root position. In 1st inversion, the bass note is the third of the triad. Root position triads contain a 3rd and a 5th from the bass. 1st inversion triads contain a 3rd and a 6th:

&

ww w

www 5 3

6 3

In the Functional Chord Symbol system we omit the '3' and just write a '6' after the symbol. So, a 'ii' chord in 1st inversion is written "ii6" In the Root/Quality system, we write the root, then the quality, then a forward slash, then the bass note. So, a 1st inversion D minor triad is written "Dm/F"

&

?

Dm/F

w w ww

C+: ii

6

The doubling rules are the same for 1st inversion and root position triads. Being inverted doesn't usually change a chord's level. So just as 'ii' is a level 3 chord, so is ii6, and ii6 likes to go to level 2 just as much as ii.

________________________________________________________________________ 7-1

C

& c ˙˙ ? c ˙˙ C+: I

Dm/F

G

˙ ˙ ˙˙

ii6

˙ ˙ ˙ ˙

V

I

˙ ˙ ˙ ˙

C

Another common technique involving 1st inversions is to go from a root position chord to its 1st inversion, or vice versa. In this example, a ii chord goes to ii6 before going to V:

˙ c & ˙ ˙ ?c ˙

˙˙ ˙ ˙

˙˙ ˙˙

C+: ii

ii6

V

˙˙ ˙ ˙ I

Notice in the first bar how the soprano and bass trade notes: the soprano goes from F to D while the bass goes from D to F. This is called voice exchange and is very effective.

________________________________________________________________________ 7-2

Finally, here is a progression with IV6, V6, and I6. Just like IV in root position, IV6 goes very well to V:

& œœ

œœ

œ œ

œœ

C+ : I

V6

I

IV6

œ ? œ

œ œ

œ œ

œœ

œ œ œœ

œœ œ œ

œœ

œœ

ww

V

I6

ii6

V

I

œ œ

œœ

w w

Common Progressions you should know so far: Progression

Soprano

IV - V - I

4-2-1

ii6 - V - I

2-7-1

________________________________________________________________________ 7-3

Homework for Unit 7 ~ First Inversion Triads 1. Write these progressions: a. I - I6 b. V6 - I c. IV6 - V

in A and F in C and E in A and F

d. I - IV e. IV - I6

in F and D in G and B

Write the chords in half-notes, in 4/4 time

&c

c.

b.

a.

?c d.

&

e.

? f. I - I6 - ii6 - V - I in C and F. Let the soprano have the melody 3 - 1 - 2 - 7 - 1. Make the first 4 chords a quarter note long each, and the last one a whole note..

&

f.

? Homework for Unit 7 page 1 of 4

2. Complete these in 4 parts. Name the keys and write the functional and root/quality chord symbols. Name the keys of each one. Remember, a double bar line does not cancel a key signature. A key signature made up of naturals only is C major.

˙

˙

? ˙

˙

&

bb ˙ ˙ b b

b &bb ˙ ? bb &

b ˙

###

? ˙

˙

˙

˙

˙

## ˙

˙

˙

## ˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

w

˙

w

˙

˙

bbb ˙ ˙

nn ˙

˙

˙

bbb ˙

˙

nn ˙

˙

˙

˙

? ### ˙ &

˙

w Homework for Unit 7 page 2 of 4

3. Complete these progression. Show all chord symbols. Double the roots or fifths of the primary triads (preferably roots if they're in root position). Double the 3rd of vi when it comes before or after V. Write I - IV - V - I in C and G

& ˙˙ ? ˙˙

˙˙ ˙˙

˙ ˙ ˙

˙ ˙ ˙˙

# #

Write I - vi - V - I in D and A

&

? Write I - ii -V - I

in F and B b

&

? I - ii6 - V - I in C and B b (use the soprano 1-2-7-1)

&

? Homework for Unit 7 page 3 of 4

Write I - V6 - I - I6 - ii6 - V - I in A b and B b (soprano 1-2-3-1-2-7-1)

&

? &

? Write I - IV6 - V - I in C and F (soprano 3-4-5-5)

&

?

Homework for Unit 7 page 4 of 4

Unit 8 ~ Harmony & Rhythm, part 1 As you know, there are strong beats and weak beats in every bar of music. In duple time (2/4, 6/8, etc.) the first beat is strong and the second is weak.

& 24

strong

œ

weak

œ

In triple time (3/4, 9/8, etc.) the first beat is strongest: strong

3 &4 œ

weak

weak

œ

œ

In quadruple time (4/4, 12/8, etc) the strongest beat is the first. The third beat is weaker than the 1st, but stronger than 2 or 4, which are weak.

strong

&c œ

weak

œ

medium

œ

weak

œ

Also, if you subdivide a beat , the first note will feel more accented than the second:

strong

& œ

weak

œ

________________________________________________________________________ 8-1

In our exercises, we are usually given a time signature at the beginning. We must make sure that the chords we choose will 'fit' the time signature. Basically all this means is that we must make sure that there is a change of chord on the strong beats of the piece. It is OK to repeat a chord from a strong beat to a weak one, but not from a weak one to a strong one. The example in figure 1 is fine because the repeated chords are on weak beats. Figure 2, however, is poor because the V triad is being repeated from a weak beat to a strong beat. It may make the music suddenly sound like it's in 3/4, not 2/4 fig. 1

fig. 2 s

& 24 œœ ? 24 œœ C+:

w

œ œ œœ

I ________

s

œ œ œ

w

V ______

œ œ œ

s

œ œ œœ I

w

œ œ œ

s

œ œ œ

V___________

w

œ œ œœ I

________________________________________________________________________ 8-2

Homework for Unit 8 ~ Harmony and Rhythm, part 1 1. Write these progressions twice each. Put each one in a different key. Use quarter notes.

a. I - IV - V - I b. I - vi - V - I c. I - ii6 - V - I d. I - vi - IV - V

e. I - I6 - IV - V f. I - IV6 - V - I g. I - V6 - I - IV h. I - vi - ii - V

Above each beat, write S or W, according to whether the beat is strong or weak

&

a.

b.

? &

c.

d.

e.

f.

? &

? Homework for Unit 8 page 1 of 2

&

g.

h.

? 2. Add the inner voices to the following 8 exercises. Write root/quality symbols above each chord.

œ œ ˙ & ? œ œ ˙ & œ œ ˙ ? œ œ ˙

b œ œ ˙

n ˙

˙

bb œ œ ˙

n ˙

˙

bb œ œ œ œ

# œ œ ˙

##

b œ œ ˙

# œ œ ˙

### œ œ ˙

œ œ ˙

###

## œ œ ˙

œ œ ˙

3. The following passage is full of consecutive 5ths and 8ves. Search for them part by part and mark them..

& œœ œ ? œ

œœ œ œ

œœ œ œ

œœ œ œ

œ œ ˙ œ œ ˙ œ œ ˙ ˙ ˙

œœ œœ œœ œœœ œœœ

œ œ œ œ

œ œ œ œ

œ œ œ œ

˙˙ ˙˙

˙˙

œœ œœ w w ˙œ œ ˙œ œ w w Homework for Unit 8 page 2 of 2

Unit 9 ~ Passing and Neighbour Notes So far in the course, all the notes we have written have belonged to triads. However, music is often decorated with notes that don't belong to the chord they're in. These notes are known as 'non-chord notes' and are divided into different categories. In addition, some of them always occur on the strong part of the beat, while others always occur on the weak part. Passing Notes The first type we will look at are known as passing notes. Passing notes are very simple. They always occur on the weak part of the beat, and always fill in a gap between two chord notes. Usually one passing note will fill in a gap of a third, although it is possible to have two passing notes in a row filling in a gap of a 4th.

& œœ œ ? œ 6 C+: ii

& œœ ? œœ C+: I

œ œ œ œ

œ

The E in the soprano does not belong to the ii6 chord. It fills a gap between the F and the D. Passing notes are labelled "pn".

ii

œ œ œœ œ œ

Here, the A and B in the soprano don't belong to the I triad. They fill in a gap of a 4th between G and C. Sometimes these are called 'double passing notes'.

6 I

______________________________________________________________________ 9-1

Passing notes may also occur simultaneously in different voices, creating passages in parallel thirds or sixths.

bb œ œœ b & œ œ ? bb

œœ œ œœ b

In this example, the bass and alto have passing notes on the 'and 'of the first beat (D and F).

i6

C-: i

Sometimes a passing note fills in the gap between two notes only a major second apart. This passing note has an accidental next to it, and is known as a 'chromatic passing note'.

& œœ # œ ? œœ

œ œ œœ ii6

C+: I

Neighbour Notes The next type of non-chord note we will study is the neighbour note. They are simple decorations of a single chord note. They work like this: we hear the chord note, then the note either a step above or a step below it, and then hear the chord note again. The note above or below is the auxiliary note. They are also known as auxiliary notes.

& œœ œ ? œ

œ

œœ œ œ 6

Here, the soprano C is decorated by an upper auxiliary, D. The D doesn't belong to the I triad. Neighbour notes are labelled "nn".

C+: I I ________________________________________________________________________ 9-2

& œœ œ ? œ

œ

C+: I

œœ œ œ

In this one, the C is decorated by a lower auxiliary, B.

I6

Just as we have chromatic passing notes, we may also have chromatic neighbours. The example below shows chromatic neighbour notes in both soprano and alto voices.

œ #œ & œ #œ ? œœ

œ œ œ œ

C+: I ___________

_______________________________________________________________________ 9-3

Homework for Unit 9 ~ Passing and Neighbour Notes Find the passing notes and the neighbour notes in the following and circle them. Add functional chord symbols.

œ œ ˙ & ˙ ˙ ˙ ˙ ? ˙ ˙ # œ œ & w w ?# ˙

˙ œ œ ˙ ˙

˙ ˙

˙ ˙ ˙ ˙œ œ ˙ ˙ ˙

œ˙ # œ ˙˙

œ œ ˙˙ ˙ œ œ ˙ ˙ ˙

˙ ˙ ˙ ˙

œ œœ ˙ ˙ ˙ œ . œj ˙ ˙ ˙

˙˙ ˙ ˙

& b œ˙ œ ˙˙ ˙˙ ?b ˙ ˙

œw # œ ˙ ˙ ˙˙ ˙

œ œ ˙˙ ˙

## œ œ œ œ ˙ & ˙ ˙

œ œ ˙ ˙ ˙ œ œœ˙ œœœ

œœ œ œœ œœ œ œœ œ œ ˙ œ œœœ œ

? # # ˙˙

˙

˙˙

œ #œ ˙ œ #œ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙˙

œ œœ œœ œ œ œ œ œœœœœ

œ œ

œ œœ

Homework for unit 9 page 1 of 1

Unit 10 ~ V7, part 1 If we add a seventh to the V triad, we get what is called the dominant seventh chord (figure 1). In root position it is labelled "V7".

www w

fig. 1

&

= V7

As V7 is a level 2 chord, the usual place for it to go is I. The dominant 7th in root position contains the following intervals: +3, P5, -7. The root/quality symbol is the root plus "7", so a dominant 7th whose root is G would be labelled "G7" V7 contains two notes that we call 'active notes' or 'active tones'. This means that they have a particular job to do. One of these notes is the leading note, and the other is the 7th (remember to raise the leading note in minor keys) As we have seen, the leading note tends to rise a step to the tonic. The new rule to learn here is that the 7th must fall a step. When V7 goes to I, that means the seventh will fall a step to the 3rd of I. fig. 2

&

?

G7

˙˙ ˙ ˙

C+: V7

C

˙ ˙ ˙ ˙

fig. 3

˙ ˙ ˙ ˙

˙ ˙ ˙˙

fig. 4

˙˙ ˙ ˙

˙ ˙ ˙˙

I

Notice that in figure 2 the I chord is missing the 5th (there is no G). If you follow all the rules, i.e. if your leading note rises to the tonic and your 7th falls a step, it's impossible to get the 5th into the I chord without having consecutive 5ths. However, fig. 3 shows a dodge you can use to get the 5th into that I chord: if the leading note is in either the alto or tenor voice, it may fall a 3rd to sing the 5th of I. It's allowed in the alto or tenor because it's not so noticeable. When the soprano has the leading note, it must rise, which is why the I triad in figure 2 has no 5th. You could also leave the 5th out of the V7 chord instead, as in figure 4. This will be less noticeable than a 5th missing from I. ________________________________________________________________________ 10 - 1

Now, let's talk about the inversions of V7. Here they are in C major:

&

1st

wwww 6 5 3

www w

2nd

3rd

www w

6 4 3

6 4 2

As you might have guessed, we abbreviate the symbols for these chords: The 1st inversion is labelled V6 , the 2nd is V4 and the 3rd is V4 5 3 2 The root/quality symbol for the inversions consist of the root plus "7", then a slash, then the bass note. The rules are the same as for V7: the leading note rises and the seventh falls. Note: If we are using inversions of V7, there is never any need to leave the 5th out of I and there is never any need to use the 'dodge': the leading note can always rise to the tonic. fig. 5

G7/B

&

˙ ˙

fig. 6

G7/D

&

˙˙

?

?

˙ ˙

˙˙

˙ ˙ ˙˙ ˙ ˙ ˙˙

Figure 5 shows the 1st inversion. The first inversion of V7 always goes to I in root position, because the leading note is sung by the bass, who must then sing the tonic note.

Figure 6 shows the second inversion, V4 3

_______________________________________________________________________ 10 - 2

Figure 6 shows the 3rd inversion of V7. The symbol for this chord isV42 It follows the same rules. The seventh of the chord is in the bass. Because the seventh always falls, V4 always goes to I6 2

fig. 6

&

?

G7/F

˙ ˙

˙˙

C/E

˙ ˙ ˙˙

Summary 1. V likes to go to I. We can make this tendency even stronger by adding a 7th to V. 2. When resolving V7 to I, the part which has the leading note in V7must rise a step to sing the tonic note of I, unless it is an inner voice, where it may fall to the 5th of I. 3. The part which sings the 7th in V7 must fall a step to sing the 3rd of I. 4. V7 may also go to vi or IV6. We'll talk about this more in a later unit.

________________________________________________________________________ 10 - 3

FORMS

Unit 31 ~ Binary and Ternary Forms When composers write music, they usually use a plan. This plan tells the composer how to build the piece, a bit like builders use a blueprint to build a house. Some common forms for pieces are binary, ternary, rondo, and sonata, although there are others. In this book we’ll look at binary and ternary form, the simplest ones.

Binary Form Pieces in binary form have 2 parts: AB. These sections are usually separated from each other by repeat signs. There are 3 types of binary form: symmetrical, asymmetrical, and rounded. Symmetrical Binary Form In symmetrical binary form, the A section has exactly the same number of bars as the B section. The following piece is an example of symmetrical binary form.

A

J.C.F Bach.

## 3 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ . œ . & 8 . œœ œ ? # # 38 .. œ œ œ œ œ œ œ œ œ œ œ œ .. œ ‰ œœ œ œ œ œ B

## . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ . œ œ . & .œ œ œ œ œ œ œ œ œ # œ œ œ ? # # .. œœœ .. ‰ œœœ œ œ œ œ J ___________________________________________________________________________ 31 - 1

Asymmetrical Binary Form It is also very common for the B section to be a little longer than the A section. When this is the case, we call this asymmetrical binary form.

Here is an example of a piece in asymmetrical binary form. This is by Leopold Mozart, Wolfgang's father. In this piece, the A section has 8 bars and the B section has 12.

3 # # 3 . œ œ œ œ œ # œ œ œ œ œ œ œœ œ œ œœœœœ œ œ œ œ # œ œœœ & 4 . 3 œ œ œ œ œ œ ? # # 34 .. Œ œ œ œ œ œŒ œ œ # œ œœ œ

A

&

##

œ

œœ ˙ ? ## œœœ œ ˙

B

œœ œ œ œ œ .. .. œ œ # œ œ # œ œ œ œ œ# œ œ œ # œ œ œ .. .. Œ

3

œ œ œ

œ œ œ œœ

œ œœ Œ œ œ œ

## #œ œ œ œ œ œ œ œ œ œ œœ œœœ œ œ œ œ œ œœœ & œ œ œ œ 3 œ œ œ #œ œ œ œ œ œ œ ? # # œ œ œ œ œ œ œŒ œ œ

.. ..

___________________________________________________________________________ 31 - 2

Rounded Binary Form There is one final type of binary form we must look at, and this is rounded binary form. In rounded binary, the music that we hear at the beginning of the A section returns at the end of the piece (at the asterisk - see below). Rounded binary pieces can be symmetrical, but they are usually asymmetrical. If the piece is symmetrical AND rounded, just label it as rounded. Here's an example by Telemann:

A ## 3 . œ œ œ œ œ œœ œ œ œ œ œ œ œ œ .œ œ œ œ . . & 8 .J J J #œ œ J œ œ œ œ œ œ œ ? # # 38 .. ‰ ‰ ‰ J œ J œ œ œ œ œ œ œ .. œ J J J

œ # œ œJ œ œ œ œ .œ œ œ œ œJ œ œ œ . œ œ œ J J œ #œ œ œ œ n œ œ ? # # .. ‰ ‰ ‰ J J œ# œ œ œ œ œ œJ œ œ œ ## . nœ œ & . J B

*œ

œ œ œ œ œ œ œ œ œ œ œ & # œ J œ J œJ # œ œ J œ œ # œ œ ‰ .. œ ? ## ‰ ‰ ‰ J œ œJ œ œJ œ œ œ œ œJ œ œj œ . œ œ œ .. œ œ ##

thematic recapitulation

On exams you'll probably be asked to label the different sections usin capital letters. Do it as I have shown on this page, with capital A and capital B. At the asterisk, you may write "A" again, or write "thematic recapitulation". ___________________________________________________________________________ 31 - 3

Ternary Form Finally, let's look at ternary form. Ternary form is simply a 3-part form: ABA. The second A section is usually an exact repeat of the first, although sometimes there may be a small change. Here is an example of ternary form.

A

bb 3 œ œ œ b & 4 ? b b 34 ˙ b ˙ b &bb

œ œ

? bb œ œ œ b

˙

œ

œœœœœ

œ œ œ

˙

œœœœœœ œ œ

œ

œ

œ nœ œ œ œ

œ œ œ

œ. œ œ œ ˙ B

Fine

˙.

œ œ œ

œ œ

œ œ œ

œ

Clarke

œ

œœœ œ ˙.

œ œ œ œ œ œ œœ œ œœœ ˙. œ œ œ b œ œ œ œ œ &bb œ ? bb œ œ œ ˙ . b

˙

œ

˙

œ œ œ

œ œ œœ œœœ D.C. al Fine

A

At first sight this might look like a binary piece. However, if you look at the end, you will see the words "da capo al fine". This means "go back to the beginning and play until the word Fine", which you will see at the end of the A section. So you actually play the A section a second time after you've played A and B the first time around. Sometimes the repeat of the A section is actually written out. Notice that the capital-letter "A" is written a second time, at the end. Don't forget to do this, as it will show that you recognize that this piece is in ternary form. ___________________________________________________________________________ 31 - 4

MELODY WRITING

Unit 35 ~ Melody, Part 1 This is the part of this course where you get to be creative. Music is a language and all of us are capable of speaking it. This means we can all imagine and write down our own simple melodies. At first you may not know what to write. But you have musical instincts and with time you will develop these and begin to come up with ideas. Hopefully this will be fun! Also, note that everything you learn here about writing melodies can and SHOULD be applied to the soprano parts of your SATB work. I have discussed the alto, tenor and bass parts elsewhere.

Phrases Music is made up of phrases, and phrases often go in pairs. The first phrase starts on the tonic and leaves it and often ends on the dominant. The second phrase answers the first one by returning to the tonic. For this section of the course we'll work with this 2-phrase question and answer pattern. In your exercises you will supply answers to questions that I've supplied. If you feel like making up your own questions too, feel free! A phrase can be any length (within reason!) but the most common phrase length in music (not just classical) is four bars: Phrase 1 goes from the tonic to the dominant ...

### 6 œ . œ œ œ & 8

œ œ. œ œ œ J

œ œ J

j œ œ

œ œ J

œ œ J

œ œ J

œ œ J

Mozart, Piano Sonata 11

œœœ

œ J

œ œ J

‰

... and phrase 2 returns to the tonic.

### œ . œ œ œ &

œ œ. œ œ œ J

Phrases can also be two bars long, like the traditional clock chime. As in the Mozart example, the first phrase ends on V and the second phrase returns to the tonic. Notice how in both examples the melody ends on the tonic note. This is usually the best note to end on:

### 3 œ & 4

œ

œ

˙.

œ

œ

œ

˙.

___________________________________________________________________________ 35 - 1

Our first melodies will be two bars long and always end on the tonic note (we will work with 4-bar phrases later). They will also always be in 2/4 time or 3/4 time. Always put the last note on the first beat of the last bar. The best notes to have right before the last note are the leading note or the supertonic. The mediant is also possible. When doing your exercises, try not to just write random notes! Create an answer, no matter how simple, that sounds good to you, either by singing it or playing it on your instrument, and then write it down. Here are some examples. Sing or play these (preferably sing!) before doing your own.

### 3 & 4œ ## 3 & 4œ

œ

œ œ

œ

2 &b 4 œ œ & 42

œ

œ œ œ œ

3 &b 4 œ # 2 & 4œ

œ

œ

œ œ

œ

œ

˙.

œ

œ

˙.

œ

œ

œ

˙.

œ

œ

œ

œ j œ œ

œ

œ

œ

œ

˙.

œ.

œ œ

œ

œ

œ

œ

˙

œ

œ

œ

œ

œ

˙

œ

œ

œ

œ

œ

˙

___________________________________________________________________________ 35 - 2

Homework for Unit 35 ~ Melody, Part 1 Sing or play the opening phrases, then sing or play an answer. Once you have an answer, write it down. Don't write random notes! Always end on the tonic, on the first beat of the last bar. These are all in C major.

& 24 œ & œ

œ œ

˙ ˙

& œ œ œ

˙

& œ œ œ œ

˙

& œ œ œ œ

˙

& œ œ œ œ

˙

& œ œ œ

œ œ œ Homework for Unit 35 page 1 of 1

Unit 36 ~ Melody, Part 2 In a melody you can either move by step or by leap. A step is a major or minor 2nd. Moving by step is always good. Moving by leap is good too: a voice leaps when it moves up or down by any interval larger than a second. Leaps add energy and interest to a tune. However sometimes certain leaps or combinations of leaps are hard to sing or sound bad, so there are some guidelines we need to follow when moving by leap.

These leaps are usually not used as they are too hard to sing:

These leaps are good: 1. Major and minor 3rds up and down. 2. Perfect 4ths and 5ths up and down. 3. Minor 6ths up and down. 4. Major 6ths up only. 5. Diminished 5ths, provided that the part return by step inside the 5th (see next page). 6. Octaves. 7. Minor sevenths going up

1. All Augmented intervals. 2. Major sevenths 3. Minor sevenths going down. 3. Leaps larger than one octave. 4. Major 6ths going down. 5. Two steps or leaps in a row in the same direction that create a 7th or go more than an octave.

These leaps are all good: Major 3rd (up or down)

&c ˙

˙

Minor 6th (up or down)

& ˙

Minor 3rd (up or down)

˙

˙

˙

Major 6th up only (going down is too hard to sing)

˙

Perfect 4th (up or down)

˙

˙

˙

Minor seventh going up only

˙

˙

Perfect 5th (up or down)

˙

˙

Octaves up or down

˙

˙

___________________________________________________________________________ 36 - 1

The following leaps are too hard to sing: Augmented leaps (up or down)

˙

& ˙

Major 7ths (up or down)

˙

˙

˙

œ

Two leaps that add up to more than an octave.

˙

œ

˙

˙

Two moves (steps or leaps up or down that add up to a 7th)

Major 6ths going down

&

˙

˙

˙

Leaping more than an octave

Minor 7ths going down

˙

œ

œ

After a leap, it's often a good idea to immediately step or leap in the opposite direction. This makes the tune easier to sing and helps to create an elegant line. The bigger the leap, the more likely you ar to do this. Here are some examples:

& œ

œ

˙

œ

œ

˙

œ

œ

˙

œ

œ

˙

The notes right before and after an octave leap should be between the two notes of the octave. The note right after a minor 7th leap up must be a step in the opposite direction (because 7ths fall by step, remember?) Good:

& œ œ

œ œ

œ œ

Not so good:

œ œ

œ

7th falls:

œ

˙

___________________________________________________________________________ 36 - 2

We must avoid augmented leaps, but diminished 5th leaps are permitted, provided that the part returns by step inside the interval. For example, if a part has B up to F, the next note should be E. If a part goes from F down to B, the next note must be C. Look at the examples:

& ˙

œ

˙ Avoid

˙

œ

œ

OK

œ

˙

OK

Try to avoid having the subdominant and the leading note too close together in a melody, especially if the subdominant is on a strong beat:

& œ œ œ œ œ

˙

œ

œ

œ

F and B on strong beats: too prominent

œ œ œ

œ œ œ œ ˙ F and B OK here because F is on a weak beat

If the melody rises to the the leading note, then we will expect to hear the tonic afterwards

& œ œ œ œ

Poor old B doesn't rise!

œ œ œ ˙

œ œ œ œ

w

Here are two situations where it's OK for the leading note to not rise to the tonic: 1. When it appears in a descending scale passage:

& œ œ œ œ

2. When it goes to a different note of the V chord:

˙ V

œ

œ

________

œ œ œ œ ˙

I

___________________________________________________________________________ 36 - 3

Writing melodies in 3/4 The only special thing I have to say about writing melodies in 3/4 time is that you want to avoid syncopating the beat, at least for now. Syncopation is an excellent special effect but leave it until you are more expert. Basically, syncopation simply means accenting the weak beats in the bar. In 3/4 that would usually mean accenting the 2nd beat like this:

& 34 œ

˙

œ

˙

You can think of this as a 1 + 2 grouping. Instead of a 1 + 2 grouping, use a 2 + 1 grouping, like this. It flows more easily:

& 34 ˙

œ

˙

œ

Now do exercise set 2, which is in 3/4 time

___________________________________________________________________________ 36 - 4

Homework for Unit 36 ~ Melody, Part 2 Sing or play the opening phrases, then sing or play an answer. Once you have an answer, write it down. Always end on the tonic on the first beat of the last bar.

& 34 œ . j œ œ œ

œ œ œ œ œ

&b œ œ œ œ œ œ

˙.

bbb œ b &

œ.

œ

œ

# œ œ œ œ œ œ & & œ œ œ œ œ œ ## ‰ j & œ œ œ œ œ &b œ œ œ œ œ

j œ œ œ

œ

œ

œ œ œ œ œ œ

œ

œ

œ œ œ œ œ Homework for Unit 36 page 1 of 1

Unit 37 ~ Melody, Part 3 When writing a melody you want to try to give it some shape or direction. Melodies like to move! Avoid what I've done in this next example, which is to stay in a very narrow range all the time and have far too many Cs:

&c œ œ œ œ

œ œ œ œ

œ œ œ œ

œ

˙

œ

By contrast, the following melodies all have lovely shapes. Many melodies are shaped like an arch they slowly rise, and then fall. Figure 2, a hymn tune, has this kind of shape.

## c &

fig. 2

&

##

œ œ œ œ

j œ. œ œ œ

˙

œ. œ œ œ J

˙

œ œ œ œ

œ

œ

œ . œj

John Bacchus Dykes

˙

˙ w

Here's another example of an arch-shaped melody - Christmas carol Once in Royal David's City.

&b c

œ œ

j œ. œ œ œ œ œ

j œ . œ œ œ œ œ œœœœ

Henry John Gauntlett

˙

___________________________________________________________________________ 37 - 1

Here's a melody with a different shape. Each phrase starts high, falls, and then rises again.:

# c œ &

œ œ œ œ

# œ œ œ œ œ &

œ œ œ œ

œ œ œ œ œ

jœ œ œ œ.

jœ œ œ œ.

˙ œ œ œ œ œ

Fine melodies often contain a climax, perhaps a high note towards the end. This famous tune is called 'Londonderry Air' (AKA 'Danny Boy'). It's an Irish folk song. Sing it to yourself or play it on the piano. Where is the climax?

& b c ‰ œj œ œ j œ & b œ. œ œ œ œ .œ œ œ œ œ œ &b J œ. œ œ œ œ œ J &b

j œ . œ œ œ œ œ œ œ œ . œj œ œ œ . œJ œ œ œ œ ˙ œ œ œ œ œ œ œ . œj œ œ

œ œ œ œ œ œ

œ œ œ. œ œ œ J

œ. œ œ œ œ œ J

œ œ œ. jœ œ œ

œ . œJ œ œ œ œ

˙ œ

œ œ œ

˙ œ œ œ œ ˙

Notice also that almost all of these melodies descend the scale to the final tonic. There is no rule that says you have to descend the the last note, but it's very common and feels natural, as if one is sitting down to rest. So a falling melody at the end of a piece is usually satisfying and sounds complete. ___________________________________________________________________________ 37 - 2

Writing in 4/4 time So far in our melody exercises we have only written tunes in 2/4 and 3/4. Writing in 4/4 is much the same, except that now you have the option of ending the melody on either the 1st beat of the last bar, or on the 3rd beat. Actually, ending on the 1st beat can seem premature sometimes. Compare the first two examples:

# œ œ œ œ œ &

œ

œ

˙

This one seems to end a bit 'early', right?

# œ œ œ œ œ &

œ œ ˙

œ œ œ œ œ œ œ œ œ œ œ

w œ œ ˙

Ah yes, that one sounded better! In most cases ending on the 3rd beat will be more satisfying, unless the melody begins with an upbeat, which we will dicuss later. Here are some more examples:

j œ œ œ b œ . & œ œ œ œ œ œ &

##

j œ œ œ œ œ œ œ. œ œ œ

œ œ œ œ œ œ œ œ œ œ

œ œ

œ œ œ ˙ œ œ œ œ ˙

bb œœœœ œœ œ b œ œ œ œ œ & œ œœ œœ œ œ œœ˙ œœ œ œ œ ___________________________________________________________________________ 37 - 3

Homework for Unit 37 ~ Melody, Part 3 Sing or play the opening phrases, then sing or play an answer. Once you have an answer, write it down. Don't write random notes! Always end on the tonic, on the first OR THIRD beat of the last bar (most likely the third).

&c œ

œ

œ

b &b œ œ œ #

& œ &

˙

œ œ œ

###

œ

œ œ œ ˙ œ

œ œ œ œ œ œ œ

&œ &

##

&

####

œ #

œ. œ

œ

œ œ ˙

œ

œ œ œ œ œ œ

˙

œ œ ˙

œ œ J

œ

œ

œ

˙

œ œ œ ˙ œ œ ˙

Homework for Unit 37 page 1 of 1

APPENDIX

Baroque Dances On exams you may have to identify different dances that were commonly composed (and danced) during the Baroque Era (ca. 1600 - 1750). You can identify them from their time signatures, tempo and the length of the pickup. Here are some of the more common types, with examples taken from Bach's Suites for Solo Cello. On exams you are more likely to see keyboard dances but the same characteristics apply. Menuet The menuet was extremely popular. It is always in 3/4 time, at a moderate tempo.

?# 3 œ 4œ

œ

œ ˙Ÿ œ œ œœ œ œ œ œ œ œ œ œ œ œ ˙˙

œ œ

Bourrée Fast dance in 4/4 or 4/2 time, with a quarter note pickup

œ ?C œ œ œ œ œ œ

5

œ œœœ œ œœ œ œœœ œ œ

œœœœœ œœ

Gavotte In 4/4 with a half note (or two quarter note) pickup

? b c œœ œ bb œ

10

œœ œ œ œœ œ œ œ œ œœ œ œ œ œ nœ œ n œ nœ

Ÿ œ œœ œ œ

_____________________________________________________________________________ Appendix - Baroque Dances - 1

Gigue Lively dance, usually in compound time e.g. 3/8, 6/8, etc. Usually with pickup.

Ÿ œ œ œ œ œ .. œœ œ œ ?# 6 œ œ œ œ œ œ œ œ œ œ œ œ 8J œ œ œ.

15

œœ

Sarabande Slow triple meter. There is an accent on the 2nd beat of each bar, which is unusual in a triple time piece.

? b 43 œ . œ œ . ˙

20

Ÿ œ œ œœ .. œ.

œ œ œ œ œ œ œ œ œ œ œ œ #œ. J

Allemande 4/4 or 2/2 time, usually with a pickup

? # c œR œ

24

œœœœœ œœ œœœœœ œ œ œ œ œ œ œ œ œ œ œ œœœœœ

Courante Fast, triple meter, often with a pickup

œ ? # 3 œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ 4J œ œ

27

œœœœœœ œ œ j œ œ

_____________________________________________________________________________ Appendix - Baroque Dances - 2

Common Progressions in Piano Style Here are some common progressions written out in piano style to make them easier to play. They are divided into 4 categories: Phrase openings, phrase endings, mid-phrase fragments, and some whole phrases. 1. Phrase openings

œœ œœ œ œ

˙˙ c & ˙ ?c ˙

˙˙ ˙

œ œ

œœ œ

& ˙˙˙ ? w

œ

œ

˙

œœœ

œœ œ

œœ œ

œœ œ œ

œœ œ

œœ

œœ œ œ

œœœ œ

œœ œ

œ

œ

œœ œ

œœœ œ ˙˙ ˙ ˙

œ

œ

œœ œ

œœœ œ

œœ œ œ

œœ œ œ

œœ œ

œœ œ

œ

2. Mid phrase fragments

& œœ œ ? œ

œœ œ

œœ œ

œ œ œ

œ

œ

____________________________________________________________________________ Appendix - Common progressions in piano style - 1

3. Phrase endings

˙˙ & ˙

˙˙œ œ

? ˙

˙

& œœœ œœœ œœœ œ œœœ ? œ œ ˙

U ww w

˙˙˙

w u

˙

U ww w

œœ œœ œœ œœ œ œ œ œœ

˙˙œ œ ˙

œ œ œ œ

w u

U ww w w u U ww w w u

4. Whole phrases

& œœœ ? œ

œœ œ œ

œœ œœ œ œ œ œ

ww w w

œœ œ œ

œœœ œœœ œœœ œ œ œ

œœ œ

œœ ˙˙ œ˙

œ ˙ œ

œ œœ œ œœ œ œœ œ œœ œœœ œ

œœ œœ ˙˙ œœ˙ œœ˙

____________________________________________________________________________ Appendix - Common progressions in piano style - 2

œœ œœ œœ œœœ & œ œ œ

œœ œœ ˙ œ œ œ ˙˙ œ

? œ œ œ œ

œœ œœ œ œ

& ˙˙˙ ? w

& œœœ ? œ

œœœ œ

œœ œ œ

œ ˙

œœ œœ ˙˙ œ œ ˙ œ œ ˙

œœ œ œ

œœ œœœ ˙˙˙ œ œ œ ˙

œœ œœ œ œœ œœœ œ œ œ œ œ œ œ

œœ œœ ˙ œ œ ˙˙

œœ œœ œœ œ œ

œœ œœ ˙ œ œ œ ˙˙

œœ œ œ

˙

œ œ œ

œ œœ œœ œœœ œ œ œ œ œ

œœ œ

˙

œ

œ ˙

œœ

˙ ˙ ˙

œ

____________________________________________________________________________ Appendix - Common progressions in piano style - 3

œ & œœ œœœ œœœ œœœ ? œ œ œ œ

& œœœ œœœ œœœ œœœ ? œ ˙ œ

œœ œœ ˙˙ œ œ ˙

œœ œ

œ œœ ˙˙ œ ˙ œ œ ˙

œœ œœœ œœ œœ œ œ œ ˙

œœ œœœ œœœ œœ œ œ œ œ œ

œ œ

œœœ œœœ œ œœ ˙ œ œ ˙

œœ œœ œœ œœ U œ œ œ www œœœ œ w u

_____________________________________________________________________________ Common progressions in piano style - 4