Music 161C: Review for final exam

Monday, June 5, 10:45-1:15

Prepare for melodic and harmonic dictation. Be ready to observe melodic and rhythmic patterns, step/skip behavior, minor-scale forms. Harmonic dictation may include linear dominants. Review your figured bass symbols and their meanings: isolated accidentals, slash through a number, a pair of numbers (8-7, for example).

Review all homework assignments and quizzes, including 1st, 2nd, and 4th species counterpoint.

Review all techniques with both analysis and part-writing in mind.

Gauldin chapter 15: Pre-dominant chords: iv and ii

• PD functions in cadences: authentic and half
• Most common positions: IV, IV⁶, ii (major keys only), ii⁶ and ii^o6 (minor keys). PAY ATTENTION TO CHORD QUALITY!
• Typical cadential bassline: 4 - 5 - 1.
• In analytic reduction, stem and beam ALL cadential bass notes (PD, D, and T), and beam stepwise descending lines in soprano.
• PD to V in half cadences
• Special case: iv⁶ - V in minor = Phyrgian cadence. Why? (See footnote, p195).
• Embellishing PD functions within phrase.
• May embellish progressions (ex10A-F): PD chords harmonize P and/or N tones in soprano and/or bass.
• Avoid A2 in minor keys between 6 and LT -- either raise 6, or move 6 to 5 or 4. Do not move the natural 6 directly to LT in minor keys!
• Plagal cadence: IV - I. Root position only.
• IV as N to I.
• Review partwriting and melody harmonization procedures, pp 204-210.

Gauldin chapter 16: 6/4 and other linear chords

• N, P, accented, and cadential 6/4
• Accented: Most common over 5 at cadences (Cadential 6/4). Review labeling and function of this chord (pp212-217). This chord is exceptionally common in the Classical period. It is NOT a I6/4!
• P: typical between 1 and 3 in bass (V6/4), or between 4 and 6 in bass (I6/4). Bass = P (pp217-218)
• N: typical over 1 or over 5 in bass. Embellish I or V chords w/N 6/4 (pp219-220)
• Review partwriting and melody harmonization procedures, p221.

Gauldin chapter 17: ii⁷ and iv⁷

• These chords function similarly to their triad parents, but with added dissonance. Do not forget to prepare and resolve the chordal 7^th, wherever it is.
• ii6/5 is exceptionally common at cadences in both major and minor keys. Review quality of this chord in both major and minor keys.
• Embellishing (non-cadential) functions: see ex7, p230.
• Prolongations of PD function: IV-ii ok; moving between different positions (inversions) ok (pp232-233).
• Review partwriting and melody harmonization procedures, pp235-238.

Gauldin chapter 18: vi, iii, and other diatonic chords

• Functions of vi (which is almost always in ROOT POSITION):
• Descending bass arpeggiation
• type 1: I-vi-IV or ii6… and type 2: I - vi - I⁶
• PD (vi - V)
• Descending 5^th root relationship with ii
• DC -- substitutes for I in a cadence, following V⁽⁷⁾
• Functions of iii (which is almost always in ROOT POSITION):
• Descending 5^th root relationship with vi
• Harmonizes 7 in a descending 8-7-6 soprano line
• Arpeggiation between I and V: I - iii - V
• Intermediate between I and V: I - iii - PD - V
• (bass line 1 3 4 5)
• vi7 and iii7: common only in sequences
• vi6 and iii6: common only in sequences
• Minor v in minor keys (no LT!)
• Harmonizes a descending 8 - 7 - 6 soprano line
• Harmonizes a descending 8 - 7 - 6 bass line (using v⁶)
• VII in minor keys (root = 7, not LT)
• Precedes III (functions as III's dominant)
• Can also precede V or V⁶ (^6/5)
• Review partwriting and melody harmonization procedures, pp252-253.

Gauldin chapter 19: tonicization and modulation i.

• Any consonant diatonic triad can be tonicized. Review consonant diatonic triads in major and minor keys. Note: in minor, consonant diatonic triads are derived from natural minor only.
• Most commonly tonicized chords: V in major, III in minor.
• Tonicize a chord by preceding it with its own dominant function chord: any V, V⁷ (and inversions), or vii^o6 will do.
• Remember to think in the key signature of the chord you're tonicizing. See example 3, p257.
• Modulation: an extension of tonicization.
• Modulation requires cadential confirmation.
• Three types of modulation:
• Sectional (p259)
• Pivot or common chord (p260)
• Chromatic (p261)
• Modulation to V in major keys requires one chromatic alteration.
• Modulation to III in minor keys requires NO chromatic alteration.
• Review melody harmonization procedures, pp267-268.

Species counterpoint

• 3^rd species counterpoint
• 4:1 relationship between ctpt and CF
• Same starting and ending intervals
• Can begin on beat 1, or after 1-beat rest
• Last measure = whole note; last two counterpoint notes = 7-8, as always
• N, DN, P, CS, nota cambiata are the common figures
• 5^th species counterpoint
• Combination of the previous 4
• Same starting and ending intervals
• Begin slowly. It is typical to begin as 2^nd or 4^th species
• Last measure = whole note; last two counterpoint notes = 7-8, as always
• New figures:
• Eighth-note pairs, completely stepwise entering, during, and leaving
• Embellished suspensions
• Anticipation of resolution
• Anticipation + LN
• CS (consonant skip from sus and to res)
• ET from sus (incomplete upper neighbor of sus)

Study hard, and good luck! See you Monday morning.