Music 251, Spring 2004: review for final exam

Monday, May 10, 9:30 a.m. – 12:30 p.m.

Review all homework assignments and quizzes, and all reading in Gauldin.

Review all material with both analysis and part-writing (voice leading, chord structure) in mind.

I: Harmonic techniques. Review all assigned reading and websites (refer to syllabus)

Tonicization and Modulation

Tonicization: Secondary dominant function chords (V, V7, viio6, and viio7 or o7) applied to major or minor triads other than the tonic
Tonicization: short-term event, no strong cadence
Modulation: can be achieved with or without diatonic pivot chord or pitch
Modulation requires strong cadence in new key
Be able to explain relationship of tonicized chord or new key to original key
NB: nearly all tonicizations and modulations require some chromaticism to achieve
LT: most important element in establishing new tonal center, whether temporary or longer-term

Modal Mixture

Using pitches or chords from opposite mode

Usually from a major key, borrowing @3, @6, and @7
This changes quality, but not function
Mixture can also increase modulatory possibilities

Neapolitan Harmony

Major triad built upon @2: @2 - 4 - @6 in major keys; @2 - 4 - 6 in minor keys
Function: predominant
Can be tonicized

Can serve as a modulatory goal

Augmented 6^th Chords

Chromaticized predominant chords
Three common types (I For – Get)

o Italian: b6 - 1 - #4 in major: 6 - 1 - #4 in minor

o French: b6 - 1 - 2 - #4 in major: 6 - 1 - 2 - #4 in minor

o German: b6 - 1 - b3 - #4 in major: 6 - 1 - 3 - #4 in minor

o Nearly always goes to cadential 6/4 before V

o Doubly-augmented variant (major keys only): b6 - 1 - #2 - #4

Watch the voice leading of these chords: typically very smooth, especially chromatically-altered elements! The aug. 6^th interval typically resolves by contrary motion to the 5-5 octave:

o Bass: 6 (minor keys) or b6 (major keys) goes to 5

o #4 goes to 5

Diminished 7^th chords

Diminished 7^th chords have several possible functions:

o LT 7^th chords, either primary (i.e., built on LT in primary key), or used in tonicization

o Reinterpreted enharmonically to facilitate modulation

§ Review LvB op. 13, I, just before development. F# ^o7 (functioning as LT to a G chord) respelled as a D# ^o7, facilitating modulation to the remote key of E minor.

o Common-tone ^o7, in which 3 of the 4 notes are used as neighbor notes, while one note is retained as a common tone to the next chord. This is a linear use of the ^o7 sonority.

II: Form

Phrase Structure

Review period structure. Know the difference between parallel and contrasting, symmetrical and not, modulating and diatonic periods. Review all examples discussed in class
Review cadence types and be very, very careful about what you label a cadence. Cadence = punctuation, not just any old V-I progression

Binary Forms

Review all reading, both in print and online
Review simple and rounded binary forms. Be prepared to diagram the harmonic structure and thematic design of simple and rounded binary forms
Review examples from Beethoven sonatas discussed this term

Ternary Form

Review all reading, both in print and online
Review difference between rounded binary and ternary form
Consider the binary and ternary aspects of sonata form and be prepared to comment on this

Sonata Form

Review all reading, both in print and online
Be prepared to diagram, in detail, a typical sonata form movement, with comments concerning both harmonic structure and thematic design. Review the functions of the various thematic elements: introduction, theme groups, transitions and retransitions, development, and coda.