Music Theory II

1
Music Theory II

• New York University

2
Housekeeping (3/7/05)

• Quote of the day
• When I was a kid my favorite relative was Uncle
  Caveman. After school we'd all go play in his
  cave, and every once in a while he would eat one
  of us. It wasn't until later that I found out
  that Uncle Caveman was a bear.
• Jack Handey

3
Agenda (3/7/05)

• Homework Returned-Overview Musical Context
• Chapter 16 The Mediant, the Back-Relating
  Dominant, and a Synthesis of Diatonic Harmonic
  Relationships (conclusion)
  
• Exam Review

4
Musical Context Sonata form

• A complex musical form that is essentially a
  large rounded binary - two sections, labeled A
  and B, usually with repeats A B
  
• Each section commonly divides into two parts,
  with the second part of A focusing on the
  dominant when the first part is in a major key,
  or focusing on the relative major if the first
  part is in minor. The second part of B
  returns to tonic.
• Additionally, the Rounded Binary brings back the
  first or second part (usually the second part) of
  the A section at the end of B .
  In very short Binary pieces, a modulation may not
  occur.
• Most classical dances are in Rounded Binary form.

5
Sonata form (contd)

• (Classical) An elaborate Rounded Binary in which
  the first section is called the Exposition
  containing two contrasting themes in tonic and
  dominant keys (or tonic and relative major if in
  a minor key), commonly called masculine and
  feminine.
• The second section is divided into two parts
  called the Development and Recapitulation.
  
• The Development contains themes from the
  exposition manipulated in various ways, commonly
  fragmented, transposed, inverted, retrograded,
  etc. This section also contains rapid modulation
  and a contrapuntal treatment of thematic material
  and focuses around the dominant or relative
  major.

6
Sonata form (contd)

• The Recapitulation is a repeat of the Exposition,
  but both themes are presented in the tonic key.
  The first movement (allegro) of a Sonata is
  normally in this form.
• Is the sonata a recipe?

7
Sonata form (contd)

• In Charles Rosens view, Sonata form should be
  viewed as a process of tonality rather than a
  recipe, i.e., rather than regarding it as a
  structural form, one should instead see it as the
  means by which a composer treats musical
  material.
• Essentially, sonata process deals in ambiguities
  than can best be established as a result of tonal
  relationships tonic becoming dominant of
  sub-dominant, etc. This quality solidifies its
  relation to fugal process, and thereby
  establishes continuity with the Baroque while at
  the same time breaking with it.
• Rosen presents a superb model for the analysis of
  the sonata Notice significant moments, and
  describe the import of those moments. (dont
  point out measure for measure)

8
Chapter 16 (contd) Voice Leading for the Media
nt

• Its relatively easy to use the mediant with good
  voice leading as long as you remember a few
  simple guidelines
  
• Try to move the outer voices in contrary motion
  when approaching and leaving iii.
  
• Use the soprano line 8-7-6 when iii supports 7.
• Continue the contrary motion when iii moves to
  the pre-dominant as this will help avoid
  parallels in progression in which the the roots
  move by a 2nd.

9
(No Transcript)
10
More Contextual Analysis

• We know that a V chord may or may not function as
  a true structural dominant.
  
• In the following phrase, which V is most likely
  to be a structural dominant?
  
• I-V-vi-ii-V-I
• The structural dominant is most likely the second
  one, while the first is only a voice-leading
  chord that acts as a connector between I and vi
  and helps avert potential parallels.
• We also observed that in the step-descent bass in
  minor (i-v6-iv6-V), the minor v6 was far removed
  from its dominant function. There, it merely
  harmonized b7 connecting i and iv6 in the bass.

11
Even More Contextual Analysis

• Once again, we see that contextual analysis is
  essential for understanding how harmony works. It
  clarifies which chords are structural, and which
  are mere embellishments.
• 16.6 presents a new way in which a dominant may
  appear as non-structural. Lets give it a listen
  while observing the first-level roman numeral
  analysis.
• Whats unusual about the harmonic progression?

12
(No Transcript)
13
Even More Contextual Analysis (contd)

• 16.6 presents us with something of an analytical
  dilemma.
  
• V does not usually progress to ii such motion
  from a dominant back to a pre-dominant is called
  a retrogression.
  
• These usually sound awkward and weak, but Bachs
  phrase doesnt sound weak at all.
  
• So, what is the function of the V in measure 2?
• Is it the structural dominant which is prolonged
  to m. 3 by means of a passing ii? (This reading
  seems to make sense. However, we probably dont
  hear the V of m. 2 as a structural V).
• Doesnt the ii chord in m. 3 sound like a PD?
  (Listen)

14
(No Transcript)
15
Even More Contextual Analysis (contd)

• Ignoring the supertonic (ii) harmony is not a
  reasonable interpretation since it clearly plays
  an important role. It marks the beginning of the
  second sub-phrase, and its chordal 3rd (Ab4)
  prepares the 7th of the dominant to create the
  two-note soprano line Ab4-G4.
• Now, the importance of the first V seems to wane.
  The excerpt begins on a Bb4, but in m. 2 (where
  the troubling V appears), the soprano leaps up to
  a D5.
• Ignoring the first dominant, the progression
  becomes I-ii-V-I, and each harmony supports the
  melodic descent in the soprano (Bb4-Ab4-G4).

16
(No Transcript)
17
Even More Contextual Analysis (contd)

• The preceding analysis takes into account the
  phrasing and melodic continuity of the Bach
  excerpt, and reflects the perception of the music
  better than the analysis that viewed the V in m.
  2 as structural.
• Because there is no harmonic connection between
  the V in m. 2 and the following supertonic, the V
  instead prolongs the preceding tonic.
  
• Dominants that prolong a previously sounding
  tonic without resolving to a following tonic are
  called back-relating dominants (BRDs) and can be
  shown only in a second-level analysis

18
(No Transcript)
19
Even More Contextual Analysis (contd)

• Since the music that follows a half-cadence is a
  restart and not a continuation, we can view the
  half cadence as a common and important type of
  back-relating dominant.

20
Part 3 Summary

• In Part 3, weve begun to develop and refine the
  skills to write, sing, play, and hear phrases
  containing diatonic harmonies.
  
• Weve consistently seen that hierarchy is at very
  much at the core of tonal music. Tonic, dominant,
  and pre-dominant are still the most structural
  chords, with all other chords in a progression
  playing supporting, ornamental roles. This
  hierarchy may always be represented through a
  multitiered analytical process.
• In first-level analysis, we label all vertical
  sonorities with roman numerals in second-level
  analysis, we interpret their functions within the
  musical context to enable us to see larger
  connections.

21
(No Transcript)
22
Part 3 Summary (contd)

• For example, embedded cadential motions (ECMs),
  although they move through the three harmonic
  functions (T-PD-D-T), really act only under a
  single harmonys domain the tonic. It is only
  near the phrases cadence that tonal progression
  occurs (see 14.5).

23
Part 3 Summary (contd)

• Weve also learned how to interpret tricky
  harmonic successions by considering their overall
  tonal motion and effect (context!), e.g., the V
  of a back-relating dominant (BRD) does not
  actually progress to the next harmony. Instead,
  it prolongs and extends an earlier tonic that
  does not progress to the pre-dominant until
  further along in the phrase (16.6).

24
Part 3 Summary (contd)

• Weve also seen how second-level analyses mirror
  our actual perception of the music. It will
  therefore influence the way we shape phrases in a
  performance.
• For example, if you recognize that a half cadence
  (HC) ending a phrase actually prolongs tonal
  motion, and does not lead to the tonic of the
  following phrase, you will begin the next phrase
  anew, with no connection to the end of the first
  phrase.
• You are now able to communicate to the audience
  the drama of a later authentic cadence, which
  fulfills the tonic expectation thwarted at the
  restart

25
(No Transcript)
26
Assignment (3/7/05)

• Continue to review Chapters 11 through 16 in
  preparation for the midterm (3/9/05)