Music Theory II

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Music Theory II

• New York University

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Housekeeping (4/20/05)

• Quote of the Day
• Ive got a fever
• And the only prescription
• Is more Cowbell!
• Bruce Dickerson, producer of Dont Fear The
  Reaper.

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Agenda (4/20/05)

• Writing Modulations Reviewed (pp. 406-407)
• Chapter 19 Harmonic Sequences - Concepts and
  Patterns (revisited?)
• Writing (playing) the sequence

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Overview (semester map)

• Review of Theory I (13, 11)
• Diatonic Harmony continued (14-16)
• Applied Chords (21)
• Tonicization and Modulation (22)
• The Period and other small musical structures
  (17-18)
• Sequences (19-20) (You are here)
• Binary Forms? (23)

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Writing Modulations

• Terry (C)
• Caleb (D)
• James (A)
• Branden (B)

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Chapter 19 Harmonic Sequences - Concepts and
Patterns

• The material presented in this chapter may seem
  rather familiar to you, right Zach?
• Zach is rightit should seem familiar to you
  since we covered sequences in some detail during
  our foray into Applied Functions in Chapter 21.
• We will now double-back to see how composers can
  employ all of the diatonic harmonies to fill a
  single phrase.Lets listen to the chord
  progressions in ex. 19.1

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Chapter 19 Harmonic Sequences - Concepts and
Patterns (contd)

• 19.1A - tonic expansion that moves to the
  pre-dominant and an authentic cadence.
• 19.1B C - 2x as many chords, yet the
  interpolations do not alter the phrase model.
• Rather, they serve to embellish the underlying
  harmonic function
• How?
• 19.1B prolongs the tonic, but 19.1C functions
  differently. There, the added chords provide a
  smooth transition between the tonic and the
  pre-dominant.
• Such passages are called harmonic sequences.

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Sequence as Paradox

• In a sequence, rapid harmonic rhythm gives the
  impression of intense musical motion. However, as
  a result of the qualities weve already observed,
  they actually slow down harmonic motion.
• One can find a visual analog for the sequence in
  the work of M.C. Escher. In particular, Ascending
  and Descending (1960), presents a compelling
  corollary for constant, goal-directed motion

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Sequence as Paradox (contd)

• If you follow the journey of the monks, you will
  discover that before too long you are right back
  where you started.
• Such is the sequence.
• Sequences first appeared during the Renaissance
  (c1450-1600), and played an important role in the
  Baroque Era.
• However, they are also very common in the popular
  music of today

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Sequences (contd)

• Frequently found in 20th century Jazz and Pop
  music - Lionel Richie, Hello (excerpt from
  chorus)
• As promised

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Components and Types of Sequences

• Sequences can be divide into 2 parts the model,
  and its copies. The model presents the
  contrapuntal and harmonic pattern, which is
  usually two chords.
• Sequence Types ascending sequences and
  descending sequences.
• Our model for the sequence can take the form of
  an equation. For example, given the harmonic
  model of a C chord falling to an F chord C ? F
  B ? E A ? D G ? C, we would label the sequence
  D2 (D5/A4).

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The Descending Second Sequence

• Comprises descending fifths and ascending fourths
  (D5/A4) and is often called the descending fifth
  sequence.
• This is the most important sequence in tonal
  music.
• This sequential two-chord pattern creates the
  deeper-level descent by second, hence the name
  D2.
• The connecting beams in the bass of 19.3 show
  this overall descent by seconds

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The Descending Second Sequence (contd)

• From 19.3 we also discover another important
  function of sequences the 2nd chord of the two
  chord model breaks the potential parallels that
  would occur from a direct descent by seconds.
• We refer to these helping chords as voice-leading
  chords.

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The Descending Second Sequence (contd)

• Note how the major-mode D2(D5/A4) sequence
  contains a melodic tritone near the beginning in
  the minor, it occurs near the end.
• Although uncommon in traditional harmonic
  progressions, within the context of a sequence,
  this interval is acceptable.
• The same holds true for the root position
  diminished triads that are also present.

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The Descending Second Sequence (contd)

• Now listen to the alternate chromatic version
  (21.5B) which results when applied chords are
  used as substitutes for diatonic ones.

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The D2 (D5/A4) Sequence

• We can also add 7ths to the triads of the
  D2(D5/A4) sequence, thus enhancing goal-directed
  motion. These 7th chords may be alternating
  (21.16A), or interlocking (21.16B) (alt7 v.
  int7).
• Note the presence of parallel tritones in this
  example and in 21.17

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Sequences and Six-Three Chords

• Given the angular bass of the root-position D2
  sequence, composers often place one of the chords
  of the model (usually the second) in first
  inversion.
• This creates a much more melodic bass and
  enhances the sequences underlying prolongational
  and transitional function.
• We represent inversions by adding 6
• 3 to the label
• D2(D5/A4) 6
• 3

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Sequences and Six-Three Chords (contd)

• Given the contrapuntal derivation of sequences,
  there is no need to analyze individual chords.
• Simply bracket and label the sequence type and
  provide a second level analysis that shows the
  underlying functional progression, as was
  illustrated in 19.5.
• 19.5A identifies a deep-level tonic expansion
  through an embedded cadential motion (ECM), while
  19.5B shows a deep-level harmonic progression.

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The Descending Third Sequence

• Comprises descending fourths and ascending
  seconds (D4/A2) and contrasts nicely with the D2
  sequence since it incorporates different rrot
  relations in each stage.
• Lets listen to 19.6 and take note of both the
  miniature deceptive motion (between the 2nd chord
  of the model, V, and the 1st chord of the
  repetition, vi), and the stepwise descending
  soprano line

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The Descending Third Sequence (contd)

• A paradigm example of the D3 sequence is another
  old friend of ours.
• Pachelbels Canon in D Major

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The Descending Third Sequence (contd)

• You may have noticed how the sequence here serves
  a double function
• It prolongs the tonic (I is the last chord to
  follow the established contrapuntal and melodic
  pattern).
• It also leads to the pre-dominant (the tonic at
  the end of the sequence sounds less like a chord
  of arrival, and more like a voice-leading chord
  to ii65.

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The Descending Third Sequence (contd)

• Composers often use six-three to smooth the
  basses of D3 sequences just as they do with D2
  sequences

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The Ascending Second Sequence (A2)

• Comprises ascending fifths and descending fourths
  (A5/D4).
• Much less common than the D2 (D5/A4) sequence
  because it is far less goal directed

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The Ascending Second Sequence A2(D3/A4)

• Similar to the A2(A5/D4), the A2(D3/A4) is
  characterized by rising seconds, as demonstrated
  in example 19.10

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The A2 (D3/A4) Sequence

• The A2 (D3/A4) sequence comfortably incorporates
  applied chords. The six-three chord, a by-product
  of 5-6 motion may become a 1st inversion applied
  dominant of the upcoming chord by simply raising
  the bass a half step. This creates a powerful
  harmonized chromatic passing tone that functions
  as the temporary leading tone. It leads to the
  upcoming root position triad that is a step up
  from the previous one

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Writing Sequences

• There is only one guideline when writing
  sequences make sure the voice-leading in the
  first three chords is correct (!)
• The repetitions merely restate the model an any
  inconsistencies will be glaringly obvious.
• Since, as we know, harmonic progressions are
  governed by soprano-bass counterpoint, always
  write the outer voices first (!)

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Assignment

• Textbook Pages 344-345 - 19.5 and 19.6.
• Be ready to play at least one example from 19.6
  on Monday.

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