Chapter 4: Diatonic Harmony, Tonicization, and Modulation
- Page ID
- 232615
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- 4.1: Introduction to Harmony, Cadences, and Phrase Endings
- This page discusses the harmony section of Open Music Theory, focusing on cadences that create closure in musical phrases. It details two main types: authentic cadences (V–I) for closure and half cadences (x–V) for a sense of incompleteness. The chapter covers harmonic functions, writing Perfect and Imperfect Authentic Cadences, and the role of key in cadences.
- 4.2: Strengthening Endings with V7
- This page explains how composers utilize the dominant seventh chord (V7) to achieve tonal resolution to the tonic (I) through three methods: the default resolution, the incomplete V7, and the leading-tone drop. The chapter highlights the importance of resolving note tendencies while avoiding problematic voice leading, and includes examples and interactive components to enhance understanding.
- 4.3: Strengthening Endings with Strong Predominants
- This page discusses the predominance of IV and ii6 chords, their role in harmonizing the bass note fa, and their function before dominant chords. Key writing tips include avoiding parallel octaves and fifths, ensuring smooth voice leading, and effective bass and soprano placements. The flexibility of ii6 chord doubling and the typical doubling of IV's bass are highlighted. The chapter also touches on the root position ii and its relationship to the V chord.
- 4.4: Embellishing Tones
- This page explores embellishing tones in music, classifying them into three categories: stepwise motions, leaps, and static notes. It explains how each type enriches chord notes, offering examples and resolutions. A summary table is included, along with assignments for students to practice recognizing and composing embellishing tones in a two-voice setting.
- 4.5: Strengthening Endings with Cadential 6/4
- This page covers the cadential 6/4 chord, detailing its structure as an embellishment of the dominant chord. It explains the resolution to V7 and its typical approach by dominant predominants like IV and ii6. The chapter emphasizes effective voice leading to ensure smooth resolution and avoid parallel octaves, while also highlighting the chord's significance in establishing cadence expectations in music.
- 4.6: Prolonging Tonic at Phrase Beginnings with V6 and Inverted V7s
- This page explores tonic prolongation in Western classical music, especially at the start of phrases. It explains the interplay of tonic harmony with V6 or inverted V7 chords to enhance tonic influence. Examples include common structural patterns where three chords are employed, with the first and last being tonic and the middle a V6 or inverted V7. The text also discusses techniques to extend tonic influence through different chord progressions.
- 4.7: Performing Harmonic Analysis Using the Phrase Model
- This page presents a strategy for harmonic analysis centered on the bass line to identify harmonic progressions in music. It highlights key steps such as recognizing phrase endings, analyzing cadences, identifying predominants, and confirming harmonic functions. The use of labels (Tb-PD-D-Te) for categorizing phrases is emphasized, alongside assignments for students to apply these concepts to musical excerpts.
- 4.8: Prolongation at Phrase Beginnings using the Leading-Tone Chord
- This page discusses the use of the leading-tone chord (viio7) and its inversions to extend tonic harmony, serving as a substitute for the V7 chord. It highlights the importance of using viio7 in first inversion to minimize dissonance, with variations in major and minor keys. The page provides examples from Mozart's "Agnus Dei" and includes assignments for students to apply these harmonic concepts in practice.
- 4.9: 6/4 Chords as Forms of Prolongation
- This page introduces three chord types: Passing (pass.), Neighbor (n.), and Arpeggiating (arp.). Passing chords use a bass passing tone to prolong harmonies, while Neighbor chords have a static bass with upper neighbor movement. Arpeggiating chords feature a leaping bass through the chord's fifth. The chapter emphasizes the importance of labeling these chords in analysis and includes a summary table of their characteristics.
- 4.10: Plagal Motion as a Form of Prolongation
- This page explores plagal motion, highlighting the IV to I progression for tonic prolongation in 18th and 19th-century music. It clarifies the difference between "plagal motion" and "plagal cadence," focusing on the former as a tonic extension technique. Writing tips are offered to achieve effective plagal motion, such as using root positions and avoiding parallel octaves, along with references to interactive learning resources.
- 4.11: La (Scale Degree 6) in the Bass at Beginnings, Middles, and Endings
- This page discusses the musical note "la" (scale degree 6) and its functions in musical phrases, including tonic prolongation and connecting tonic and predominant areas. It details its use in creating phrygian half cadences at phrase endings and explains "deceptive motion" as a transition that sidesteps standard cadences. The text includes writing examples for clarification and provides assignments for practical application of these musical concepts.
- 4.12: The Mediant Harmonizing Mi (Scale Degree 3) in the Bass
- This page discusses the iii chord in both major and minor keys, describing its role as a weak predominant that typically leads to a V chord. It notes that in major, iii harmonizes a descending ti, while in minor, it aligns with a descending te. The chord is primarily presented in root position and is not a substitute for I6. The content includes musical examples and an assignment that emphasizes unfigured bass realization, analysis, and transcription.
- 4.13: Predominant Seventh Chords
- This page discusses predominant seventh chords (ii7, IV7, vi7, iii7), focusing on ii7 and its inversions. Guidelines for the chordal seventh's approach and resolution are provided, emphasizing its role in leading to the dominant. While ii7 is commonly utilized, IV7 and vi7 are less frequent, with writing practices to prevent voice-leading issues. The chapter also includes examples and assignments to aid in comprehension and application.
- 4.14: Tonicization
- This page explores tonicization in music theory, defining it as treating non-tonic chords as temporary tonics, primarily through secondary dominants and leading-tone chords. It emphasizes the analysis of harmonic structures and dissonances and reveals that all triads except diminished and augmented ones can be tonicized.
- 4.15: Extended Tonicization and Modulation to Closely Related Keys
- This page discusses modulation as a key change, distinguishing it from temporary tonicization. It covers two modulation methods: direct and pivot chord. Identifying cadences and accidentals can reveal modulations, and closely related keys facilitate smoother transitions. Writing modulations involves choosing pivot chords and allowing acclimatization.