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- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Open_Music_Theory_1e_(Wharton_and_Shaffer_Eds)/04%3A_Form_(I)_-_Thematic_Structure_in_the_Classical_Style
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Open_Music_Theory_1e_(Wharton_and_Shaffer_Eds)/01%3A_Fundamentals/1.07%3A_Beams_and_Borrowed_DivisionsIf we re-notate the above example so that the notes that fall within the same beat are grouped together with a beam, it makes the music much easier to read. Typically, a meter is defined by the presen...If we re-notate the above example so that the notes that fall within the same beat are grouped together with a beam, it makes the music much easier to read. Typically, a meter is defined by the presence of a consistent beat division: division by two in simple meter, and by three in compound meter. Occasionally, composers will use a triple division of the beat in a simple meter, or a duple division of the beat in a compound meter.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Open_Music_Theory_1e_(Wharton_and_Shaffer_Eds)/06%3A_Post-Tonal_Music_(I)/6.06%3A_Set_Theory_-_Normal_OrderNormal order (sometimes called normal form) has a lot in common with the concept of triad “root position.” Among other things, root position is a standard way to order the pitch-classes of triads and ...Normal order (sometimes called normal form) has a lot in common with the concept of triad “root position.” Among other things, root position is a standard way to order the pitch-classes of triads and seventh chords so that we can classify and compare them easily. Rewrite the collection beginning with the pitch class to the right of the largest interval and write your answer in square brackets.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Open_Music_Theory_1e_(Wharton_and_Shaffer_Eds)/02%3A_Voice-Leading_and_Model_Composition/2.12%3A_Strict_Four-Voice_Composition_-_Tendency_Tones_and_Functional_Harmonic_DissonancesThe dissonance can also be transferred to another voice before resolution—for instance, if there are multiple chords in a row exhibiting the same function, a dissonance that appears in the alto can be...The dissonance can also be transferred to another voice before resolution—for instance, if there are multiple chords in a row exhibiting the same function, a dissonance that appears in the alto can be transferred to the tenor in the following chord, and then resolve in the tenor when the function changes. (It is more typical, and smoother sounding, to transfer dissonances between inner voices or from an inner voice to an outer voice than from an outer voice to an inner voice.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Open_Music_Theory_1e_(Wharton_and_Shaffer_Eds)/00%3A_Front_Matter/02%3A_InfoPageThe LibreTexts libraries are Powered by NICE CXOne and are supported by the Department of Education Open Textbook Pilot Project, the UC Davis Office of the Provost, the UC Davis Library, the Californi...The LibreTexts libraries are Powered by NICE CXOne and are supported by the Department of Education Open Textbook Pilot Project, the UC Davis Office of the Provost, the UC Davis Library, the California State University Affordable Learning Solutions Program, and Merlot.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Open_Music_Theory_1e_(Wharton_and_Shaffer_Eds)/05%3A_Form_(II)_-_Other_Forms_and_Thematic_Structures/5.16%3A_Galant_Schemata_-_Improvising_a_Sentence_with_Galant_SchemataThough the harmonic rhythm remains the same, the switch from presentation schema to continuation schema is matched by a change from two-bar melodic “chunks” to one-bar melodic chunks. (This is the fra...Though the harmonic rhythm remains the same, the switch from presentation schema to continuation schema is matched by a change from two-bar melodic “chunks” to one-bar melodic chunks. (This is the fragmentation that is common to continuation phrases.) This allows the melody to move more in the latter half of the sentence, accomplishing the fragmentation and acceleration of melodic and harmonic rhythm that are common to continuation phrases.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Open_Music_Theory_1e_(Wharton_and_Shaffer_Eds)/zz%3A_Back_Matter/01%3A_Index
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Open_Music_Theory_1e_(Wharton_and_Shaffer_Eds)/04%3A_Form_(I)_-_Thematic_Structure_in_the_Classical_Style/4.10%3A_Techniques_of_Phrase_Rhythm_-_External_ExpansionsNotice that the melody is centered around scale degree 1—a common feature of these passages—and that harmonically the ii–V-I cadential progression that ended the theme (see m. 16. (Notice the augmente...Notice that the melody is centered around scale degree 1—a common feature of these passages—and that harmonically the ii–V-I cadential progression that ended the theme (see m. 16. (Notice the augmented sixth chord that precedes it.) The succeeding measures stand on the dominant, prolonging the cadence by emphasizing dominant harmony with scale degree 5 embellished melodically.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Open_Music_Theory_1e_(Wharton_and_Shaffer_Eds)/05%3A_Form_(II)_-_Other_Forms_and_Thematic_Structures/5.04%3A_Sonata_Form_-_Thematic_ModulesMost often a P theme is harmonically closed, ending with a I:PAC or, less typically, with a I:HC. (In smaller sonatas, P might be a single phrase (antecedent or presentation) that does not end with a ...Most often a P theme is harmonically closed, ending with a I:PAC or, less typically, with a I:HC. (In smaller sonatas, P might be a single phrase (antecedent or presentation) that does not end with a cadence.) When a P theme ends with a PAC and is followed by another theme also ending with a PAC, the P module contains a “primary theme group.” The themes in a primary theme group are differentiated with subscripts: P1 and P2.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Open_Music_Theory_1e_(Wharton_and_Shaffer_Eds)/03%3A_Harmony/3.04%3A_Harmonic_Syntax_-_ProlongationInstead of dividing a large leap, the bass note of the intervening chord looks like an embellishing tone from third species. (In third-species counterpoint, an embellishing tone ornaments another tone...Instead of dividing a large leap, the bass note of the intervening chord looks like an embellishing tone from third species. (In third-species counterpoint, an embellishing tone ornaments another tone by leaping to another consonance — usually a third or fourth away — and returning to the original tone.) Thus, what would otherwise be a divider chord is instead an embellishing chord.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Open_Music_Theory_1e_(Wharton_and_Shaffer_Eds)/07%3A_Post-Tonal_Music_(II)/7.07%3A_General_Post-Tonal_Resources_-_Analyzing_Atonal_MusicInverting about the C-sharp/G axis is I 2 . Inverting about the D/G-sharp axis is I 4 . Inverting about the E-flat/A axis is I 6 . Inverting about the E/B-flat axis is I 8 . Inverting about the F/B ax...Inverting about the C-sharp/G axis is I 2 . Inverting about the D/G-sharp axis is I 4 . Inverting about the E-flat/A axis is I 6 . Inverting about the E/B-flat axis is I 8 . Inverting about the F/B axis is I 10 . Odd number sums will place the axis between pitch classes (I 1 between C/C-sharp and F-sharp/G, fox example).
