music chapter5_000

8/7/2019 Music Chapter5_000

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Topics

lmportantConceptsPhrase

Ha rmon icCadence

PerfectAuthenticCadence

t nDerfect AuthenticJ, ;dence

A phrase s a substantial usical hought,whichendswith a musical unctuationalledacadence.Phrases re created n music throughan interactionof melody.harmony.anclrhythm.The first part of this chapter oncentratesn the harmonicand rhythmiczrspectsof phrases;n chapter we will takeup the melodicaspects.

A hormonir: udences a musical unctuationha tcloses phrase r section f music.Ca -dences iffer considerablyn musical trength. om esignify he end of a completemusi-cal thoughtan dmay be comparedo the period .) . Othersbrin-q n ncompletede a o aclosebu t suggest omething lse o come.Thesemay be compareclo th ecomma .) or asemicolon ;) .Most cadencesoncludewith either he v or I chorcl.

The perfectauthentic' :adences a progressionrom V to I in major keys and V to i inminorkeys.Bothchordsmustbe n rootposit ion. n thiscadencehe onicnotemustalsobe hehighest ounding itch n the onic riad.From he stanclpointf f inality. heperf-ectauthentic adences th estrongestadence f all.

The impe(ect authenticcadences slightly weaker han he perf-ect uthentic adence.pert-ect uthentic adence ecomesrnperf'ect hen:l. Thehighest oundingon e n the onic riad s a toneother ha n he onic nore.2. Theviio riad s substitutedbrthe V. making hecadence iio6o I or vii '6 o i.3. Oneor bothof thechords V or I) is inverted. xamples re :V6 o I or V to i6.Figure5.1 l lustrates ot hperfect nd mperfect uthentic adences.

-

Cadencesnd NonharmoniconesPhraseHarmonicCadencePerfectAuthenticCadencelmperfectAuthenticCadenceHalf CadencePhrygianHalf CadencePlagalCadenceDeceptiveCadenceRhythmicCadence

NonharmonicTonesUnaccentedNonharmonicTonesUnaccentedPassig ToneUnaccentedNeighboring ToneEscape on eAnticipationAccentedNonharmonicTonesAccentedPassing on e

AccentedNeighboringToneSuspensionRetardationAppoggiaturaSuccessiye assig TonesChangingTonesDoubleNeig boring TonesNeighbor GroupPedalTonelnvertedPedalTone

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d - T - -r ) ) l l ) _a - f p i tQ e

Figure .1Perfect Authentic

pbv'

Half Cadence

Plagal Cadence

Deceptive Cadence

V

Imperfect Authenticc . d

(Rare)

V 6 I J 6 v i i o 6 |

If the second hord of a cadences V, it is a half cadenc'e.his permitsa large numberofpossibil it ies,ut composers ctually mployonly a f-ew. to V. IV to V, or i i to V accountfor the vast majority of half cadences. half cadence rom iv to V in a minor key issometimes alleda Phrygianhalf cadence see igure5.2d).

Figue 5.2Half Cadence

If the first chord s V and he seconds nota large numberof possibilities, omposersillustrates eceptive adences.

T he St ruc t u ra lE l emen t s f Mus i c

Ebv: cm : l v 6

Theplagal cadences nearlyalwaysoneprogression:V to I in major, or its equivalent,iv to i in minor,keys. nfrequently, heprogressioni6 o I occursas a plagalcadence.

Figure .3Plasal Cadence

Ebu' IV I I V I I V I

Phrvsian Half Cadence

[, the cadence rs deceptive. Although there aremost often select vi (V I in minor). Figure 5.4

90


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4-zt1-/J/Jtj1j

Figure .4DeceptiveCadence

a.

Ebv, v(Assignment .1,page 103;

v IVt' cm: Vt vlWorkbooUAnthology5A)

JJtJiI

Rhythm cCadence

Figure .5Bach:Brandenburg oncertono. 3

Phraseendingsoften containcharacteristicdenc:e. otice in figure 5.5 that the phrasealone.rhythmic patterns hat createa rhythmiccaendingcan be sensed y tapping he rhythm

'

'J

in G Major,BWV 1048, , m. l- 2 (modified).

/o;

(Rare)

Rhythmic adence: r

Rhythmiccadences ften endwith a longernote han he prevailingnotevaluesor arefollowed by a rest,which, n effect, engthenshe final note.A rhythmic cadence atternmay ecurseveralimes hroughout givencomposition.Se e iguie5.6.)

Figure .6Pol ish olk Song.

Rhythmiccadence:

g m :V iUrinrnni . ' , r0 .n ." f th.nti . .1

Rhythmiccadence:

g m : i VL - lHarmonic cadence (half)

t

Cadences nd Nonha rmon i cT ones 91


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Rhythmiccadence:

gm: vHarmonic cadence (half)

Rhythmiccadence:

Hr. toni . .ud.*. t *thent ic)

Phrases an exist at the rhythmic level alone, ndependent f harmonyand melody.Drum cadences,or example,areclearexamples f rhythmicphrases.

Harmonic onesshouldbe familiar to you by now.They are hechord ones: oot, hird, orfifth. Nonharmonic tonesare pitches hat soundalong with a chord but are not chordpitches.Most nonharmoniconesare dissonant nd create ntervalsof a second,ourthorseventh.Diminishedor augmentedntervalsare also considered issonant.The disso-nancecreatedby nonharmonic ones s calculated gainst he lowest-soundingone of achordno matterhow many othervoicesarepresent.An exceptionoccurswhen the non-harmonic one occurs n the lowest-sounding oice itself (usuallybass).Nonharmonictonesgenerallyoccur n a patternof threepitches:

NonharmonicTones

Fig e 5.7PassingTone

Precedingone(chord one)Nonharmonic one(not a chord tone)

Following one(chordtone)

(A tew nonharmonicones nvolvepatterns f more han hreepitchesandwill be dis-cussedater n thechapter.)

The variousnonharmoniconesarenamedby the ntervals etween he preceding one,the nonharmonicone, and he following tone.Figure5.7 shows he common hree-tonepatterns. he nonharmonicone s circled n eachcase.

PassingTone Neighboring Tone NeighboringTone

(step)PT (step)

EscapeTone

(step)PT (step)

Appoggiatura

(step)NT (step)

Suspension

(step;NT (steP)

Retardation

(step) T skip)

Anticipation

(skip)APP step)

Anticipation(.oilT"on)us step) (."ilf."") RE step)

(step)Nr (."ilf."")

92

(step;ANT

TheStructura l lements f Music


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RhythmicPlacement

UnaccentedNonharmonicTones

UnaccentedPassingTone

Figure .8PT

The most mportantdistinctionamong he variousnonharmonicones s whether he dis-sonance ccurson the beat accented) r off the beat unaccented). issonanceslacedonthe beat are much strongerand often createa powerful emotional mpact, while thoseplacedoff the beatgenerallypassalmostunnoticed, erving o smoothout melodic ines.Somenonharmoniconesoccur n both accented nd unaccented ontexts; thersappearonly as accented r asunaccented issonances.

The common unaccented onharmonic ones are the unaccented assing tone, LLnuccentedneighboring one,escapeone, andanticipation.

Figure5.8 showsvariousunaccented assing ones n a four-voice exture.Figures5.8aand 5.8b show singleunaccented assing ones n descending nd ascending atternswhile 5.8c-eshowdoubleunaccented assing ones n a varietyof patterns.

PT

Figure 5.9 showsvariousunaccented eighboring ones n a four-voice exture.Figures5.9aan db show singleunaccentedeighboringones;while 5.9cand d showdoubleun -accented eighboringones.

Fig e 5.9NT NT

em: l

PTT

em: i i 6

UnaccentedNeighboring Tones

Escape tones occur onlymost common pattern, nthird.as unaccented onharmonic ones.which a step upward is followed by

F igure5 .10 shows hea skip downwardby a

T t tlI-

i ' g i -

I -f-;]---A J | ' l-PT iJ P T Jta

NT

Escape ones

Cadences r rdNonha rmon i cT ones 93


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Anticipation

Figure .10ET

em : i

Anticipatiol?soccur only as unaccented onharmonic ones.mon patterns.

Fisure5.1I shows wo com-

F igure .11ANT

The common accented nonharmonic tones are the accentedpassing tone, accented neigh-boring tone, suspension, retardation, and appoggiatura.

Figure5.12showssomeaccented assing ones n a four-voice exture.Compare hemu-sical effect of theseaccented assing oneswith the unaccented assing onesshown nfigure5.8.

4

iv

AccentedNonharmonicTonesAccentedPassingTone

F igue 5 .12

94

em: I

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1 ' t

,v-

-/,

AccentedNeighhr:ring Tr:ne

Sus,oenslon

Figure 5'13 shows some accentedneighboring tones in a four-voice texture. Compathemwith theunaccented eighboringonesshown n fieure5.9.

Flgure . '13

Thesuspension ccursonly as an accented onharmonicone.Thereare hreephases fsuspension:he preparation,he suspension,nd he resolution figure5.14).

F igure .14Preparation Suspension Resolution

NTTTa. NT

It,

II

. ,t,

rm6

ConsonantrIm7

Dissonant

7Im6

Consonant)

,,ttt,ttI

tt

The suspendedone (the middle tone of the figure) s alwaysdissonant.Suspensioaredesignated y the nterval orming the suspenJedoneandresolutionwith the owessounding oice.Threecommonsuspensionypesareshown n fieure5.15.

F igu re .1 5Prep. Sus. Res. prep. Sus.Res. prep. Sus.Res.

In determining he interval of suspension,he octave s usuallyremoved.Thus 4-3used nstead f I l-10. The exceptions the9-g suspension.

:

d.o t I

) )t)

TII

I YJ J L.J)

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M3Preparation

F igure .18Bach: Freu dich .sehr,o meine Seele(RejoiceGreatly, O My Soul). BW V 2-5.m. 12-13.

The othervoice no tcontaininglon-e s t provides he necessarysuspensionigure.

F igue 5 .17SLrspendineoice

At _J .@ --------- . -:a J tOtherVoiccM3 M7 M6Con. Diss. Con.

Remember that suspensions ccur only between tr.l 'o oics\-gven in four-voice writ-ing. The other voices do not take part an d firr thc present moment niay be ignored. Thefo l low ing are suspensionsound in a four-voiceset t ing .

Anothercommonsuspensions th e 2-3 suspension. hereas he suspensionigure sin one of the uppervoices n th e hreesuspensionshown n figure5.15. n the 2-3 sus-pensionhe suspendedon e s in the owervoice.

F igure .162-3 SuspensionhowingSuspensionigure n Lower Voice.

[(' Iol8- -

M2Suspension

m3Resolution

thesuspensionigure)may movc n alrnost nyway aspreparation. Llspension.nd resolution hasesbr the

CPi n .V

DissP4 Con.M3

Bach: Wus Gott tut, clus .stwohlgeran (What Go dDoes Is Well Done). BW V 69a, m. 3-4 (Modified).

I V VCon. Diss Con.P5 P4 M3Consonance-DissonanceInterval:

96 TheSt ruc tu ra l lementsf Mus ic


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I

JJ)tttttttt

Suspensions ay occursimultaneouslyn pairs, ave lecoratedesolutions,r occur nchains.

A returdcttirnrrs a nonharmonicupward insteadof downward.

tone s ir -n i laro a suspension. xcept hat he resolut ion s

Figure .20

FigureIn pairs :

5 . 1 9t a -

SUSo

In chains:

Retardat ian

9 - 8 . 1 I 9 Ei i v i

1 - 8

The upprtggitttururs a nonharmonicone hat s approached y skip and resolvedby stepin theopposite irection.t generally ccurs san accented onharmonicone.

Vi - 8

i r

:Decorated esolutions

susrr*

' t : . i ! e t . i t 1 7

C a d e n c e s n d N o n h a r m o n i c o n e s 97


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AP P APP

\7V

of four or morepitches.The mostcommon are:and hepedal tone.

I t "

Compare he two phrasesrom Bachchorales hown n figure5.22.Figure5.22acontainsonly unaccented onharmonic ones, whereas5.22b has three accentednonharmonictones.The nonharmonicones n5.22a add rhythmic nterestandmake he voice eadingsmoother, ut the dissonancesn 5.22b are much moredramatic n eff'ect nd addconsid-erable ension o th emusical ett ins.

Figu e 5.22a. Bach:Valet ,*ill ch dir geben Farewell Gladly Bid Thee),BWV 415,m. l-2.

A

a 7NT-r PT t PT PT -\,t Pr -f'1

pDM : IV v i io6 IV6

b. Bach:Liebster esu,wi r sindhier (Blessed esu,At Thv Word).BW V 373.m. l-2.A

Figu e 5.2",

i v

Accented ersusUnaccentedNonha mon cTones

Nonha mon cTones nvolv ingMore han ThreePitches

98

APP

GM: 2- 3SUS PTV 6 V

A few nonharmoniconesare n patternssuccessiveassing ones, hanging ones,

I - \ v

o l+- sKrp step) ,l 'o'o! stept e

PT PTa J V V r iP r l In l . l t P r ; J l ,i) a 1 a

TheSt ruc tu ra l lementsf Mus ic


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SuccessivePassingTanes

ChangingTones

Figu e 5.24Changing Tones

em:Pedal Tone

Two passing onesoccasionallyil l an ntervalof atonesmay be unaccentedfigure5.23a)or they mayaccented assingones figure5.23b).Figure .23

PT-

fourth. n suchcases oth the passingbe a combination f accented ndun-

em: l GM:PTV

CT CT

Changing onesconsistof two successive onharmonicones.The first eadsby step roma chord tone, skips o anothernonharmonic one. and then eadsby step o a chord tone(often he samechord one).Other ermsoften used nsteadof changing ones aredoubleneighboring ones or neighborgroup. In many ways the two changing ones esembleneighboring oneswith a missing or perhapsmplied) middle one.

Showsmissingpitch:CT CT

A pedal on e alsocalleda pedalpoint) s a held or repeated ote,usually n the owes tvoice, hat alternates etween onsonance nd dissonance ith the chord structures boveit . Thus, he dissonancesrecreated y the moving chordsabove ather han he pedaltone itself. When a pedal one occurs aboveothervoices, t is calledan invertedpedaltone.Figure .25Bach:Prelude o. 6 in D Minor, BWV 851, rom the Well-Tett4tereclluvier,Book I,m. l -2 .PedalTone

con. con. con.

II IlII I

AJ

e_a-

a cT cT ersslnga

Cadences nd Nonha rmon i cT ones

diss. diss. diss. con.

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Summary

Prior to l iarot l r rcf 'eriod (1300- 6(Xf

Figue 5.26Firenze c. 1375)

Th e bllowinechart s u sr-rr.nrr.ra.yf nonharrn.niconesPT-Passing Tone NT__Ncighborin-ucxreAPP-Appoegiatura SUS-_suspensionANT--Anticipation pD-_peclalTone

Type Approach Departure Voice

studiedn thischapter.ET-Escape ToneRE RetardatictrrCT-Chan-sin-u ones

Accented or UnaccentedPT StepNT StepET StepAPP SkipSUS Same itchRE Same itchANT PreferstepPD NACT NA

StepStepSkipStepStepdownStepupSame on e

Any Ma y be eitherAny May be eitherSoprancl Unaccente


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Figu re

l a d d 6 e b N a :v1 3 f add ,9 FM: V+7 I a d d 6In figure5.29a he dominant (V7) is decoratedwith a Vrr and the tonic containsanadded nterval of a sixth above he bassnote.In figure 5.2gb the tonic chord contains heintervalsof a sixth and a ninth above he bassnote. n figure5.29c he tonic chordcon-tainsa thirteenth sixthplus an octave)above he root.

102 The 5 t ruc t u ra lE l em en t s f lV l us i c


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Assignment .1 The second nd hird chordsof eachexerciseorm a cadence'1. Analyzeeachchord n theblanksprovided'2. Write the nameof thecadenceype n theblankabove he exercise.

Alternate Directions: Macro Analysis1. Write the etter name or eachchordon the blanksprovided'2. Includeslurswhereverappropriate n the etternames.3. Write thenameof thecadenceype n theblankabove he exercise'

5 ..2.

GM:- - - em:- - - cM: - -gbNl ' - FM:---

-6. - '1. -- 8 - e' lo'- i-f f i , , r 1 -sfu'- DM:- - - AM:-

bm:- - - lbu''

-Assignment 5.2 Belowarenonharmonicones xcetptedrom music iterature'- A ) > l g l l r l l t l

1 Circle the nonharmonic one or tones2. Write the nameof the type of nonharmonic tone in the blank provided beneath he staves'

2 t r j , 0 = - t , r J - I

, - - , , ^ -L^- -^^ : - r^h^ . . ro3

'.'

l ' [ rl l I: ,! ,_r r tl r r ! ! !l l l

r ! ! r j rJ * ^ l , i l td l l l. i . l J ) J !

a)

t a aI ,La

r l l--) Ota

vI

t iXJ b - -


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Assignment .3

-r.4.

The following areexamples rom Bachchorales.l. Write the Romannumeral nalysis f eachchordand ndicate he posit ion: if in f irst

inversion, if in secondnversion. ndno numbersf in rootposit ion.2. Circle all nonharmoniconesandwrite the abbreviationsepresentinghe namenearby.

Unaccented assingone : PT4-3 suspension 4-3 SUSUnaccentedeighboringone NTThe first chordof eachexample s analyzed orrectly or you.Indicate he ypeof cadence sedat each 'ermata.

1. Al leinGott n clerHi ih seiEhr (Only o God on High Be Glory! ) .BWV 104.m. l -2.CD Track 32

AM:

Cadence

2. Machsmit ntir, Gott,nachdeinerGtit (Do with Me as Th y Goodness rompts hee),BWV 3ll. m. 1-2.CD Track33

DM:

A

I

, )

o = '-'prilpr

t T r L l 'l - i

T ?4

II

I

104 TheStructura l lements f MusicCadence


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3. Christus, er ist mein Leben Christ s My Life), BWV 282,m. l-4 (Modified).CD Track 34

GM : I

Cadence

1. Ermuntredich, mein schwacherGeist RouseThyself,My Weak Spirit),BWV 43,m.20-22. CD Track 35

GM : 1 o

Cadence

5. Nun danketalle Gon (Now Let Us Al l ThankGod),BWV 386,m. l-2. CD Track 36

AM:

Cadence

A

A

_1

a t tb l

Ie '

l lt l 7 'I)

I

a) a.a_ ) ) J g, \ lI)

ft

10 5adences nd Nonha rmon i cT ones


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Assignment .4 Following are hreeexcerpts rom music iterature.1. Analyzeeachchord with Roman numeralsndicating lso ts posit ion.Somechords

areprovided o helpyou understandhe procedure.2. Circleand ndicate he ypeof eachnonharmoniconenext o the circle.3. For conveniencese he bllowins abbreviationsr init ials:

PT : Unaccentedassingone-PT : Accented assingon eNT : Unaccented eighboring one-NT : AccentedneighboringoneET : Escape oneSUS Suspensionnd ype 9-8, -6, 4-3,2*3)Indicate he ype of cadence sedat eachphrase nding.In nos. I and 2, the chordschangeeveryquarternote. n no. 3 (Corelli), he chordsarebracketed-one chordper bracket.

l. Bach:Al sJesusChristus n derNacht WhenJesus hrist n the Night),BWV 265,m. l-2. CD Track37

FM: vi t----_ ]l i i !iCadence

'FNotexplained n the ext yet. gnore or the moment.

2. Bach:Ach bleibbei nns,Herr JesuChrist Ah , StayWith Us ,Lord Jesus hrist),BWV 253,m.8-10. CD Track38

AM :

,4T .5 .

Aa

J e l - . . 1 1 _ l ll t l f I I t rrl

a r t l-.I nr-l ) r

106 TheSt ruc tu ra l lementsf Mus ic

Cadcnce


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The following hintswill helpyou complete he analysis f theexcerptby Corelli.l. The analysis or threeof the chords s provided.The chord at no. 1 is given to helpyou ge tstarted. heanalysis t no. 12 s alsogiven.2. The chordsat nos.6 and7 are ncomplete.Eachrequiresanothernote o complete hetriad. Thesearecalled mplied harmonies,meaning hat the missingnote s suggestedbu t no t stated.

Hint fbr chord6-the missing riadnote s suggestedn chord5. Which noteof chord5 would fill out the riad n chord6? Hint for chord 7-the missing riad one ssuggestedn chord8. Which noteof chord8 would fiIl out the riad n chord7?3. Th e answer o theanalysis f theC in chord7 is foundon page97 .

3. Corell i:Sonatabr Two Violins an dViolone/Archlute, p. 3. no. I in F Major. I (Allegro),m. 34-37.CD Track39

L1 . 2 . 3 .FM: vi

L_.i5 . 6 . 1 . 8 .. 9.y r

12 .I

10 . 1 1 .

Cadence

Cadences nd Nonha rmon i cT ones 107

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