Embedded Files
Objectives
Objectives
By the end of this lesson, students will be able to:
Describe common ways vi and IV6 chords are used in the beginning, middle, and end of the phrase model.
Identify examples of deceptive and Phrygian half cadences.
Analyze examples from the repertoire that incorporate IV6 and vi chords, labeling Roman numerals, cadences, and chord function.
Compose and partwrite chord progressions that use 6 in the bass at the beginning, middle, and/or end of the progression.
Harmonize a given melody using 6 in the bass at the beginning, middle, or end.
Preparation for Class
Preparation for Class
Read:
Read:
La (Scale Degree 6) in the Bass at Beginnings, Middles, and Endings (John Peterson, OMT)
The Submediant Chord (Nancy Rogers)
Submediant Chord (Timothy Rolls)
What is a Deceptive Cadence
Music Theory Crash Course (2 mins)
What is a Deceptive Cadence
Music Theory Crash Course (2 mins)
Writing a Deceptive Cadence
Sarah Louden (7 mins)
Writing a Deceptive Cadence
Sarah Louden (7 mins)
Study Aids
Study Aids
Examples of Voice Leading with Submediant Chords
Source: Timothy Rolls (Theory II: Submediant Chord)
Examples of Voice Leading in Deceptive and Phrygian Cadences
Source: Timothy Rolls (Theory II: Submediant Chord)
In-Class Activities
In-Class Activities
Discussion
Discussion
6 in the Bass in the Phrase Model: What are some of the different ways that IV6 and vi are used at the beginning, middle, and end of the phrase? Discuss examples of each and how each progression would be analyzed using chord function in the context of the phrase model. Discuss strategies for par-writing chord progressions that use 6.
Cadences using 6: What are two types of cadences that use 6 in the bass? How do these cadences differ? Discuss partwriting strategies for each type of cadence.
Activities
Activities
Practice Worksheets:
Worksheet 1 (Doc | PDF): 4-part writing with IV6 and vi and an analysis of Joseph Bologne, Six Concertante Quartets No. 5 (Open Music Theory)
Worksheet 2: Short harmonization examples using vi and IV6. (San Francisco Conservatory)
Worksheet 3: Longer harmonization examples and "complete the composition" exercises using IV6 and vi. (San Francisco Conservatory)
Worksheet 4: Analysis with IV6 and vi in Mozart, Beethoven, and Haydn. (San Francisco Conservatory)
Composition: Compose three 4-bar chord progressions in different meters and keys. The first progression should use 6 in the bass at the beginning of the phrase, the second should use 6 in the bass in the middle, and the final progression should end with a deceptive cadence. Partwrite the progressions in chorale and/or keyboard style. Label the cadences. Identify Roman numerals and chord function (T, PD, D) below the staff. If there's time, also compose a melody for the chord progression.
Analysis: Analyze examples from the repertoire in the Anthology section below. Identify Roman numerals, chord function (T, PD, D), cadences, and non-chord tones by type.
Repertoire for Practice
Repertoire for Practice
Submediant Chords: Examples for analysis using the submediant chord as part of a tonic prolongation or weak predominant. See the first section, "Submediant (vi)."
Plagal and Deceptive Cadences: Examples from the repertoire that end with either a Plagal or Deceptive cadence. (Instructor Note: The instructor anthology separates the plagal cadences into a separate section).
Practice
Practice
Musition:
Cadences: Levels 4-5b, 9–11
Chord Progressions: Levels 8a, 8b
Four-Part Writing: Levels 14a–14c
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