Theory 3

Harmonic Sequence

Entire copy of the text transposed

Model

The melodic idea first stated

Copy

Transposed Version

Linear Intervalic Patern

Interval bass to soprano

Pachebelle’s Sequence

D3 - 4 / + 2

Descending 5th Sequence

D 2 - 5 / + 4

Closely Related Keys

1 accidental difference

Related Key Chart

IV - I - V

ii - vi - iii

Tonicization

Temporary highlighting of a chord, applied chords artificial leading tone

Transient Modulation

Short Term key change

Modulation

Long term key change. Confirmed with cadence

Modulation Types

Pivot Modulation

Chromatic Modulation

Direct/Sectional Modulation

Enharmonic Modulation

Common Tone

Pivot Modulation

Chord that works in both keys, Pre Dominate in new key.

Enharmonic Modulation

Respelling in each key

Fully Diminished 7th chord, German Augmented 7th.

Chromatic Modulation

Start using accidentals

Direct / Sectional Modulation

Start modulation without pivot chord

Common Tone Modulation

Uses single pitch to pivot

Common Dyad

Two notes in Common in pivot chord

Binary Sectional

End in Authentic Cadence in original key

Binary Continuous

Ends in V, half cadence, in a new key.

Harmonic Disturbance/ Digression

Start of the (unstable) second large section in a binary form

Binary Simple

||: A :||: B :||

Bar Form

||: A :|| B ||

Rounded Form

||: A :||: B A :||

Balanced Form

||: A (x) :||: B (x) :|| x = same cadential cadence

1 part forms

Continuous and Interrupted

Continuous one part form

Short piece, no section A

Interrupted One part form

Same material both sections AA

Harmonic Disturbance

The B section in a Rounded Binary

Ternary

Statement (A), Contrast (B), Restatement (A)

Open Ternary

Ends on anything but an Authentic Cadence

Closed Ternary

Ends on anything but an Authentic Cadence

Simple Ternary

||: A :||: B :||: A :||

Composite or Minuet/Trio Scherzo/Trio

||: A :||: B :||: C :||: D :||: A :||: B :||

Fugue

Three or more voices with points of imitation

Fugue Formal Structure

1. Exposition

2. Episodes

3. Middle Entry

Exposition

Subject- Main melody

Answers in all voices - Statement in all voices

Episodes

No full subject, unstable (Modulate)

Middle Entry

Full Statement of subject, stretto (overlapping subject)

Real Transposition

Exact interval

Tonal Transposition

Intervals change to stay in key

Imitation

Two or more voices play the same thing

Counter subject

A reoccuring motive. NOT the go subject/answer

Fortspinning

Uneven phrasing

Motive Manipulation

Repition, Sequence, Augmentation, Diminution, Rétrograde, Inversion, Retrograde inversion, reharmonization, conture.

Sectional Variation

Each variation clearly distinguished by strong conclusive cadence

Variation Techniques

Character, texture, rhythm, flourish, register, chromatic

continuous Variation

Continuous flow of musical ideas, no defining cadence

Two main types of Continuous Variation

Passacaglia, Chaconne

Passagalia

Continue variation w/ repeated bass line

Chaconne

Entire harmonic texture is repeating

Ostinato

Repeated rhythmic or pitch pattern

Ground Bass

Continuous variation built on a repeated bass line

Theme

A Melody that serves as the main idea for a passage of music

Modal Mixture / Borrowed Chords

b3, b6, b7 - Parallel Minor

Shifting temporarily from a major key to the parallel minor

Function as the major counterparts

CHORDS: i ii half diminished 7th bIII iv (v) bVI bVII vii fully diminished 7th

Chromatic Mediants

Chromatically Inflected Mediants, vi/iii/VI/IV

Expands Tonic

Common Tone Modulation

Neoplitation 6th

Major Triad built on bII, first Inversion

Pre Dominant

Augmented 6th

b6 in bass and #4 in upper voice

Italian Augment 6th chord

1, b6, #4, 1

French Augmented 6th chord

1, b6, #4, 2

German Augmented 6th

1, b6, #4, b3

bII 6th (Neapolitan 6th)

b2, b6, 4

Common Tone diminished ( CT Fully Diminished 7 )

Shared Bass with the following chord and builds a fully diminished chord on top

Common Tone Augmented 6th ( CT augmented 7 )

Shared bass with the following chord, build a b6, #4, b3 (or sharp 2)

Altered Dominant ( V o 7 )

Lower the 5th

Adds Tension

Altered Dominat ( V + 7 )

Raise the 5th

Adds Tension

Add 6, Add 9

Adds color