Theory II Final

Basic Phrase

Tonic and dominant

Main parts of a phrase

Prolongation and cadence

How can tonic be expanded?

Arpeggiation, religion, non chord tones, embellishing harmonies

Expanded Phrase

IV-V-I

V6/5

Resolves to I

V4/3

Resolves to I or I6

V4/2

Resolves to I6

Open position is?

More than an octave between tenor and soprano

Describe Inverted Dominants

Expands tonic area through embellishing harmonies

Perfect Authentic Cadence (PAC)

V-I, tonic in soprano and bass, most resolved

Imperfect Authentic Cadence (IAC)

V-I, 3 or 5 in soprano

Half Cadence (HC)

Ends on V

Plagal

IV-I

Phrygian Half Cadence

iv6-V

Deceptive Cadence

V-vi

Predominant Area

Moves away from tonic, toward dominant

Cadential 6/4

Looks like tonic in 2nd inversion, type of delayed dominant

Passing 6/4

Connect chords of different inversions

Pedal (NT) 6/4

Bass note stays same

Arpeggiated 6/4

Arpeggiate through chords in bass

Sub-mediant

vi/VI, tonic prolongation/substitute, predominant, deceptive cadence

Embedded Phrase Model

A cycle of functions within the prolongation (T PD D T)

Mediant

iii/III, tonic expansion, in minor = relative major, goes to IV

Lament bass

Descending tetrachord in minor (repeating), most common place to find v

Diminished vii7 chords

Minor thirds, dominant function, foreshadow V, embellish harmony

Parallel Period

Same/similar ideas

Contrasting period

Two different phrases

Phrase group

Larger chunk of music, not double period or period

Parts of a phrase

Presentation, repetition, continuation

two parts of phrase

Antecedent and consequent

Double period

a, a, b, b

Double period, period, phrase

16, 8 8, 4 4 4 4

Periodicity

Regular phrase length

Motives

Small material

Inversion

Intervals go opposite direction

Sequence

Transposition to different pitches, same intervals

Retrograde

Motive is backwards, then inverts

Contour

Intervals change, but shape is the same

Diminution

Shrinks motive

Augmentation

Stretches out motive

Reharmonization

Change chords

Repition

Repeats motive

Secondary dominant

Applied chord, tonicization (highlights another chord)

Cross relation

Chromatic movement between two voices

Tonicization

Applied chords, secondary dominants

Transient modulation

3 to 5 chords alluding to another key

Modulation

Change key, new Do

Harmonic sequence

Transposition of entire structure

Cycle of descending 5ths

5th root movement, -5/+4

Pachelbel

Descending 3rds, -4/+2