piano harmony

kmskmskms

C+

N/A

A-

N/A

G+

F#

E-

F#

D+

F#, C#

B-

F#, C#

A+

F#, C#, G#

F#-

F#, C#, G#

E+

F#, C#, G#, D#

C#-

F#, C#, G#, D#

B+

F#, C#, G#, D#, A#

G#-

F#, C#, G#, D#, A#

F#+

F#, C#, G#, D#, A#, E#

D#-

F#, C#, G#, D#, A#, E#

C#+

F#, C#, G#, D#, A#, E#, B#

A#-

F#, C#, G#, D#, A#, E#, B#

F+

Bb

D-

Bb

Bb+

Bb, Eb

G-

Bb, Eb

Eb+

Bb, Eb, Ab

C-

Bb, Eb, Ab

Ab+

Bb, Eb, Ab, Db

F-

Bb, Eb, Ab, Db

Db+

Bb, Eb, Ab, Db, Gb

Bb-

Bb, Eb, Ab, Db, Gb

Gb+

Bb, Eb, Ab, Db, Gb, Cb

Eb-

Bb, Eb, Ab, Db, Gb, Cb

Cb+

Bb, Eb, Ab, Db, Gb, Cb, Fb

Ab-

Bb, Eb, Ab, Db, Gb, Cb, Fb

simple binary form

||: A :||: B :|| - A ≠ B

balanced binary form

||: A :||: B * :|| - at least 2 bars that resemble Section A

ternary form

||: A Fine :||: B D.C. al Fine :||: - repeats whole section A

rounded binary form

||: A :||: B A’ :|| - copies at least half of section A

rondo form

A B A C A D A - different sections, recurring A section

compounded ternary form

outer shell is ternary form - inner A & B sections of ternary form can be any form

• often seen in minuet & trio

fugue

→ subject

→ countersubject 1 & answer

→ link

→ countersubject 2 / countersubject 1 & subject

→ answer (redundant) / countersubject 2 & countersubject 1

→ countersubject 1 / subject (redundant) & countersubject 1

→ exposition over once every voice has sang subject / answer

fugal answer

second voice’s restatement of subject (same melody as subject) - always in dominant key

real answer

exact transposition of subject

tonal answer

not exact transposition of subject - differences in intervals

sarabande

• 3 syllables

• triple (3/4) time

• slow

  • downbeat, special rhythm (usually prolonged 2nd beat)

menuet

• 3 syllables

• triple (3/4) time

• moderately fast

  • upbeat (beat 3) or downbeat (beat 1)

bourée

• 2 syllables

• duple (2/2 or 4/4) time

• moderately fast

• 1 quarter note pickup

gavotte

• 2 syllables

• duple (2/2 or 4/4) time

• moderately fast or fast

• 2 quarter note pickup

gigue

• 1 syllable

• compound (6/8) time - ONLY ONE

• moderately fast

major triad

maj 3, min 3

minor triad

min 3, maj 3

augmented triad

maj 3, maj 3

dim triad

min 3, min 3

dominant 7th chord (V⁷)

maj triad, minor 7th

major 7th chord

maj triad, maj 7th

minor 7th chord

min triad, min 7th

half-diminished 7th chord

dim triad, min 7th

diminished 7th chord (vii^o7)

dim triad, dim 7th (octave —> down —> down —> down)

major triads

I ii iii IV V vi vii^o

minor triads (raised leading note)

i ii^o III⁺ iv V VI vii^o

major 7th chords

• don’t use I⁷

• ii⁷ chord - a lot

• IV⁷ chord - sometimes

• V⁷ chord - a lot

• vi⁷ chord - sometimes

• vii^ø7 - lower seventh note —> vii^o7 (stronger sound)

minor 7th chords

• i⁷ - don’t raise leading note

• ii^ø7 - a lot

• iv⁷ - raise 6th note —> IV7 chord - a lot

• V⁷ - a lot

• vii^o7 - a lot

applied chords

• top note - V or vii^o

• bottom note - valid key (not vii^o)

sequence guidelines

• minor key - don’t need to raise leading note while in sequence

• don’t need to start on I chord

descending 5th sequence

I IV vii^o iii vi ii V I

i iv VII III VI ii^o v i

• every other chord goes 1 down

ascending 5th sequence

I V ii vi iii vii^o IV I

i v ii^o VI III VII iv i

• every other chord goes 1 up

voice-leading sequence guidelines

• must repeat voice-leading pattern throughout sequence

• first 2 chords of sequences don’t have parallels —> rest of sequence won’t either

• 2 notes can be in any voices (voices must stay constant)

  • usually bottom is in bass

ascending 5-6 sequence

I vi⁶ ii vii^o6 iii I⁶

i VI⁶ ii^o vii^o6 III i⁶

• notes come in pairs - root, 1st inversion

• lower note stays constant for each pair - moves 1 up between pairs

• upper note moves 1 up for each pair (ex. G - A —> A - B —> B - C —> etc.)

• every other chord goes 1 up

• intervals for chords in each pair are 5 —> 6

descending 5-6 sequence

I V⁶ vi iii⁶ IV I⁶

i v⁶ VI III⁶ iv i⁶

• notes come in pairs - root, 1st inversion

• lower note moves 1 down each chord

• upper note stays constant for each pair - moves 3 down between pairs

• every other chord goes 2 down

• intervals for chords in each pair are 5 —> 6

sonata / sonato-allegro form

exposition :||: development …recapitulation

• theme 1 (exposition) = theme 1 (recapitulation)

• theme 1 - beginning of exposition & recapitulation

• theme 2 (exposition) ≈ theme 2 (recapitulation)

  • exposition - different key; recapitulation - home key

• usually all themes/bridges end with clear cadences (bass jumps)

• sometimes there’s theme 3…

1. exposition

• theme 1 - home key

• bridge - modulation

• theme 2 - dominant key or relative major (only if home key is minor)

• coda (ending)

2. development

• recycles & mixes 4 themes from exposition

  • fragmentation, reharmonization, inversions

• ends with dominant preparation - dominant key for >6 bars to build up energy —> resolves in last session

3. recapitulation

• repeat of exposition

• theme 1 - home key

• bridge - no modulation

• theme 2 - home key

• codetta - end of first movement

modulation

• can modulate to neighbor keys (±1 #/b) & relative minors

• best to modulate to dominant key

• 1 modulation: go to different key —> go back to home key

pivot chord to minor key

use natural minor when going to minor key - no #6 or #7

identifying modulations

• check next note

  • accidentals can be raised leading note (—> resolve back to root) OR applied chord (—> back to home key)

• use exam system

  • can only modulate to nearby keys/relative minors

• cadences

  • notes before & with fermata will tell key change + new key

extended harmony

based on 7th chord

V9 chord

R 3 7 9

• R & 3 —> tonic

• 7 —> 1 down

• 9 —> 1 down

V13 chord

R 3 7 13

• R & 3 —> tonic

• 7 —> 1 down

• 13 —> 3 down

cadential 6 4 chord —> V13 —> I

• cadential 6 4 resolution corresponds to V13 chord

• V864 ~ I64

• V763 ~ V13

  • 6 = 13

  • resolve based on V13 resolution rules

syllables

only 1 note per syllable

#6 & #7

raise both 6 and 7 if notes are next to each other

ending notes & cadences

• must approach ending note stepwise

• start first chord for cadence halfway thru 3rd bar - weak beat

• second chord - strong beat

• authentic cadence - ends on stable note (I / III)

• half cadence - ends on unstable note (ii / vii)

figured bass

• only worry about resolution of highest note

• no parallels between highest note & bass note

question 1

• don’t keep same melody after changing key - keep chord progressions

• chord should be in strong beats

passing note (pn)

between 2 chords a 3rd / whole tone apart

• diatonic / chromatic

• 2 pn between root & 5th of triad

• double pn in 3rds / 6ths

auxiliary note (aux)

one step above/below

changing notes (chns)

step - 3rd - step

echapee (ech)

step, leap

cambiata (camb)

3rd, step

anticipation (ant)

• next chord note arriving too soon (usually in soprano)

• approached by step

appoggiatura (app)

• displaces chord note rhythmically

• moves by step/skip (usually downwards) into note it displaced

incomplete auxiliary (in. aux)

leap, step

pedal / pedal point (ped / pp)

• begins & ends as chord note

• held or repeated - becomes dissonant with 1(+) diffferent chords above it

  • chords don’t have to include pedal point inside

  • if bass note part part of chord → don’t need to notate inversion

• notate with horizontal line (ex. I ——————————)

suspension (susp)

• similar to appogiatura - has preparation (p), suspension (s), resolution (r)

→ p - held over/repeated in same voice in previous chord

→ r - resolves by step (usually downwards) into chord note it displaced

• if leading note is suspended → resolve up to tonic