Aural Identification, Phrase Structure, and Harmonic Sequences

Bass Line Identification: The primary task when listening to a chord progression is to identify the bass line.
Cadence Identification: * A progression moving through scale degrees $2$ and $7$ to terminate on chord $V$ is defined as a Half Cadence. * Phrygian Half Cadence: If the cadence is specifically a Phrygian half cadence, the predominant chord must be a $iv^6$ (four-six) chord.
Differentiating Complex Chords: * One must distinguish between a $V^6_4$ (five-six-four) chord and a $vii^o{}^6$ (diminished seventh in first inversion). * Quality: The analyst must listen for the quality of the seventh (Major versus Diminished). * Distinctive Pitches: The key identifier is the specific scale degree present: * A $V^6_4$ chord contains scale degree 5. * A $vii^o{}^6$ chord contains scale degree 4.

Phrase Structure Diagrams: Students are expected to listen to musical excerpts and draw a diagram representing the phrase structure.
Sentence vs. Phrase: All sentences are categorized as phrases, but not all phrases qualify as sentences.
Melodic Characteristics: * A melody may be described as an arpeggiated melody. * Rhythmic patterns often consist primarily of crotchets.
Transformational Analysis: * Melodies are often transformed via transposition. * Example: A motive transformed down by a minor third. * Method: Track the first note of the phrase or a comparable note in the motive and determine the interval between them to identify the transformation.

Sequence Analysis: This involves identifying melodic and harmonic patterns that repeat at different pitch levels.
Circle of Fifths Progression: * In a root position sequence in $C$ Major, the motion might proceed: $I \rightarrow IV \rightarrow vii^o \rightarrow iii \rightarrow vi \rightarrow ii \rightarrow V \rightarrow I$ . * Root Motion Notation: Sequential motion is often described as a Descending Second sequence, which can be further specified by the intervals of root movement, such as minus five ( $-5$ ) and plus four ( $+4$ ).
Alternating Inversions (The Option B): * Variety is introduced by changing the base to provide a different "flavor" while maintaining the same harmonic framework. * Alternating 6/3 Chords: Instead of using only root positions (falling fifths), the sequence can alternate between root position and first inversion ( $6/3$ ). * Interval Pattern: The bass line comes down in thirds instead of full fifths. * Efficiency: This method is considered "extremely efficient" for voice leading and bass motion.
Pachelbel-Style Sequences: * Parallel $6/3$ sequences may involve suspensions. * Practical tip: To approximate the harmonies of a Pachelbel sequence, play or sing a reverse major scale.
Seventh Chord Sequences: Just like dominant sevenths, other seventh chord sequences can exist in complete or incomplete versions.

Dialogue on Sequence Analysis: * Question: How do we handle the resolution of sequences of seventh chords? * Response: They follow similar rules to dominant sevenths regarding complete and incomplete versions. Further details on sequence analysis will be provided in tutorials.
Dialogue on Inversions: * Question: Is "Option B" just alternating with the $6/3$ (six-three)? * Response: Yes, the sequence alternates root position chords with first inversion chords (e.g., $I - IV^6 - vii^o - iii^6$ ).
Dialogue on Ascending Sequences: * The lecturer noted that they currently only covered descending seconds and descending thirds. Ascending sequences will be covered after Exam 1 and during upcoming tutorial sessions.
Anecdote on Personal Habit (Student): "I finished it (a pickle jar) in a day. It was actually so bad. I think I've had an unhealthy decision with the dishes now… mine was $3.99$ ."

Weekly Test Structure: The upcoming test consists of two distinct portions. * Part 1: Score Analysis with Hearing: Students will be provided with a score and corresponding audio for analysis. * Part 2: Aural/Part Writing: This involves part writing based on principles discussed in class.
Part Writing Guidelines: * Time Limit: The part-writing section is designed to be completed in approximately 15 minutes. * Length: It will not be as long as previous assignments (which were 8 measures); it is more focused on the ability to write a "decent phrase." * Core Skills: Success requires registering the resolution of leading tones and understanding basic phrase logic.
Resources: The lecturer noted that materials from previous years are not available/sharable but assured students that understanding current class content is sufficient.