203 Week 2 Lecture

MUS 203 Classical Theory and Musicianship 1

Course Schedule — Semester 1, 2026

  • Week 1: Revision of previous theory content (Clendinning & Marvin, Chapters 12–13)

  • Week 2: Phrase model and 6/4 chords

  • Week 3: Cadences

  • Week 4: Embellishments

  • Week 5: Suspensions

  • Mid-Semester Break: 2 weeks

  • Week 6: Voice-leading chords

  • Week 7: Catch-up and revision

  • Week 8: Sentences and periods

  • Week 9: Sequences

  • Week 10: Theory Test (10%)

  • Week 11: Applied dominants to V

  • Week 12: Applied dominants in other contexts

  1. Lecture Slides - Presenting key concepts and examples.

  2. Exercises - Practical applications of the lecture material.

  3. Questions - Open discussion for clarifying doubts.

  4. Homework Announcement - Assignments for continued practice.

Week 2: Chapter 14 — Phrase Model and 6/4 Chords

1. Expanding Harmonic Areas with 6/4 Chords

Four Specific Use Cases of 6/4 Chords:

  1. The Cadential 6/4 (The Showstopper)

  2. The Neighbor/Pedal 6/4 (The Static)

  3. The Arpeggiated 6/4 (The Moving Bass)

  4. The Passing 6/4 (The Bridge)

6/4 Chords

1. The Cadential 6/4 (The Showstopper)

  • Function: Intensifies the Dominant, creating a strong harmonic progression.

  • Characteristic: It appears like a tonic chord (I 6/4) but functions as part of the dominant (V).

  • Voice Leading: The scale degrees move as follows:

    • ^6 falls to ^5

    • ^4 falls to ^3

Visual Representation

  • Voice Leading Diagram:

    • Tonic to Dominant Progression: T -> PD -> D

    • Chord Progression Layout: T I 6 4 → V 5 - 3

2. The Neighbor/Pedal 6/4 (The Static)

  • Function: The bass remains on one note, allowing the upper voices to step up and back, providing harmonic color without forward motion.

  • Context: Typically occurs over a stationary tonic or dominant bass note, enhancing the harmonic texture.

Example: Expanding the Tonic and Dominant Areas

  • Diagram Representation (Example 14.7):

    • Bass Note: Bb (4 1 323 = 66 = 33)

    • Chord Progression: I → IV6 → I → V

    • Underneath: V (pedal 6) to T, D.

3. The Arpeggiated 6/4 (The Moving Bass)

  • Function: Primarily focuses on bass position changes.

  • Characteristic: Least functional but allows for melodic embellishment.

4. The Passing 6/4 (The Bridge)

  • Function: Serves as a connector between two versions of the same chord (e.g., I to I6).

  • Visual Representation: The bass moves in a scale-wise motion 1-2-3 or 3-2-1.

  • Most Common Context: V 6/4 serves as the most typical bridge chord.

Example: Voice Exchanges in the Tonic Area

  • Voice Leading Diagram (Example 14.12):

    • Connecting chord exchanges between I and I6, expanding the tonic area effectively.

Other Types of Expansions of the Tonic

1. The Subdominant in Tonic Expansions

  • Explanation: This involves contrapuntal predominance that combines neighboring and root motion.

  • This includes a pedal 6/4

  • Re-enforces the harmonic motion

2. The Dominant in Tonic Expansions

  • Types of Chords Used:

    • Neighboring Chord (N)

    • Passing Chord (P)

      • When there are tenths between the alto and tenor, it is okay for them to be resolved through Parallel 5ths.

    • Double Neighboring Chord (DN)

3. Contexts for the Submediant (vi or VI)

  • Concepts Introduced:

    • 5-6 motion with vi 6

    • Relationships involving I-vi or i-VI.

4. Embedding PD-D-T within the Tonic Area

  • Example: W. A. Mozart, Piano Sonata in D Major, mvt. 3, mm. 1-4

    • Chord Sequence:

    • D: I, vi, ii6, V7, I, ii6, V6-5, 4-3 (pd)'

  • Ts → Tonic Substitution

    • ie Deceptive Cadence

5. Extending the Final Tonic Area

  • Definition: Related to cadential extensions (e.g., codetta).

  • Example: W. A. Mozart, Piano Sonata in C Major, mvt. 2, mm. 71-74

    • Chord Sequence:

    • G: V, D, I, T, T, V7, I

Summary

  • Utilizing 6/4 chords and additional methods to expand the tonic provides diverse options for embellishing musical phrases:

    • Cadential 6/4 to reinforce cadence approach.

    • Passing 6/4 chords for smooth bass transitions.

    • Neighboring 6/4 chords for subtle harmonic richness.

    • Arpeggiated 6/4 chord for maintaining tonal motion.

    • Extend tonic area with further prolongation techniques.

For Next Time

  1. Focus on Chapter 14 in the tutorial session.

  2. Read Clendinning & Marvin, Chapter 15: New Cadence Types and Diatonic Root Progressions.

  • Lecture #1: 2026.03.02 MUS 203 Classical Theory and Musicianship 1

  • Lecture #2: 2026.03.10

  • Reminder: See you next week!