Advanced Minor Key Harmony and Voice Leading Conventions

Vocal Exercises and Natural Minor Scale Degrees

• The instructor leads the class in singing scale degrees in the natural minor key to reinforce harmonic grounding.
• Soprano Line: The target melodic sequence for the soprano voice is $3-1-4-3$.
• Bass Line: The identified sequence for the baseline is $1-1-7-1$.
• Alto Line: The alto voice is assigned scale degree $3$.
• Tenor Line: Initially identified as moving from $5$ to $6$, the tenor line is clarified as staying on $5$ or $5-5$.

Vertical vs. Lateral Chord Spelling

• Lateral Thinking: This involves identifying individual voice lines (Soprano, Alto, Tenor, Bass) across time.
• Vertical Thinking: This involves identifying all notes in a chord simultaneously across the four voices.
    - Example: A vertical chord structure is given as $1-5-1-3$.
    - Another example provided: $1-1-2-4$.
• Spelling of Specific Chords:
    - The instructor identifies a progression as: Minor $i$, $ii^{\circ 4/2}$, and $V^{6/5}$.
    - The instructor encourages students to visualize the chord structure, suggesting a "picture" of the verticality to help with memorization.

Harmonic Progression: Passing Chords and Voice Exchange

• Progression Analysis: $i - v^{6/4} - i^6$
    - This progression utilizes a passing $v^{6/4}$.
• Specific Voice Leading for the Progression:
    - Bass: Moving $3-2-1$ (or alternatively $1-2-3$).
    - Soprano (Voice Exchange): If the bass moves $3-2-1$, the soprano moves in reverse: $1-2-3$.
    - Tenor: Described as "lazy," the tenor stays static on $5-5-5$.
    - Alto: Moves $1-7-1$.
• Naming the Passing Chord: The passing chord is explicitly identified as the $v^{6/4}$ chord, which facilitates the motion between $i$ and $i^6$.

Harmonic Variations and Predominant Expansions

• Variation using $V^{6/5}$:
    - Baseline: $1-1-7-1$.
    - Roman Numerals: Minor $i - i - V^{6/5} - i$. (Note: Corrected from initial thought of $v^7$ in baseline).
• Open Tenths Progression:
    - Bass line: $1-2-3-3-4-5-5-5-5-5$.
    - Soprano line: $1-7-1$.
    - Inner voices remain the same as previous examples.
• Full Chord Variation:
    - Instead of using a simple passing $v^{6/4}$, the instructor mentions using full chords such as $iv - iv^6$, or utilizing a $i^{6/4}$.
• Predominant Expansion Progression:
    - Scale degree sequence given: $6-5-4-4-5-6-1-1-1-4-3-4$.
    - This is framed as a variation on previous exercises, functioning as a predominant expansion.

Perfect Authentic Cadence (PAC) and Voice Leading Principles

• PAC Structure:
    - Bass: Generally follows a $5-5-1$ pattern.
    - Soprano Scale Degrees: The melodic sequence presented is $5-4-3-1-7-\text{either } 1 \text{ or } 5-3-2-1$.
• Avoiding Parallel Octaves:
    - The instructor highlights a specific problem where moving from $iv$ to $V$ can cause parallel octaves.
    - Problematic Example: Moving from $A\flat$ to $B\flat$ in the bass while the soprano also moves $A\flat$ to $B\flat$, resulting in parallel $8$ths.
    - Solution: Re-position the chord to ensure functional voice leading that avoids these errors.
• Choosing Soprano Lines:
    - The instructor recommends ending with $3-2-1$ in the soprano for the final cadence.
    - Reasoning: Ending on $1-7-1$ in the soprano often forces a "triple root" in the final chord, which the instructor advises against in this context.
• Historical/Stylistic Context:
    - Reference to "Chinkarian analysis" (Schenkerian analysis): The context of voice leading within the entire piece.
    - Desired linear voice lines follow descending stepwise motions such as $5-4-3-2-1$ or $8-7-6-5-4-3-2-1$. This counterpoint is characteristic of common practice conventions.

Chapter 17 and 18: Diminished Seventh Chords

• Chapter 17 Introduction: Focuses on the diminished seventh chord ($vii^{\circ 7}$).
• Variation on v chords: The instructor shows how a previous progression can be modified using a $vii^{\circ 6}$.
    - Instead of a static tenor line ($5-5-5$), it changes to $5-4-5$.
• Textbook Ordering: The author of the textbook arranged the chapters in this specific order to allow students to see the direct connections and variations between basic domestic chords and diminished leading-tone chords.

Questions & Discussion

• Question on Half Cadence Conventions: A student asks what "a half cadence treated according to common practice conventions" means.
    - Response: It refers to specific Roman numeral usage and voice leading. Specifically, using minor $iv^6$ moving to $V$.
    - Bass Requirement: Must go from scale degree $6$ to $5$.
    - Soprano Requirement: Must go from scale degree $4$ to $5$.
• Question on Half Cadence Placement: Where should the half cadence be placed?
    - Response: Strategically, it should be in the middle of a phrase. It must be placed somewhere that allows enough time to "recoup" and complete a Perfect Authentic Cadence (PAC) later. Placing it too late (e.g., two measures before the end) makes it difficult to reach a PAC effectively.
• Question on Doubling in the iv Chord: Can you have three tonics in the chord preceding the half cadence?
    - Response: You definitely need the $6$ to $5$ motion in the bass and $4$ to $5$ in the soprano. You can double the root (the fourth scale degree), but not triple it, as you would lose other essential chord tones. Usually, doubling scale degree $1$ is preferred to avoid voice leading errors and provide the leading tone for the final resolution.
• Instructor Advice on Seventh Chords: The instructor notes they avoided using a $V^7$ in the half cadence example. The reasoning is to "save" the seventh for a more special or final moment, such as the final PAC, to keep the writing functional and strategically organized.
• Logistics: The class discusses grades for second materials (instructor is not responsible for those) and the schedule for Chapter 18 (Tuesday) and the upcoming test.