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Harmonic Structure
Harmonic Structure

... half diminished fully diminished dominant seventh ...
Voice leading from IV-V
Voice leading from IV-V

... is repeated in the V chord. These progressions are known as parallel fifths and parallel octaves, and should be avoided when writing homophonic and homorhythmic music. One correct way of voice leading from IV to V is to use the non-common tone technique, as shown in bar 2. Raise the bass (we're stil ...
The 7-4-2 chord in early Italian recitative
The 7-4-2 chord in early Italian recitative

... There has been a recent vogue to sprinkle these chords liberally throughout early 17 th-century recitatives, although some continuo players are now restricting their use in music of the very earliest Baroque composers such as Monteverdi. Common continuo notation for this progression is as follows: E ...
presentation
presentation

... Harmony usually split into four voices, each with distinct vocal ranges: soprano, alto, tenor, and bass The “leading tone” (ti, or 7) must resolve to 1/do in the soprano ...
a sequence of single notes that is musically satisfy
a sequence of single notes that is musically satisfy

... The
Elements
of
Music
Definitions
 ...
Four-Part Harmony
Four-Part Harmony

... Stems for the soprano and tenor always point up. Stems for the alto and bass always point down. This helps to make it clear which notes to follow when two parts share a staff. Each voice or part contributes to a note in the chord, with one note in the chord doubled (since most chords only need three ...
MU2201 : Analysing Western Art Music
MU2201 : Analysing Western Art Music

... structure”) combines an upper-voice Urlinie (“fundamental line”) and a bass Bassbrechung (“bass arpeggiation”, I-V-I, regarded both harmonically, as chords on tonic and dominant, and melodically, as an arpeggiation of the tonic triad). It can take three main forms, all with stepwise descents in the ...
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Schenkerian analysis

Schenkerian analysis is a method of musical analysis of tonal music based on the theories of Heinrich Schenker (1868–1935). The goal of a Schenkerian analysis is to interpret the underlying structure of a tonal work and to help reading the score according to that structure. The theory's basic tenets can be viewed as a way of defining tonality in music. A Schenkerian analysis of a passage of music shows hierarchical relationships among its pitches, and draws conclusions about the structure of the passage from this hierarchy. The analysis makes use of a specialized symbolic form of musical notation that Schenker devised to demonstrate various techniques of elaboration. The most fundamental concept of Schenker's theory of tonality may be that of tonal space. The intervals between the notes of the tonic triad form a tonal space that is filled with passing and neighbour notes, producing new triads and new tonal spaces, open for further elaborations until the surface of the work (the score) is reached.Although Schenker himself usually presents his analyses in the generative direction, starting from the fundamental structure (Ursatz) to reach the score, the practice of Schenkerian analysis more often is reductive, starting from the score and showing how it can be reduced to its fundamental structure. The graph of the Ursatz is arrhythmic, as is a strict-counterpoint cantus firmus exercise. Even at intermediate levels of the reduction, rhythmic notation (open and closed noteheads, beams and flags) shows not rhythm but the hierarchical relationships between the pitch-events.Schenkerian analysis is subjective. There is no mechanical procedure involved and the analysis reflects the musical intuitions of the analyst. The analysis represents a way of hearing (and reading) a piece of music.
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