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Transcript
TONIC AND DOMINANT F O R M , F U N C T I O N , & R E L AT I O N S H I P THE TONIC CHORD • Built on the first degree of the diatonic scale; • Tonal center • Built on stable scale degrees ^1, ^3, & ^5 • Root, Third, & Fifth I I • Base by which all other pitches and chords are referenced • Marked with Roman numeral I in major or i in the minor mode i i THE TONIC CHORD • Established as the grounding center of tonal music during the 17th and 18th Centuries • Most pieces begin and end on the tonic chord • Ending on the tonic chord is the ultimate in conclusivity • Four important roles • • • • Principal goal tone Initiating event in a melodic line or in harmony Generator of other tones Stable center & neutralizes harmonic tension THE DOMINANT CHORD • Secondary in importance to the tonic • Built upon the fifth scale degree in the diatonic scale • Appears in Major and minor, but is typically altered in the minor mode because it contains the leading tone (^7) of the diatonic scale *assume the key of C Maj/min CONNECTIONS • Both triads are the harmonic building blocks of tonal musical structure • Harmonic goals of phrases and larger formal units • Closely related by acoustical properties • Rules for doubling • #1 – always double the root • #2 – never, ever, ever double the leading tone! CONNECTING I-V AND V- I • The bass takes the root of the second chord • The common tone is retained in the same voice • The remaining voices move by stepwise motion to the nearest tones of the second chord NONCOMMON-TONE CONNECTION • When the soprano line involves scale degrees 2-1, 1-2, 3-5, 5-3, or 5-7, the three upper voices normally move contrary to the bass to the nearest notes of the second chord. In the connection of V – I, the leading tone (a tendency tone), does not resolve to tonic, but skips to the dominant. This is known as free resolution of the leading tone. This can ONLY occur if the leading tone is in an inner voice. Facilitates spacing HARMONIZE THE FOLLOWING… • Harmonize the following soprano examples using the voicing as indicated. All chords are moving V - I NON-HARMONIC CHORD TONES • Any note that is note heard as a member of the prevailing harmony (chord) • Two common types Non-Harmonic Chord Tones • Passing Tone (p.t.) • Neighbor Tone (n.t.) or Auxiliary Tone (aux.) • Non-Harmonic chord tones may occur simultaneously in more than one voice • If this is the case, they are usually consonant with each other NON-HARMONIC CHORD TONES -PASSING TONES- Passing Tones Voice(s) moves stepwise to fill the gap between chord tones in a line. Example in the minor mode: Uses the melodic minor scale to avoid an augmented second in the tenor line. NON-HARMONIC CHORD TONES -NEIGHBOR/AUXILIARY TONES- Neighbor Tone Used between a chord tone(s) and its repetition. There is no change in harmony. WELCOME PASSING TONES! • Introduce passing tones in the following progressions Welcome Neighbor/Auxiliary Tones • Introduce N.T. into the progressions