V@-! Cadential or Accented @. Harmonic Prolongation via expansion. 2 Basic Phrase Shapes: I-V (half cadence). I-V (7) -I (authentic/full). I- V- I. I- IV- V- I. I- IV- II- V- I.
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2 Basic Phrase Shapes: I-V (half cadence)
I- V- I
I- IV- V- I
I- IV- II- V- I
I-V#-I- IV- I6- II- V°—‡ I
V@-! = Harmonic Prolongation via Delay
a minor: I- IV ? - V! I
V@-!Delays V via double upper neighbors:
6th above bass delays 5th
4th above bass delays 3rd
V V@ - !
Expressed as scale degrees: V@-! delays V via __ to __ and __ to __.
Because of delay function V@-! is always a “package”
@ part uses notes of tonic triad, but is dominant function (never label I@)
Tonic note (^1) is dissonant (forms 4th with bass tone)
Beethoven, 7 Variations on “God Save the King”
1. Notes (scale degrees) in @ portion AND bass tone
2. Doubling (give as scale degree and as root, 3rd, or 5th)
3. @ Metrically strong or weak (hint: in 3/4 beats 1-2 are both strong)
! (dominant arrival) strong or weak
4. Voice -leading in upper voices
5. Characteristic bass motion
1. What 2 characteristic melody lines (3 notes) does V@-! -I often support?
2. How is the dissonant scale degree ^^1 approached in bar 5?
3. Is it difficulty to connect V@-V7 instead of V! (see m. 13)?
4. What function chord (tonic, interm. dom) leads to both V@-! Figures?
What is the function of this V@-!?
^5 ^6 ^7 ^1 ^2 ^3 ^4 ^3 ^2 ^1