v@ cadential or accented @ n.
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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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harmonic prolongation via expansion
Harmonic Prolongationvia 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

I-V#-I- IV- I6- II- V°—‡ I

slide4

V@-!Delays V via double upper neighbors:

6th above bass delays 5th

4th above bass delays 3rd

^3

NN

^^1

NN

^5

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)

slide5

Beethoven, 7 Variations on “God Save the King”

V@-! Basics:

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

slide6

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?