TONAL COUNTERPOINT

DR. FERNANDO MARTIN PASTOR, PHD

 TIMELINE FOR THIS COURSE

 Weeks 6 – Submission of All Class Activities /

Exercises and Homework, Weeks 1-6

 Week 7 - quiz 1

 Week 10 – quiz 2

 W. 12 – Midterm Exercises and Homework, Weeks 7-12

 Final Exam (40 %)

 INTRO TO THE COURSE

 SYLLABUS – ASSESSMENT & CRA – TIMELINE

 LECTURE 1: REVIEW OF SCALES & INTERVALS

COUNTERPOINT & CANTUS FIRMUS

UNIT 1:

COUNTERPOINT: BASICS
 Aims for this Course: Tonal Counterpoint

•Understand the techniques of Counterpoint

•Be able to write Good Melodies & Cantus Firmus

•Understand the Rules of Species Counterpoint

•Be able to write Couterpoint Forms like the Canon or

the Invention
 TEACHING STYLE (METHODS)

TLA 1: Lectures and Discussions

TLA 2: Exercises and music analysis
TLA 3: Writing analytical report
TLA 4: E-learning
 FIVE BASIC NORMS

 NO CELL PHONES
 Be on Time
 Do your Weekly Exercises
 NO TALKING (REPECT OTHER LEARNERS)
 No PLAGIARISM

 ASK RELEVANT QUESTIONS IF NEEDED

 PLEASE, TAKE NOTES!
 UNIVERSITY POLICIES

 PLAGIARISM & CHEATING

 MISBEHAVIOR

 ATTENDANCE!!!
 ASSIGNMENTS & EXAMS!!!

 EXPECT TO WORK FOR 3 hours/ Week

ACADEMIC HONESTY & INTEGRITY

PLAGIARISM

Upon suspicion and doubt of the authenticity of the work

submitted, the Instructor has the right to ask the student to verify
her/his work. This can be done through, but not limited to,
repeating the work, oral examination or discussion, alternative or
similar on spot class assignment, pop quiz, or any other action
deemed necessary. If the student fails to prove the authenticity of
the work, then the Instructor has the right to award the work a zero
grade and/or apply academic misconduct.
 SKILLS TO DEVELOP IN THIS COURSE

 THEORY & TECHNIQUES OF COUNTERPOINT:

- Rules of SPECIES Counterpoint in 2 Voices

 PRACTICAL – MUSIC COMPOSITION - MELODIES

Cantus Firmus & Melodic Exercises
Counterpoint in 2 Voices: Species Exercises
Composition of Canons in 2 Voices

 ANALYTICAL – ANALYSIS OF COUNTERPOINT PIECES

TEXTBOOKS / RECOMMENDED READINGS

Aldwell, E., Cadwallader, A. C. & Schachter, C.

(2019). Harmony & Voice Leading. Australia:
Wadsworth.

Piston, W. – Counterpoint

Kennan - Counterpoint + WORKBOOK

 Why do we study Music Theory?

Mozart and Beethoven studied Music Theory with Haydn.

The Tradition of Music theory started over 500 years ago.
All Composers and Musicians needed to learn the theory

Listening Part: Haydn ‘The Clock Symphony ‘ in D Major

(II movement in G Major)
 Aims for this Unit

•Understand the use of Counterpoint in polyphonic

music

•Understand the Concept of Textures in Music

•Difference between Harmony & Counterpoint

•Review of Music Theory & Preparation for

Counterpoint Exercises
UNIT: CONCEPT OF
COUNTERPOINT
 HARMONY
 TEXTURES
MUSIC DIMENSIONS: Elements of Music & Notation

3 DIMENSIONS:

PITCH (HIGHER OR LOWER ON PAPER)

DURATION (SPACE BETWEEN EVENTS)

HARMONY (SIMULTANEITY OF EVENTS)

MOTIVATION:
2 MUSIC DIMENSIONS: MELODY & HARMONY

H
A
R HORIZONTAL
M
O &
N
Y VERTICAL
CONTENT
MELODY -----------------------------------
MOTIVATION:
DIMENSION 1: MELODY AS A HORIZONTAL LINE

- We understand a Melody as a line putting

together all the notes and rhythm.
The melody follows the horizontal dimension.
DIMENSION 2: CHORDS OR HOMOPHONY

- Homophony (chords) – Several notes

played simultaneously creating harmony.
- Several voices playing with the same
rhythm but different notes
 TEXTURE 2: CHORDS (HARMONY)

- Chords are Several notes played at the same time,

Creating HARMONY . Chords occur when Several
musical parts play the same rhythm but different
notes
- Chords or Harmony follow the vertical dimension
 TEXTURE 2: CHORDS (HARMONY)

- Chords Create HARMONY, VERTICAL DIMENTION

- QUESTION: - Can Melody & Harmony Interact?

MOTIVATION:
LISTENING PART – HANDEL SARABANDA

H
A
R HORIZONTAL
M
O &
N
Y VERTICAL DIMENSIONS

MELODY ----------------------------------- INTERACT

CONSTANTLY
(Listen to Sarabande
 TEXTURE 2: MELODY + HARMONY

QUESTIONS:
- 1. Can Melody & Harmony Interact?
YES, a melody can be supported by chords
CONCEPT OF TEXTURE IN MUSIC

TEXTURE --------------- LAYERS OF MUSIC

--------------- Thickness

--------------- Relation between

Musical Parts

(Example: Melody + Accompaniment)

 THE TEXTURE: COUNTERPOINT OR HARMONY ?
Texture shows how the
melodies and parts interact

Melodies are like horizontal lines

Chords are like vertical lines

DIMENSIONS 1& 2: MELODY & HARMONY -
TEXTURE

TEXTURE = THICKNESS
MELODY 1 ---------------------------------------
H H H &
A A A
R RELATION
R R
M M M
BETWEEN PARTS
O O O
N N N
Y Y Y
MELODY 2 ----------------------------------- HORIZONTAL
+
VERTICAL
TEXTURE 2: COUNTERPOINT & IMITATION

- Several Melodies played simultaneously create

counterpoint
- Melodic or “linear” in conception (horizontal)
- IMITATIVE COUNTERPOINT, is a type of
counterpoint in which voices echo each other
COUNTERPOINT: DEFINITION

COUNTERPOINT IS A TEXTURE BASED ON

SEVERAL INDEPENDENT MELODIES SOUNDING
AT THE SAME TIME.

HERE, THE PRIME ELEMENT IS THE MELODIC MOVEMENT

OF THE MUSICAL PARTS AND HOW THE MELODIES
RELATE
(EXAMPLE: ONE MELODY MIGHT BE ACTIVE, THE OTHER
LESS ACTIVE, OR VICEVERSA)
COUNTERPOINT: SPECIES DEFINITION
SPECIES COUNTERPOINT IS A SYSTEM TO ORGANIZE HOW
THE MELODIES RELATE ACCORDING TO THEIR RHYTHMIC
ACTIVITY:

1st SPECIES: 1 to 1 NOTE

2nd SPECIES: 1- 2 NOTES

3rd SPECIES: 1- 4 NOTES

4th SPECIES: 1- 2 NOTES OFFBEAT

5th SPECIES: MIX OF SPECIES 1-4

EXERCISE & HOMEWORK

HOMEWORK: reading of the book

 LISTENING IN-CLASS & AT HOME

 Purcell - 〈 Dido and Aeneas 〉 "When I am laid in earth"

[Link]

 Bach: The Well Tempered Clavier for harpsichord (piano version)

[Link]

 Georg Friedrich Haendel (Rinaldo) - Lascia chio pianga

[Link]
THE END
UNIT: REVIEW OF SCALES,
INTERVALS
 & HARMONY
REMINDER: NOTATION
THE GRAND STAFF: BASS & TREBLE CLEF NOTES
CIRCLE OF FIFTHS: ALL THE KEYS
CIRCLE OF FIFTHS & MINOR SCALES
FROM CIRCLE OF FIFTH TO MELODIC &
HARMONIC MINOR

 Harmonic minor ---- Rise scale degree 7

 Melodic minor ----- Rise scale degree 6, 7 (up)
 ------ going down NO Need
 to modify
HOW TO GET MELODIC & HARMONIC MINOR
FROM CIRCLE OF FIFTHS
CIRCLE OF NATURAL HARMONIC MELODIC
FIFTH MINOR MINOR MINOR
Gives you SAME KEY MODIFY KEY MODIFY KEY
FLATS SIGNATURE AS SIGNATURE of SIGNATURE of
& SHARPS CIRCLE OF NATURAL MINOR NATURAL MINOR
(Key signature) FIFTH
ADDING: ADDING:
SCALE DEGREE 7 - SCALE DEGREE
(UP, ½ STEP) 7
(UP, ½ STEP)
- SCALE DEGREE
6
(UP, ½ STEP)
WHEN GOING UP
SCALE

GOING DOWN
= NATURAL
MINOR
EXERCISES: CIRCLE OF FIFTHS & MINOR
SCALES

a) FIND THE d minor natural, harmonic and melodic scales

b) FIND THE B b minor natural, harmonic and melodic scales
c) FIND THE f minor natural, harmonic and melodic scales
NOTES OF THE SCALE &

MAIN NOTES IN MELODIES

NOTES OF THE SCALE: SCALE DEGREE

SYSTEM : - SCALE is a SET OF 7 NOTES, with fixed distances

- Some Notes are more important than others: 1, 5, 4
- Some Notes are Stable (1, 4), others are unstable (5,7)
- Moving Away from the scale is MOST UNSTABLE
EXERCISES:
NOTES OF THE SCALE: SCALE DEGREE

 EXERCISES: In the Score by Mozart given

 FIND TONIC, DOMINANT, SUBDOMINANT

Leading Tone / Other scale Notes / Other Keys

SYSTEM : - SCALE is a SET OF 7 NOTES, with fixed distances

- Some Notes are more important than others: 1, 5, 4
- Some Notes are Stable (1, 4), others are unstable (5,7)
- Moving Away from the scale is MOST UNSTABLE
EXERCISE: FIND SCALE DEGREES

SYSTEM : - SCALE is a SET OF 7 NOTES, with fixed distances

- Some Notes are more important than others: 1, 5, 4
- Some Notes are Stable (1, 4), others are unstable (5,7) + New Scale
EXERCISE: FIND SCALE DEGREES

SYSTEM : - SCALE is a SET OF 7 NOTES, with fixed distances

- Some Notes are more important than others: 1, 5, 4
- Some Notes are Stable (1, 4), others are unstable (5,7) + New Scale
EXERCISE: FIND SCALE DEGREES

 EXERCISES: Find Main Notes

SYSTEM : - SCALE is a SET OF 7 NOTES, with fixed distances

- Some Notes are more important than others: 1, 5, 4
- Some Notes are Stable (1, 4), others are unstable (5,7) + New Scale
THE END
EXERCISE: FIND E MAJOR, F MAJOR & D
MINOR
1. TYPE OF CHORDS
MAJOR & MINOR CHORDS
For Major chord you need these distances: 0, 4, 7
For minor Chord you need these distances: 0, 3, 7

FIND: ALL POSSIBLE CHORDS IN C MAJOR KEY

EXERCISE: FIND ALL THE POSSIBLE CHORDS
IN C

NOTE (Scale) / Chord NOTES in Chord TYPE OF CHORD

C = I CHORD C E G Major Chord
D = II CHORD D F A minor chord
E = III CHORD
F = IV CHORD
G = V CHORD
A = VI CHORD
B = VII CHORD
ANSWER TO EXERCISE – ALL TRIADS IN C
MAJOR

NOTE (Scale) / Chord NOTES in Chord TYPE OF CHORD

C = I CHORD C E G Major Chord
D = II CHORD D F A minor chord
E = III CHORD E G B minor chord
F = IV CHORD F A C Major Chord
G = V CHORD G B D Major Chord
A = VI CHORD A C E minor chord
B = VII CHORD B D F diminished chord

I, IV, V ii, iii, vi vii 0

YOU NEED TO REMEMBER THIS:
MAJOR minor diminished
CHORDS IN C MAJOR:
FUNCTIONS
MAJOR CHORDS MINOR CHORDS DIMINISHED

C M = C E G (I) D minor = D F A (ii)

FM=FAC (IV) E minor = E G B (iii)

G M = G B D (V) Am = ACE (vi) vii = B diminished

MOST USED Also used but less (vi), (ii) Vii written: vii 0
Little used (iii) Also Used for
I, IV = STABLE Tension

V = Dominant, tension
 The distance measured
between two notes is
described as an INTERVAL.

It can be a 2nd, 3rd, 4th, 5th, 6th,

7th, octave or larger than 8ve.

The interval’s qualities are:

Major / Minor
Perfect

[Link]
FINDING THE INTERVAL’S NAME

 ALL INTERVALS have a NAME & SURNAME

 The name of the interval is the QUANTITY (number of notes in between:
2nd,3rd,4th,5th,..)
 The surname of the interval is the QUALITY (number of semitones in between:
minor, maj.)
 Any two notes that sound
together or one after the other
form an interval.

Minor intervals are a

semitone smaller than
Major intervals.

The 4th, 5th and 8ve are

Perfect.
3 tones
The Tritone is formed
2 tones
by 3 tones distance.
1 tone
3 semitones
2 semitones
1 semitone
 Recognising intervals by ear can be
tricky, and the ONLY way to improve
is practice.

sounds dissonant and large.

Tritones sound scary!

sound consonant but

larger than the others.

Perfect intervals sound

consonant (pleasant)
bright, happy and
satisfying.

sound consonant but

smaller than the others.

sounds dissonant and tiny.

 Learn your intervals through songs

Somewhere Over the Rainbow

.
.

.
.
Star Wars

-
Here Comes the Bride

Beethoven’s Fifth Symphony

Greensleeves
Happy Birthday
Fur Elise

The first two notes of the song demonstrate the ASCENDING interval.
SINGING A SONG:
FINDING THE INTERVALS

To sing a song you need to find all intervals.

For every pair of notes there will be an interval.

If you recognize this interval and sing it well than you can
move on to the next interval and then you keep on finding
new notes until completing the melody .
EXERCISE: SING THE SONG ON THE NEXT SLIDE
DO YOU RECOGNIZE THIS SONG?
SONG: JAY CHOU ‘ MOJITO’

[Link]
 Some intervals sound better than others when
played together... Listen to the examples.

Dissonant, wants to resolve

Consonant, good harmony ‘Latin American sounding’

Consonant, bare, drone, power chords and chants!

VERY Dissonant!
Consonant

Consonant ‘Best’ harmony, sounds close

Dissonant, wants to resolve

Try to separate the two notes in your mind to work out the interval.
THE END
UNIT: CANTUS FIRMUS &
 1st SPECIES
COUNTERPOINT
 CANTUS FIRMUS = MELODY RULES

 A Cantus Firmus is an Abstract Melody, without rhythm.

 The Cantus provides the basic goals of melodic development:

- Establishing a Key or Mode. Tonic Note happens at the beginning and end.
- Establishing a Principle of Variety. Melody evolves and uses at least 5 different
notes
- Establishing a Principle of Direction – Melody should reach up to a climax
(highest point) and then descend. This basic shape is used in many variants.
- Establishing a Principle of Balance - Melody should balance stepwise
movement and jumps
- Establishing a Principle of Consonance / Dissonance – Melody should avoid
dissonances
 CANTUS FIRMUS - RULES

 Melody should have 7-14 Notes and a clear shape. It will peak to a climax note that
cannot be repeated.
 Melody should not have two repeated notes following each other.
 Melody should reinforce the key or mode by starting and finishing in tonic. Only
possible variation here is to finish in 3rd of the key.
 MELODIC INTERVALS ALLOWED: MOVEMENT BY STEP is the norm, but the
Cantus should have 2-3 jumps. The jumps should be consonant intervals (3rd, 4th, 5th,
6th, or octave).
 Melody should be balance between step movement and the 2-3 jumps.

Avoid jumping 3 times in a row. Maximum 2 jumps following each other, and the
result of these 2 jumps should not be a 7th interval.
 EXAMPLE: 2 CANTUS FIRMUS AT THE SAME
TIME
 1ST SPECIES (NOTE AGAINST NOTE)-
RULES

 ONLY HARMONIC INTERVALS ALLOWED: consonant (major/minor 3rd or 6th, perfect

unison, 5th, or octave, or a compound form).
 Parallel fifths: if the previous harmonic interval was a fifth, your next note should not create the
same harmonic interval again.
 Parallel octaves: if the previous harmonic interval was an octave, your next note should not
create the same harmonic interval again.
 Direct octaves or fifths: if both voices are moving in the same direction (and the upper voice by
jump), they should not move to a vertical octave or fifth.
 Closing formula: If the counter-melody is above the given melody, then the last note of the
counter-melody should be in the tonic chord.
 Closing formula: If the counter-melody is below the given melody, then the last note of the
counter-melody should be the tonic or third of the tonic chord.
 FORBIDDEN PARALLEL 5THS AND 8VES

RULE: FORBIDDEN PARALLEL 5ths and 8ves

TYPICAL MISTAKE
 FORBIDDEN DIRECT 5THS AND 8VES

Direct 5ths and 8ve means moving in same direction – Not good

IN ORDER TO AVOID THIS, USE CONTRARY MOTION and it will be CORRECT

THEORY OF HARMONY: RULES OF HARMONY

RULE: FORBIDDEN PARALLEL & DIRECT 5ths and 8ves.

Examples: CORRECT ?
CORRECT OR NOT?
EXAMPLE: 1ST SPECIES COUNTERPOINT
1ST SPECIES (NOTE AGAINST NOTE)- MORE
RULES

 Avoid the tritone and augmented 2nds, both melodic (between notes in your melody)
and harmonic
 Use notes in the key signature only. Exception: sharp for leading tone in minor key
 Leading tone resolution at cadence
 Your counter-melody should move in steps, or in leaps of a 3rd, 4th, 5th, or 6th.
 Your counter-melody should not contain multiple successive large leaps (5th or 6th)
in the same direction.
 Your counter melody should not contain more than 3 leaps in a row.
 Avoid simultaneous leaps in the same direction. Avoid simultaneous climax
 Simultaneous opposite leaps are only allowed if both voices leap by a third, or one
voice leaps by a third while the other voice leaps by a fourth.
EXERCISES
EXERCISES
THE END
UNIT: 2nd SPECIES
COUNTERPOINT
2ND SPECIES COUNTERPOINT - MODEL
 2ND SPECIES (2 NOTES AGAINST 1 NOTE)- RULES

 Second species counterpoint consists of two half-notes set against each whole
note in the cantus firmus.
 Main Idea: Consonant notes on the downbeats and on the weak beats either
consonant or dissonant (justified):
- The first beat must be consonant with the cantus firmus.
Same Rules as Species 1 for FIRST NOTE of the BAR
- The second beat may be dissonant, but only if it is
approached and left by a step. Examples: Passing note,
Neighbouring tone (moving ONLY by steps)
 Closing formula: MELODIC RESOLUTIONS of 7-8, 2-1 in each voice.
 START DEVELOPING YOUR HARMONY: I - V, and IV More
2ND SPECIES – TYPICAL MISTAKES: 5THS &
8VES

PARALLEL 5ths or 8ves - CONSECUTIVE -

BIG MISTAKE
2ND SPECIES – TYPICAL MISTAKES: 5THS &
8VES

PARALLEL 5ths or 8ves - SAME DIRECTION

-
TO AVOID (unless one voice moves by
step)

Top Voice MOVES BY STEP – SO this Case is OK

2ND SPECIES – TYPICAL MISTAKES: 5THS &
8VES

PARALLEL 5ths or 8ves - SAME DIRECTION -

TO AVOID (unless one voice moves by step)

Top Voice MOVES BY STEP – SO this Case is OK

 CORRECT 5THS & 8VES: OPPOSITE
DIRECTION
2ND SPECIES – TYPICAL MISTAKES:
2ND SPECIES – TYPICAL MISTAKES:
2ND SPECIES – MISTAKES?
EXERCISES:
EXERCISES:
 2ND SPECIES COUNTERPOINT - HARMONY

START DEVELOPING YOUR HARMONY in Major Keys:

- Try to use Chords following importance: I, V or vii dim (A LOT)

IV (MEDIUM)

vi , ii (less)
 2ND SPECIES COUNTERPOINT - EXAMPLE

START DEVELOPING YOUR HARMONY in in Minor Keys:

- Try to use Chords following importance: i, v or V or vii dim (A LOT)

iv (MEDIUM)

VI , ii dim (less)
 2ND SPECIES – HOMEWORK

START DEVELOPING YOUR HARMONY in Minor Keys:

- What is the Harmony in exercise below?

2ND SPECIES COUNTERPOINT - EXERCISES
EXERCISES
THE END
UNIT: 3rd SPECIES &

Review of Harmony Rules

 Aims for this Unit

•Understand the basics of 3rd Species and harmony

•Review of concepts on chords and types
•Be able to apply knowledge of harmony to the analysis of
pieces and to improve melodies and counterpoint

•Preparation for Exercises

3RD SPECIES: PROPORTIONS 3:1, 4:1,6:1

3rd Species is a type of counterpoint where a Whole Note is kept

in one voice and the other voice plays in Quarter notes.

Depending on the Time Signature, we get different proportions:

4 / 4 --------------- or Proportion: 4: 1
3 / 4 --------------- or Proportion: 3: 1
6 / 4 --------------- or Proportion: 6: 1
3RD SPECIES: PROPORTIONS 3:1, 4:1,6:1
3RD SPECIES:
NEED OF COMPLETE HARMONY CHORDS

Since we got 3 or 4 notes to write against 1 in the melody, it is easy to

complete the triad (notes 1 -3 – 5) of the chord. See a,b,c,d,e,g above.

 3RD SPECIES: CONSONANCES

Consonant x x In 3: 1
Consonant x Consonant x In 4:1

Consonant Consonant
x x x x In 6:1

X = EITHER CONSONANT OR DISSONANCE.

REVIEW OF HARMONY for 3rd SPECIES
THEORY OF HARMONY:
CONSTRUCTION OF CHORDS: 5th, 7th Chords
PREPARATION FOR MUSIC COMPOSITION

TONALITY: KEY & SCALE, MAIN NOTES, TENSION,

CHORDS

TONALITY PUTS TOGETHER 4 IDEAS:

a. THE KEY Or SCALE of 7 Notes – C, D, E, F, G, A. B, C

b. THE MAIN notes of the Scale – Tonic (note C) + 5 Dominant
c. The Relative TENSION OR STABILITY of notes
d. The 7 CHORDS – Built on the Scale. This means that we can
build one chord on each of the notes of the scale. It also means that
the notes of the chords are drawn from the scale. Each chord has a
function.
To start a composition we need to find the”
Key, Tonic & Scale & MAIN NOTES & ALL TRIADS in the
KEY
[Link]: ALL TRIADS IN C MAJOR

NOTE (Scale) / Chord NOTES in Chord TYPE OF CHORD

C = I CHORD C E G Major Chord
D = II CHORD D F A minor chord
E = III CHORD E G B minor chord
F = IV CHORD F A C Major Chord
G = V CHORD G B D Major Chord
A = VI CHORD A C E minor chord
B = VII CHORD B D F diminished chord

I, IV, V ii, iii, vi vii 0

YOU NEED TO REMEMBER THIS:
MAJOR minor diminished
 1. TYPE CHORDS
CONSTRUCTION OF 5TH CHORDS
For Major chord you need these distances: 0, 4, 7
For minor Chord you need these distances: 0, 3, 7
G Chord? G m Chord? 1 3 5
EXERCISE: E MAJOR, F MAJOR & D MINOR
1. TYPE CHORDS
MAJOR & MINOR CHORDS
For Major chord you need these distances: 0, 4, 7
For minor Chord you need these distances: 0, 3, 7

FIND: E M & E m Chords, F M and F m Chords,

1. TYPE OF CHORDS
MAJOR & MINOR CHORDS
For Major chord you need these distances: 0, 4, 7
For minor Chord you need these distances: 0, 3, 7

FIND: ALL POSSIBLE CHORDS IN C MAJOR KEY

EXERCISE: FIND ALL THE POSSIBLE CHORDS
IN C

NOTE (Scale) / Chord NOTES in Chord TYPE OF CHORD

C = I CHORD C E G Major Chord
D = II CHORD D F A minor chord
E = III CHORD
F = IV CHORD
G = V CHORD
A = VI CHORD
B = VII CHORD
ANSWER TO EXERCISE – ALL TRIADS IN C
MAJOR

NOTE (Scale) / Chord NOTES in Chord TYPE OF CHORD

C = I CHORD C E G Major Chord
D = II CHORD D F A minor chord
E = III CHORD E G B minor chord
F = IV CHORD F A C Major Chord
G = V CHORD G B D Major Chord
A = VI CHORD A C E minor chord
B = VII CHORD B D F diminished chord

I, IV, V ii, iii, vi vii 0

YOU NEED TO REMEMBER THIS:
MAJOR minor diminished
BASIC CHORDS IN C MAJOR SCALE

MAJOR CHORDS MINOR CHORDS DIMINISHED

C M = C E G (I) D minor = D F A (ii)

FM=FAC (IV) E minor = E G B (iii)

G M = G B D (V) Am = ACE (vi) vii = B diminished

MOST USED Also used but less (vi), (ii) Vii written: vii 0
Little used (iii) Also Used for
I, IV = STABLE Tension
V = Dominant, tension
NEW CHORDS: CONSTRUCTION OF
SEVENTH CHORDS

C 7 Chord 1 3 5 7

NOTES NEEDED for a C 7 CHORD

C–E– G - Bb
NEW CHORDS: CONSTRUCTION OF
SEVENTH CHORDS
For Seventh chord you need distances: 0, 4, 7, 10
For minor Seventh Chord you need distances: 0, 3, 7, 10

D minor 7 Chord 1 3 5 7

NOTES NEEDED for a D minor 7 CHORD

D–F–A-C
HOMEWORK - FIND THE NOTES OF THESE

CHORDS - PREPARATION FOR QUIZ

Ab 7 Chord ---- NOTES = A b, C , E b, G b

Bbm Chord ---- NOTES = ???
Cm7 Chord ---- NOTES = ???
D 7 Chord ---- NOTES =
E m Chord ---- NOTES =
F# 7 Chord ---- NOTES =
Gb Chord ---- NOTES =
WEB WITH ALL PIANO CHORDS:
[Link]
 TYPE OF CHORDS IN MINOR
SCALES
MAJOR & MINOR CHORDS
For Major chord you need these distances: 0, 4, 7
For minor Chord you need these distances: 0, 3, 7

FIND: ALL POSSIBLE CHORDS IN A Minor KEY

 BASIC CHORDS IN A MINOR
SCALE
MINOR CHORDS MAJOR CHORDS DIMINISHED
Am = A C E (i) C M = C E G (III)
D minor = D F A (iv) FM=FAC (VI)

E Major = E G # B (V) GM = G B D (VII) B diminished = ii 0

(Harmonic or Melodic scale) G # dim = G # B D G # dim = Vii 0

MOST USED Also used but less (vi), - Vii 0

(iii) Also Used for
I, IV = STABLE Little used (vii) Tension
V = Dominant, tension
- ii 0 also used
 PRACTICE
Find Scale, Tonic, and all
Chords in the Key of A minor
EXERCISE: FIND ALL THE POSSIBLE CHORDS IN A
MINOR

 START WITH THE NOTES OF THE SCALE:

A, B, C, C, D, E, F, G or G #,
 BUILD A CHORD ON EACH OF THESE NOTES

- TAKE CARE OF DOUBLE DEGREE 7: G or G #

 DESCRIBE WHAT TYPE OF CHORDS YOU FIND
 ANSWER TO EXERCISE – ALL TRIADS IN A
MINOR

NOTE (Scale) / Chord NOTES in Chord TYPE OF CHORD

a = i CHORD A C E minor chord
b 0 = ii 0 CHORD B D F diminished chord
C = III CHORD C E G Major chord
d = iv CHORD D F A minor Chord
E = V or v CHORD E G # B or E G B Major or minor chord
F = VI CHORD F A C Major Chord
G = VII CHORD G B D Major Chord
G # = vii 0 CHORD G# B D diminished chord

YOU NEED III, V (#3), VI, b VII i, iv, v ii o, vii 0

TO MAJOR minor diminished
REMEMBER
 PRACTICE
Find Scale, Tonic, and all
Chords in the Key of D Major
ANSWER TO EXERCISE – ALL TRIADS IN D
MAJOR

NOTE (Scale) / Chord NOTES in Chord TYPE OF CHORD

D = I CHORD D F # A Major Chord
e = II CHORD E G B minor chord
f# = III CHORD F# A C# minor chord
G = IV CHORD G B D Major Chord
A = V CHORD A C# E Major Chord
b = VI CHORD B D F# minor chord
c# = VII CHORD c# E G diminished chord

I, IV, V ii, iii, vi vii 0

YOU NEED TO REMEMBER THIS:
MAJOR minor diminished
END OF HARMONY REVIEW
 3rd SPECIES RULES
 3RD SPECIES: RULES
1 LEAPS between notes of the chord are more common
than in other species. Try to Complete CHORDS.
Middle leaps are ok and jumping a 5th, but with balance

2 Consonant x x In 3: 1

I Consonant x Consonant x In 4:1

D
E Consonant x x Consonant x x In 6:1
A
X = EITHER CONSONANT OR DISSONANCE.
 3RD SPECIES: RULES

3 AS in Second Species - DISSONANCES can ONLY

MOVE BY STEP in both directions (towards the note, and
after the dissonance note)

4 DISSONANCES NOW ARE MORE DIVERSED:

Passing tones, Neighboring tones –more often NEEDED
Also: escape notes, appoggiaturas, delays
‘

3RD SPECIES: EXAMPLES –

AREAS, CHORDS, & DISSONANCES
 3RD SPECIES: RULES

5 AS MELODY TENDS TO BE MORE JUMPY IN THIS SPECIES,

REMEMBER TO PAY ATTENTION TO MELODIC AREAS, i.e.
THE
AREA WHERE A FRAGMENT OF THE MELODY IS SET.
KEEP A MELODIC AREA FOR AT LEAST 1-2 BARS, AND DO
NOT MOVE BETWEEN AREAS TOO FAR APART
6 - AVOID MONOTONY & TOO MUCH REPETITION OF NOTES
(especially of a group of notes)
- AVOID THE CANNONBALL EFFECT
- AVOID JUMPING DISSONANCES (except the Escape note, with
care) & INCOMPLETE PASSES
- PARALLEL 5ths & 8ves (as in previous Species)
 3RD SPECIES: RULES

7 AVOID:

-JUMP TOO MUCH

-USING TOO MANY SHAPES

-USING MORE THAN 2 or 3 AREAS

-TRY TO USE:
8
-SCALES (ESPECIALLY TO CONNECT AREAS)

-ARPEGGIOS

-MANY PASSING NOTES, NEIGHBORING TONES

3RD SPECIES: TYPICAL MISTAKES
 3RD SPECIES: BEGINNING, ENDING &
PROCESS

1 BEGINNING: TONIC CHORD REQUIRED (in 4/4)

CHORD TONE - X - CHORD TONE - X OR

START WITH A REST - CHORD TONE - X - CHORD TONE

2 ENDING: TONIC CHORD REQUIRED

MELODIC DEGREES 7 – 1 AGAINST 2 – 1 or 5 -1

3 PROCESS:
-THINK ON CHORDS ASSOCIATED TO THE NOTE of the Melody given
-START WITH A NOTE OF THE CHORD, then think how to complete the 3
notes of the chord needed.
-Always think first on MOVING BY STEP (using passing or neighbor notes)
-You can Compose 3:1 as 1st Species (1:1) or 2nd Species (2:1) with extra notes
3RD SPECIES: PROCESS
3RD SPECIES: EXAMPLES
3RD SPECIES: BEST STRATEGIES
3RD SPECIES: BEST STRATEGIES
3RD SPECIES: BEST STRATEGIES
DIVERSITY OF DISSONANCES
3RD SPECIES: SPECIAL CASES: DOUBLE
NEIGHBOR & CAMBIATA
3RD SPECIES: EXERCISES

REMEMBER: - BEGINNING & ENDING

- STUDY FOR EACH NOTE GIVEN THE POSSIBLE CHORDS
- THINK ON A GENERAL SHAPE
3RD SPECIES: EXERCISES

REMEMBER: - BEGINNING & ENDING

- STUDY FOR EACH NOTE GIVEN THE POSSIBLE CHORDS
- THINK ON A GENERAL SHAPE
3RD SPECIES: EXERCISES

REMEMBER: - BEGINNING & ENDING

- STUDY FOR EACH NOTE GIVEN THE POSSIBLE CHORDS
- THINK ON A GENERAL SHAPE
3RD SPECIES: EXERCISES

REMEMBER: - BEGINNING & ENDING

- STUDY FOR EACH NOTE GIVEN THE POSSIBLE CHORDS
- THINK ON A GENERAL SHAPE
THE END
UNIT: Analysis of Melodies
Non-Chord Tones
Aims for this Unit: Analysis of Melodies
Non-Chord Tones

•Understand the Concept of Non-Chord Tone

•Apply Non-Chord Tones to Embellish a Melody

•Be able to Understand & Analyze Non-Chord Tones in Music

works

•Exercise: Analysis of Harmony & Non-chord tones in Bach’s

Goldberg Variation No. 1
MOTIVATION: REMEMBER
2 MUSIC DIMENSIONS: MELODY & HARMONY

H
A
R HORIZONTAL
M
O &
N
Y VERTICAL
CONTENT
MELODY -----------------------------------
MOTIVATION:
DIMENSION 1: MELODY AS A HORIZONTAL LINE

- We understand a Melody as a line putting

together all the notes and rhythm.
The melody follows the horizontal dimension.
 TEXTURE 2: CHORDS (HARMONY)

- Chords are Several notes played at the same time

- Chords or Harmony follow the vertical dimension

- QUESTIONS: 1. - Can Melody & Harmony Interact?

2. - Are Dissonant Chords allowed in Harmony?
MOTIVATION:
LISTENING PART – HANDEL SARABANDA

H
A
R HORIZONTAL
M
O &
N
Y VERTICAL DIMENSIONS

MELODY ----------------------------------- INTERACT

CONSTANTLY
AS IN NON-CHORDAL
 OBJECTIVE OF THIS UNIT:
8 TYPES OF NON-CHORD TONES – 3RD
SPECIES
Types of Non-Chord Tones (Melodic Dissonances supported
by Chords)
-Passing Tone
-Neighboring tone,

-Appoggiatura,
-Escape tone,

-Suspension,
-Anticipation,

-OTHER TYPES - Retardation & Pedal Tone

TYPES OF NON-CHORD TONES: IN-BETWEEN
NOTES
 TYPES OF NON C- TONES: PASSING TONE

- Passing tone: A Note that is placed between two chords and

does not match the harmony of neither chord.
- It is an ‘In-between Note’ among 2 chords
- It must move by step.

Example: Passing tone

x
DO - Si - LA

Chord I ----------------- vi

1st Chord - In between note – 2nd Chord

EXAMPLES OF PASSING TONES
 TYPES OF NON-CHORD TONES

-Neighboring tone, it is similar to passing tone but now the note is in

between two similar notes :

Example:
DO - Si - Do
Chord I ----------------- vi

1st Chord - In between note – 2nd Chord

Neighboring tone

It moves up or down and returns to note

EXAMPLES OF NEIGHBORING TONE
TYPES OF NON-CHORD TONES: IN-BETWEEN
NOTES – EXAMPLES OF NEIGHBOR TONES
EXAMPLE: IN-BETWEEN NON-CHORD TONES
TYPES OF NON-CHORD TONES: IN-BETWEEN
NOTES

-Anticipation tone: It is an in-between note

-The note of second chord is presented at the end of the first
chord. This note is dissonant but then becomes consonant
when repeated in 2nd chord

TYPICAL Example:

Sol - Fa (anticipation) - Fa
(dissonant) ---SAME NOTE
1st Chord - In between note – 2nd Chord
 TYPES OF NON-CHORD TONES

-Anticipation tone: It is the opposite of a suspension

-The note of second chord is presented at the end of the first
chord although it does not fit the harmony and becomes a
dissonance. This note is then repeated

Example:

DO - Si (anticipation) - Si
I (dissonant) V
1st Chord - In between note – 2nd Chord
EXAMPLES OF ANTICIPATION TONE
 TYPE: ESCAPE TONE

-Escape tone: Any note that is in between 2 chords that does not
fit neither chord 1 neither 2 and does not move melodically by
step.

Example: NOT BY STEP

DO - Fa (Escape) - Si
I (dissonant) iii
1st Chord - In between note – 2nd Chord
 TYPES OF NON-CHORD TONES: IN-BETWEEN
NOTES

-Escape tones: As in between note, it will move by step from

previous note and then JUMP to last note.

TYPICAL Escape tone Examples:

Mi - Fa (Escape) - Re
(dissonant - JUMPS)
1st Chord - In between note – 2nd Chord
EXERCISE: ANALYSIS OF HARMONY &
NON-CHORD TONES
TYPE OF NON-CHORD TONES?
EXAMPLE: ANALYSIS OF HARMONY &
NON-CHORD TONES
EXAMPLE: ANALYSIS OF HARMONY &
IN-BETWEEN NON-CHORD TONES
EXERCISE: ANALYSIS OF HARMONY &
NON-CHORD TONES
TYPE OF NON-CHORD TONES?
IN-BETWEEN NON-CHORD TONES – MELODIES
TYPES OF NON-CHORD TONES:
EXERCISE

Types of Non-Chord Tones: DEFINE each of these types

-Passing Tone ? IN BETWEEN NOTES

-Neighboring tone ?
- Anticipation ? DEFINITION?
- Escape tone, ?
 TYPES OF NON-CHORD TONES:
SUMMARY

Types of Non-Chord Tones: DEFINE each of these types:

IN BETWEEN NOTES:

- Passing Tone - placed between 2 chords, filling the gap by step

- Neighboring tone - moves up or down and returns to same note
- Escape tone, - incomplete neighbor tone, jumping to 2nd chord
- Anticipation - note of 2nd chord present at the end of 1st chord
 TYPES OF NON-CHORD TONES:
SUMMARY

Types of Non-Chord Tones: DEFINE each of these types

-Passing Tone IN BETWEEN NOTES

-Neighboring tone
- Anticipation
- Escape tone,

-Appoggiatura, ON THE BEAT

-Suspension,

-Pedal point – REPEATED NOTE in MANY CHORDS

EXERCISES
 TYPES OF NON-CHORD TONES

-Appoggiatura, tone: It is closely related to the neighboring

tone, but here it only needs ONE CHORD.

-The Appoggiatura note COMES BEFORE THE CHORD and

moves by step to the note of the chord!

Example:
Re (Appoggiatura) - Do
(dissonant ---- moving Step)
I
1st Chord + Non-chord tone
EXAMPLES OF APPOGGIATURA TONE
TYPES OF NON-CHORD TONES:
APPOGGIATURA

Grace note placed before note of the chord

and falling on the beat
TYPES OF NON-CHORD TONES ON BEAT

Types of Non-Chord Tones

-Appoggiatura, tone: It is close related to the neighboring

tone, but here it only needs ONE CHORD.

-The Appoggiatura COMES BEFORE THE CHORD, on beat.

TYPICAL Example:

Re (Appoggiatura) - Do
(dissonant moving Down)
-note on beat before - 1st Chord
TYPES OF NON-CHORD TONES ON BEAT

Types of Non-Chord Tones

-The Appoggiatura note can be ascending or descending.

Typically: ascending interval will be ½ step.
descending interval will be whole step.

TYPICAL Examples:

Si (Appoggiatura) - Do
(dissonant moving UP)
-note- 1st Chord
APPOGGIATURA CHORD:
SEVERAL APPOGGIATURAS TOGETHER CREATE A
CHORD
APPOGGIATURAS: CLASSICAL NOTATION
 TYPES OF NON-CHORD TONES

-Suspension tone: It is a delay note. Suspense in English means

excitement or being suspended.
The note of first chord is repeated on the second
chord although it does not fit the harmony (dissonance).
This dissonance moves down by step.

Example:
DO - Do (suspension)----) Si
(resolution)
I (dissonant) V
1st chord 2nd Chord + Non-chord tone
EXAMPLES OF SUSPESION TONE
TYPES OF NON-CHORD TONES ON BEAT

Types of Non-Chord Tones

-Suspension tone: It is a delay note often Written in Harmony

TYPICAL Example:

Fa - Fa (suspension) - Mi
(dissonant)
1st Chord - In between note – 2nd Chord
4th interval from bass = 4 - 3
TYPES OF NON-CHORD TONES

Types of Non-Chord Tones

-Retardation tone: It is similar to suspension

- but moving Up
-The note of first chord is repeated on the second
chord although it does not fit the harmony (dissonance).
This dissonance moves UP by step.

TYPICAL Example:

DO - Do (suspension) --- Re
I (dissonant) V
1st chord 2nd Chord + Non-chord tone
TYPES OF NON-CHORD TONES ON BEAT

Types of Non-Chord Tones

-Pedal Point: A Note that is fixed for several chords not moving
to another sound and sometimes not matching with the harmony
of the other voices.

TYPICAL Example:

DO - Do (Pedal) - Do (Pedal) - Do - Do - ..
(dissonant) (dissonant or … ….
consonant)
1st Chord - – 2nd Chord – 3rd Chord - 4 th Chord - 5th Cho.
EXERCISE: ANALYSIS OF HARMONY &
NON-CHORD TONES
TYPE OF NON-CHORD TONE?
EXERCISE: ANALYSIS OF HARMONY &
NON-CHORD TONES
TYPE OF NON-CHORD TONE?
EXERCISE: ANALYSIS OF HARMONY &
NON-CHORD TONES

TYPE OF NON-CHORD TONE?

TYPES OF NON-CHORD TONES: SUMMARY
 TYPES OF NON-CHORD TONES:
SUMMARY
BLUE = IN-BETWEEN NOTES, PURPLE = ON- BEAT
NOTES

- Passing Tone - placed between 2 chords, filling the gap by step

- Neighboring tone - moves up or down and returns to same note
- Escape tone, - incomplete neighbor tone
- Anticipation - note of 2nd chord present at the end of 1st chord

-Appoggiatura, grace note placed on beat before note of the chord and
resolved by step down or up
-Suspension, placed on beat before note of the chord and resolved by
step down. The suspension needs preparation by repeating note of
chord 1, then resolved down to note of chord 2.

-Pedal point – A Note (typically bass) that is sustained

TYPES OF NON-CHORD TONES: SUMMARY
EXAMPLE OF ANALYSIS
EXERCISE: ANALYSIS OF HARMONY &
NON-CHORD TONES

HOMEWORK:
Complete the analysis of all chords/ notes in the piece by Bach
EXERCISE: ANALYSIS OF HARMONY &
NON-CHORD TONES
Analysis of Bach’s Goldberg Variation No. 1

-Start with an analysis of all harmonic functions

(chord progression)

-MOST melodic notes should fit into the chords of the

progression

-If One note does not fit into the chord progression, you found a
Non-Chord Tone to be justified as passing tone, neighboring
tone, suspension, appoggiatura, escape tone, anticipation or a
pedal point.
EXERCISE: ANALYSIS OF HARMONY & NON-CHORD TONES - BACH
EXERCISE: ANALYSIS OF HARMONY & NON-CHORD TONES - BACH
EXERCISE: ANALYSIS OF HARMONY & NON-CHORD TONES - BACH
THE END
UNIT:
4th SPECIES COUNTERPOINT –
(see class notes)
THE END
UNIT:

Four-part chorale texture and

harmonic analysis of Bach chorales.
PRACTICE
CLASS EXERCISE: CHORALE - Analysis
CLASS EXERCISE: CHORALE - Analysis
EXERCISE to Submit:
CHORALE following BACH STYLE
EXERCISE: CHORALE
EXERCISE: CHORALE
EXERCISE: CHORALE
THE END
 EXTRA TOPIC:

CHORD PROGRESSIONS

FOR SPECIES COUNTERPOINT

 CHORDS & HARMONY:
PROGRESSION OF CHORDS

PROGRESSION OF CHORDS: Melody of chords

C Key: 1 2 3 4 5 6 7

Each note of the scale is associated to a chord –

To put together several Chords is a Progression of Chords
 CHORDS & HARMONY:
PROGRESSION OF CHORDS

PROGRESSION OF CHORDS: Melody of chords

C Key: 1 2 3 4 5 6 7

A Progression of Chords is organized by the distances

between the notes that represent the chords
Example: C – E Chord (distance 3), C- F (distance 4)
 HARMONIC PROGRESSIONS: DEFINITIONS

 Any two or more chords heard in succession can be called a

harmonic or chord progression.
 Same as the notes are combined in a melody, chords can be
combined in Progressions. We USE ROMAN NUMBERS for
Chords

 Example (IN C MAJOR):

C Chord – a m Chord – F Chord – G Chord

I - vi - IV - V
HARMONIC PROGRESSIONS:
BASIC CHORDS & FUNCTIONS

 Each chord has a function or purpose. This function is notated

with the Roman number I, ii, iii, IV, V, vi ..

 The most important functions are:

I (stable, most important)
 IV (stable)
V (tension)
 CHORDS IN MOZART OVERTURE TO OPERA
‘FIGARO’

[Link]
REMEMBER: TONIC, SUBDOMINANT
AND DOMINANT CHORDS

 The basic Chords of a key or scale are:

Tonic (chord I), Subdominant (chord 4) and

Dominant (chord 5)

 In C Major the basic chords are the ones:

C Chord - F Chord - G Chord

I IV V
 FUNCTIONAL HARMONY: ORDER 1-IV-V

 Chord progressions within functional harmony serves a

purpose - usually to establish and maintain a key.

 BAROQUE AND CLASSICAL STYLES established this

type of harmony (Cycles of Tonic – Subdominant –
Dominant):
 The tonic (1) dominates the composition, Starts a cycle
 After that, it is often followed by the subdominant (IV) or
(ii)
 Then the Dominant (V) Chords (V or dim vii)
EXAMPLE OF CHORD PROGRESSION
(MOZART)
I - V I - IV I - V I
CHORDS & HARMONY: EXAMPLE - PROGRESSION
OF CHORDS IN BLUES

Sequence

1,1,1,1

4,4,1,1

5,4,1,1
EXERCISE:
Structure of a Blues in C

Sequence of Chords (12 Bar-Blues Chords) in C

1=C 1=C 1=C 1=C

1 1 1 1
4=F 4=F 1 =C 1=C
4 4 1 1

5=G 4 = F 1= C 1=C
5 4 1 1
 EXERCISE:
FIND THE CHORDS of a Blues in
F

1
1 1 1 1=F 1= 1= 1=

1
4=? 4=? 1 =? 1=?
4 4 1
1 5=? 4 =? 1= ? 1=?
5 4 1
 TYPES OF PROGRESSIONS
STRONG & WEAK PROGRESSIONS

STRONG PROGRESSION OF CHORDS:

C Key: 1 2 3 4 5 6 7

A Strong Progression of Chords is organized by the

distances of 3rd Down and 4th Up between the chords
Example: C – A Chord (distance 3), C- F (distance 4).
EXERCISE: BUILD A STRONG
PROGRESSION OF CHORDS:
EXERCISE: BUILD A STRONG PROGRESSION in C Key:
1 2 3 4 5 6 7

A Strong Progression: 1- VI – IV – II – V - I
PROGRESSION OF CHORDS:

STRONG PROGRESSION OF CHORDS: EXTENDED

C Key: 1 2 3 4 5 6 7

A Strong Progression may also use stepwise chords up or

down.
 EXERCISE: BUILD AN EXTENDED
STRONG PROGRESSION

BUILD AN EXTEDED STRONG PROGRESSION:

C Key: 1 2 3 4 5 6 7

A Strong Progression: 1- VI – IV – II – III – VI – IV – V - 1

PROGRESSION OF CHORDS:

STRONG PROGRESSION: with main chords

C Key: 1 2 3 4 5 6 7

A Strong Progression may also use main chords,

emphasized chords I or V. These chords should appear
more often than other and at the beginning or end.
 EXERCISE: BUILD AN EXTENDED STRONG
PROGRESSION WITH MAIN CHORDS
BUILD AN EXTEDED STRONG PROGRESSION WITH
MAIN CHORDS
C Key: 1 2 3 4 5 6 7

Strong Progression: 1- VI – IV – II – V – III – VI – IV – V – 1

(emphasis on I and V)
HOMEWORK
for next week
 EXERCISE: BUILD 6 EXTENDED STRONG
PROGRESSION WITH MAIN CHORDS
BUILD 6 EXTEDED STRONG PROGRESSION WITH
MAIN CHORDS
C Key: 1 2 3 4 5 6 7

HOMEWORK WRITE 6 Strong Progressions with main chords

THE END
UNIT
Analysis of works by Bach, Mozart
 Aims for this Unit: Music Analysis

•Understand the Concept of Music Analysis

Using Harmonic Analysis & Analysis of the Form
or structure.

•Understand the Form or Structure in 18th Century

Music in main Baroque & Classical Composers.
ANALYSIS EXERCISES: HOMEWORK

HOMEWORK - LISTENING PARTS to FIND:

-STRUCTURE,
-TEXTURE,
-THEMES,
-PHRASES &
-CADENCES.

-CHECK ISPACE & START LISTENING TO THESE PIECES

 ANALYSIS: TYPES OF FORMS /
STRUCTURES

DEFINITIONS:

-STRUCTURE or FORM is the way all the parts of a piece are put
together.

-Structures are defined Depending on the:

- Number of Musical Parts

- Number and relation between the Musical Themes
PREPARATION FOR MUSIC ANALYSIS:

5 ELEMENTS OF ANALYSIS:
Tonality, Chords, Structure, Cadences & Melody
THE END
PREPARATION FOR MUSIC COMPOSITION:
5 ELEMENTS: TONALITY, CHORDS, STRUCTURE,
CADENCES & MELODY

MUSIC ANALYSIS Notation

5 ELEMENTS OF ANALYSIS:
1- Tonality: Key, Tonic & Scale
2- Chords, Inversions & Notation
3- Structure & Phrases – Number of Parts / THEMES
4- Cadences
5- Analysis of Main notes and development of the Melody
Example of Melodic Development
Mozart’s Menuetto from the String Quartet
in C, K. 465, Dissonance Quartet
[Link] v=h0WuP37-goc
PREPARATION FOR MUSIC ANALYSIS:
4. CADENCES

ELEMENTS:
1- Tonality: Key, Tonic & Scale
2- Chords & Inversions & Notation
3- Structure & Phrases: Subdivision of Parts of the piece
4. Cadences

Remember the types of cadences: - Perfect, Plagal,

- Imperfect & Interrupted
PREPARATION FOR MUSIC ANALYSIS:
5. ANALYSIS OF THE MELODY

ELEMENTS OF MELODIC ANALYSIS:

Scale ? NOTES used for the melody (Sets/ Subsets)
Melodic Sequences
Repeated Note Motif, Turns, figures
Shape of Melody (Melodic Profile or Contour)
PROMINENT INTERVALS
PROMINENT NOTE CENTRES (polarities, tonic)
RANGE of CHORUS (bigger, expands notes)
or VERSE (smaller, less notes)
THE END