Music Theory II

1
Music Theory II

• New York University

2
Housekeeping (2/23/05)

• Quote of the day
• If I were not a physicist, I would probably be a
  musician. I often think in music. I live my
  daydreams in music. I see my life in terms of
  music.
• 
  
• - Albert Einstein

3
Agenda (2/23/05)

• Quizzes Returned
• Chapter 15 A New Diatonic Harmony, and Further
  Extensions of the Phrase Model (contd)
• Compositions

4
(No Transcript)
5
The Submediant

• Ex. 15.1 may be divided into two phrases (mm. 1-2
  and mm. 3-7).
• The 2-measure introduction establishes the tonic
  (G minor) with the progression
• The 2nd phrase is virtually identical to that
  seen in mm. 1-2, except that this time the
  submediant harmony (VI) is inserted between the
  tonic of m. 3 and the supertonic of m. 5.
• Lets consider what the functional role of that
  VI might be.

6
The Submediant (contd)

• VI often acts as a connector between the tonic
  function and the pre-dominant function. In terms
  of bass voice leading, it bisects the usual leap
  of a descending 5th from 1 to 4 into two thirds
• In a major key, the introduction of a minor
  sonority (vi) can provide welcome relief from the
  prevailing harmonic color.

7
The Submediant (contd)

• The harmonic contexts in which the submediant
  typically occurs are inextricably tied to the
  three basic root motions of tonal music
• Descending Fifth (D5)
• Ascending Second (A2)
• Descending Third (D3)
• Two of these motions - the descending fifth and
  the ascending second - we have seen before in the
  contexts of the authentic cadence (V-I) and the
  the dominant preparation (IV-V)

8
The Submediant as Bridge in Descending 3rd
Progressions

• We will now investigate how the sub-mediant
  functions when it is incorporated into harmonic
  progressions by true downward third leaps.
• Ex. 15.2A demonstrates a progression that
  characterizes much of the rock and roll music of
  the 1950s and early 1960s.
• Enjoy the flavor (savor the flavor?) of that
  style which provides for a heavy dose of parallel
  perfect intervals

9
(No Transcript)
10
The Submediant as Bridge in Descending 3rd
Progressions (contd)

• 15.2B offers the same progression but places it
  in the minor mode and uses common-practice
  voice-leading to connect the chords

11
(No Transcript)
12
The Submediant as Bridge in Descending 3rd
Progressions (contd)

• In these examples, the submediant is both
  attained and departed from by means of a
  descending third I-vi vi-IV.
• Taken together, the three roots (1-6-4)
  arpeggiate a triad of sorts. This progression is
  therefore often called a descending harmonic
  arpeggiation.
• Although the descending harmonic progression acts
  in two-albeit contradictory-ways, as an extension
  of the tonic and as a sort of pre-pre-dominant,
  it provides a way station or bridge connecting
  tonic to the pre-dominant (IV).

13
The Submediant Extends the Circle-of-Fifths in
Descending Fifth Progressions.

• The sub-mediant can also participate in
  descending 5th progressions.
• It fits nicely into such progressions because
  just as ii leads to V and V to I, so vi leads to
  ii.
• Thus, vi extends the circle-of-fifths backward
  one notch, as in 15.3

14
(No Transcript)
15
The Submediant Extends the Circle-of-Fifths in
Descending Fifth Progressions (contd)

• In 15.4, the the minor sub-mediant (vi) appears
  twice
• In an embedded cadential motion that prolongs the
  tonic.
• As part of the phrases structural cadence.
• Both times it is part of the descending 5th
  progression, but its function varies depending on
  the context.

16
(No Transcript)
17
The Submediant Extends the Circle-of-Fifths in
Descending Fifth Progressions (contd)

• In Chapter 13, we spent a lot of time praising
  the function of the ii6-V motion in which a
  convincing descending fifth root motion is
  combined with a smooth 4-5 motion in the bass.
• The same ii6 can follow the sub-mediant harmony
  as in 15.5
• Note that in the vi-ii6 motion of mm. 2-3, we
  obtain both the strong D5 root motion, and a new
  means of obtaining a melodic bass arpeggiation
  (1-6-4)

18
(No Transcript)
19
The Submediant as Tonic Substitute in Ascending
Second Progressions

• A third function for the vi is to substitute for
  the tonic, which is derived from root motion by
  ascending 2nd.
• This function is most effective when vi is placed
  following a dominant.
• In 15.6 V moves to vi and the bass moves from 5
  to 6.
• The drama is intensified by the fermata as well
  as by the florid ascent in the 1st violin to a
  very high register.
• This progression is called a deceptive motion.

20
(No Transcript)
21
The Submediant as Tonic Substitute in Ascending
Second Progressions

• In general, a deceptive motion seems to rewind
  the phrase model back to the pre-dominant, and
  sometimes the tonic, which is followed by an
  authentic cadence.
• In 15.7 the the dramatic deceptive motion in m.
  12 is followed by a return to the tonic, at which
  point a varied repetition of the previous phrase
  leads to a perfect authentic cadence

22
(No Transcript)
23
Contextual Analysis Tonic and Dominant Embellish
the Submediant.

• When VI follows V, it often overshadows the
  dominant which is demoted to connective tissue
  between I and VI.
• In 15.8, note the deceptive motion between mm.
  1-2. Because V is metrically weak, it functions
  as a weak voice-leading chord.
• Thus, it is actually the vi chord that initiates
  a descending fifth harmonic progression that
  leads to ii65 and on to the half-cadence on V

24
(No Transcript)
25
Contextual Analysis Tonic and Dominant Embellish
the Submediant.

• VI can even outrank the tonic.
• In 15.9, even though I6 appears prominently at
  the end of m. 2, one can hear it as not being
  structural.
• Recognition of subtleties such as these can
  greatly influence the performance of the passage.

26
(No Transcript)
27
The Submediant as Pre-Dominant

• Occasionally, vi can immediately precede the
  dominant and, as such, function directly as a
  pre-dominant.
• In 15.10, the vi is featured as a pre-dominant.
• As such, it allows for the motive of a descending
  second (6-5) in the bass.
• Later, we will se the importance of this motive
  in music of all periods, especially for pieces
  occurring in the minor mode.

28
(No Transcript)
29
Composition Assignment

• Janelle
• Nicholai
• Terry
• Jonathan
• Hilary

30
Assignment (2/23/05)

• Textbook Page 270 (15.2F)