The Tonic and Subdominant Triads in First Inversion
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Transcript The Tonic and Subdominant Triads in First Inversion
THE TONIC AND
SUBDOMINANT TRIADS IN
FIRST INVERSION
Chapter 11
The I6 and IV6 as Embellishing Chords
Tonic and Subdominant Triads
Root position triads built on ^1, ^4, & ^5
First inversions triads add ^3 & ^6
Helps
create interesting melodic lines by using various
embellishing tones between essential bass notes
Partwriting with
6
I
and
6
IV
Rules are not as hard and fast as with root position
Seek
the smoothest connection between different voice
parts
Avoid
perfect parallels, awkward melodic leaps, and
questionable doublings
Standard doubling: Double the soprano voice,
either at the unison or octave. If this leads to a
partwriting error, double a different voice.
Partwriting with
6
I
and
6
IV
Ex. 11.2
Partwriting with
6
I
and
6
IV
11.2A Doubling the soprano at the unison or
octave
11.2B Often an O/O structure serves as a link
between close and open structure or vice versa
11.2C The chordal 3rd of a I chord (^3) may
appear in both the soprano and bass. Do not
double the 3rd of a IV chord (active scale degree
^6).
11.2D You may double an inner voice if a
suspension is placed in the soprano of a iv6
Partwriting with
6
I
and
6
IV
Promoting good doubling practices:
Safest
^1,
scale degree doublings:
^4, ^5
Questionable
^3,
^6
Never
^7
doublings
double the leading tone
The Use of
6
I
Occurs in two contexts
I6
can extend tonic harmony through three-note
arpeggiations; I - I6 – I or I6 – I - I6
I6
may be used either to approach or depart from the
V, V7 , or IV chords. In this case I6 would be an
essential chord. Ex. 11.4
The Use of
6
I
Ex. 11.4
The Use of the
6
IV
Occurs in 3 basic contexts
May
extend IV harmony through arpeggiation, allowing
passing tones to be used
IV6 provides stepwise approach to V
Phrygian
IV6
I6
half cadence
is sometimes linked to I6
to IV6 or IV6 to I6
this involves two inversions; voice doubling in one of the triads
will need to be adjusted to avoid possible parallels
The Use of the
6
IV
IV6 extending IV
harmony through
arpeggiation
Phrygian Half Cadence
Derives from the
characteristic voice leading
used in the Phrygian church
mode
Occurs frequently in the
minor mode
Outer voices move stepwise
by contrary motion to the
dominant (^6 – 5) in bass
and (^4 - ^5) in soprano
Phrygian Half Cadence
^7 - ^6 suspension
over the bass
embellishes this
progression
Double the inner
voices of the iv6
avoids parallels
The IV as an Embellishing Chord
Subdominant may function as an embellishment of
the tonic; embellishing chordal neighbor
Subdominant is shorter in duration and metrically
weaker than the tonic is embellishes
Embellishment occurs early in the phrase – long
before the cadence point
The I as an Embellishing Chord
Melodic motion between two subdominant or
dominant chords may create a consonant passing or
neighboring harmony that embellishes V or IV
This
embellishing chord usually ends up being I or I6
Does
not function as tonic – elaborates a weaker harmony
Melody Harmonization – A how to…
Harmonic rhythm
#1 – Determine preliminary harmonies
Opening
harmony – downbeat
Cadential formula – Roman numerals & scale degrees
Chords
Let
will normally be in root position, unless:
Phrygian cadence
the soprano have ‘typical’ scale degrees
Melody Harmonization – A how to…
#2 – fill in the phrase interior
Smart
chord choices and a good bass line are a MUST
Consider
The
what chords are supported by the melody
Bass Line
Good
mixture of contrary and similar motion in outer parts
Stress the use of imperfect consonances between S & B
Reserve perfect intervals (5ths and 8vas) for the opening and
cadence
Melody Harmonization – A how to…
Presently available chords to support different scale degrees in the soprano
Melody Harmonization – A how to…
#3 Fill in the inner voices to create a 4 part texture
#4 Elaborate your note – against – note setting by
various embellishing tones
Be
careful not to over-do the non-harmonic tones
Beware any parallels that may be created by the
addition of your non-harmonic tones
Melody Harmonization – Conclusion
#1 – Prep opening harmony and cadence formula
#2 – Choose soprano notes, appropriate chords,
and a solid bass line to fill the interior
#3 – Fill in the interior voices using good
partwriting practices
#4 – Add embellishing tones.