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7 chord inversions aural training4/11/2024 ![]() ![]() ![]() It is home base in a key, and has the most stability and flexibility. Tonic is the ultimate goal in tonal music. We’ll draw the functional harmony chart in major first, and then show the differences in minor. We will examine individual chords in more detail in later chapters. Putting each category into a functional harmony chart shows the relationships between the chords and categories. The second example, however, obscures the expected progressions found in music in such a way that our ears have trouble recognizing where tonic is and understanding where we are in the progression at any time.Ĭhords built on each scale degree in a key can be grouped into categories that share a common function. You should have no trouble singing tonic after listening to the example. The first is written with a chord progression that follows expected motions, ultimately progressing towards tonic. Expected progressions between chords make the music we hear make sense to our ears. Each chord in a key has its own level of status, behavior, and stability. Label the NCT and check for errors.6.1 Functional Harmony: Tutorial Functional Harmonyįunctional harmony in tonal music centers around the idea that tonic serves as the “home base” in a key and chords built on each scale degree in the scale have predictable relationships with each other and predictable movements as they ultimately progress towards tonic. We can use a dotted quarter/eighth rhythm to achieve that placement. So, we need the anticipation to sound after the resolution of the suspension. In order to maintain clarity, we want to avoid using more than one NCT in the same space between chords. We already have a suspension on beat 1, that resolves on beat 2. Let’s add one to the soprano voice between beats 2 and 3 in bar 4. Anticipations are commonly found decorating the melody right before the final chord in a piece. The last NCT we will add to this progression is the anticipation. An escape tone moves by step to the NCT, and then by leap to the next chord tone, most often in the opposite direction. We can add one to the alto voice in bar 1, beat 3. Otherwise, we call it an incomplete neighbor. Remember that the appoggiatura must be on a stronger beat or part of the beat than the resolution note that follows it. The appoggiatura is a NCT that moves first by leap, then resolves to a chord tone by step, most often in the opposite direction. A retardation can be inserted into the tenor voice in bar 3, beat 3. So, we are looking for ascending stepwise motion in a voice. A retardation is like a suspension, but instead of resolving up, it resolves down to the next chord tone. We can insert a passing tone into the soprano voice in bar 3, beat 1. We need motion in once voice that uses notes at least a major 2nd apart. Let’s look for a place to insert a passing tone next. Also make sure that adding the NCT did not create part writing errors. Let’s add a double neighbor to the alto in beat 2, and a neighbor tone to the alto on beat 4. Bar 3, beat 2 and beat 4 use common tones, and are a good place to put a double neighbor or neighbor tone. Let’s look for places to insert double neighbor and neighbor tones. When determining which NCTs to add to a progression, it is helpful to add the ones that have the strictest type of motion first so that you don’t run out of places where more specific NCTs can be inserted. The tenor voice must have the suspension in order to create the needed 4-3 intervals above the bass. Next, we can add the 4-3 suspension on beat 1 of bar 4. That raises the leading tone in the vii˚6 chord. We know that G has been raised to G# because of the slash marking on the 6 in the figured bass symbol. The A in the alto is suspended and resolves to the G# on the second half of beat 2. The voice that forms a 7-6 interval between the bass and the suspension and the bass and the resolution is the alto voice. Therefore, in the 7-6 suspension we know the B in the bass is the 3rd of a chord in first inversion. When inserting suspensions from figured bass, it’s important to know that 9-8 and 4-3 suspensions occur over root position chords, and 7-6 and 2-3 suspension occur over first inversion chords. To add the 7-6 suspension to beat 2 of bar 2, we need to figure out which voice should have the suspension. We can tell from the figured bass where the 7-6 and 4-3 suspensions should be added. ![]() In the example below, we will add suspensions, a double neighbor, a neighbor tone, a passing tone, a retardation, an appoggiatura, an escape tone, and an anticipation. In addition to Workbook Chapters 10.6.1 and 10.6.2, see the example below. 10.6 Part Writing, Non-Chord Tones: Theory exercises ![]()
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