Music Theory IV Unit II Test Review (Chapter 26 28)

Chapter 26 Further Elements of the Harmonic Vocabulary

Added Note chords i.e. triad with added 6th (often substituted the 5th of the chord) o Dominant (V) with a substituted 6th (ii6-Vsub 6 I) o The 7th of the chord is always placed below the added 6th (Example 26-5, pg. 446) o When resolving the 6th should leap to tonic Dominant with raised 5th o The 5th of a V or V7 chromatically raised (V or V +5) o #2 can viewed as a chromatic passing tone o Not an augmented chord o Occurs in Major mode Extended Tertian Harmonies (9th , 11th, 13th chords) o 13th - M or m o 11th - o, +, P o 9th - M or m o 7th - M or m o 7th and 9th resolve down The Common-Tone Diminished Seventh o Tone in common is the root of the Major triad or dominant 7th chord. o Normally stacked in 3rds o chord following the o7 chord: I or I 6 (usually spelled #iio7) should be analyzed as: cto7 V or V6/4 (usually spelled #ivo7) should be analyzed as: viio7/V Simultaneities traditional sonorities handled in a non-traditional fashion. Coloristic chord succession using chords foreign to key

Chapter 27 Tonal Harmony in the Late Nineteenth Century

Counterpoint o Non-traditional chord structure o Juxtaposition of pitches o Mystic chord (Scriabin) (whole tone scale) Treatment of Dominant Harmony o Parallel motion of dominant 7th chords Sequence o Omnibus, a coloristic, sequential succession of chords traditionally used to harmonize a nonfunctional chromatic bass line. Expanded Tonality (pg. 480) o Double chromatic median relationship (pg. 484)

Chapter 28 Materials & Techniques

Scale Materials o Diatonic Modes:

Church Modes
Major Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian
Major pentatonic: omit 4 & 7 Minor pentatonic: omit 2 & 6 Black key pentatonic Synthetic Scales: o Whole tone scale: 6 note scale built on major seconds o Hexatontic 6 note scale built on alternating 1-3 steps o Lydian-Mixolydian scale: scale built on #4/b7 o Octatonic scale: 8 note scale built on alternating 1-2 steps Chord Structures o Extended Tertian Harmonies o Polychords combinig two different harmonic areas Split 3rd , represents Major and minor qualities o Bitonality, bimodality, polytonality two or more tonal centers heard at the same time o Quartal harmony stacked 4ths o Quintal Harmony stacked 5ths o Secundal Harmony 2nds o Cluster chords Planing o Strict (chromatic) moving in parallel motion, chord quality stays the same o Tonal (diatonic) changes tone quality Metronomic Modulation see handout Asymmetrical Meters see handout

Minor
*Major scale

1-2-3-4-5-6-7 1-2-b3-4-5-6-b7 1-b2-b3-4-5-b6-b7 1-2-3-#4-5-6-7 1-2-3-4-5-6-7 1-2-b3-4-5-b6-7 1-b2-b3-4-b5-b6-b7

*minor raised 6th *minor flat 2 *Major, raised 4 *Major, lowered 7 *natural minor *minor b2, b5