Aldwell-Schachter Chapter 17 Click on a musical example for playback   This is a complete progression of descending fifths. Note that some of the fifths appear as ascending fourths in order to keep the bass within a reasonable register. Also note the …

Aldwell-Schachter Chapter 18 Click on a musical example for playback   The essential nature of the sequence is demonstrated here: an expansion device that allows motion, allows repetition, but does not require immediate resolution. Sequences consist of a …

Aldwell-Schachter Chapter 19 Click on a musical example for playback   In four voices, voice-leading can be rather tricky. Notice that soprano, alto and bass are all moving along very nicely in parallel. The fourth voice (in this case the tenor) has to …

Aldwell-Schachter Chapter 20 Click on a musical example for playback   All accented 6/4 chords work more or less the same way as the cadential 6/4. The same principle that informs the cadential 6/4 can be used with other roots as well. Here a “IV 6/4” is …

Aldwell-Schachter Chapter 21 Click on a musical example for playback   This is a simple, familiar piece of chorale writing without any melodic figuration.      This is the same chorale with chordal skips inserted to provide rhythmic interest.      Chordal …

Aldwell-Schachter Chapter 22 Click on a musical example for playback   The development of a suspension: the soprano is delayed by one eighth note, creating a suspension on the second beat. Then the tenor is delayed the same way, producing a 9-8 suspension …

Aldwell-Schachter Chapter 23 Click on a musical example for playback   Note the position of the V6/5 in this progression. The introduction to vii7 involves understanding that vii7 can act as a substitute for a V6/5.      Voilà . This substitutes vii7 for …

Aldwell-Schachter Chapter 24 Click on a musical example for playback   b^6 is the most common tone of the scale to be altered for mixture. Here IV becomes ivb by lowering its third, as a chromatic passing tone.      The flattened ^6 is easily approached, …

Aldwell-Schachter Chapter 25 Click on a musical example for playback   In a chain of interlocking seventh chords, the 3rd of one chord becomes the 7th of another. Because the 7th of the seventh chord must resolve downwards and by step, in four-part …

Aldwell-Schachter Chapter 26 Click on a musical example for playback   The essential message of Chapter 25 is this: any triad (that isn’t diminished or augmented) may be preceded by its own V (or inversion) or vii7 (or inversion). The idea is simple—the …

Aldwell-Schachter Chapter 27 Click on a musical example for playback F# Minor to A Major, using IV of F# Minor as pivot (becoming ii in A Major.)      Ab Major to C Minor, via V of Ab Major, which becomes III in C Minor.      F Minor to Bb Minor, via VI …

Aldwell-Schachter Chapter 28 Click on a musical example for playback   Starting out simply, we see here a V7 which has been decorated with an upper neighbor tone before resolving normally.      If we repeat the bass notes in the first measure, it’s easier …

Aldwell-Schachter Chapter 29 Click on a musical example for playback   A plain example of the Phrygian II6, also known as the Neapolitan sixth. Note the ^b2-^7 movement in the soprano, which is typical of the Phrygian II progression. It is generally best …

Aldwell-Schachter Chapter 30 Click on a musical example for playback   Genesis of an augmented sixth chord. Step 1: start with a iv6 in minor, moving to V.      Step 2: the sixth of the iv6 moves chromatically upwards as a passing tone.      Step 3: the …

Aldwell-Schachter Chapter 31 Click on a musical example for playback   natural-VII in major. The preparation has been achieved with the introduction of C-natural. In dealing with these chords the power of suggestion is as important as good voice-leading. …

Aldwell-Schachter Chapter 7 Perfect Authentic Cadence (PAC). The cadence moves from V to I, and ends with ^1 in the soprano.   Imperfect Authentic Cadence (IAC). The cadence moves from V to I, and ends with either ^3 or ^5 in the soprano.   Semicadences …

Online Materials   Departmental Sightsinging Textbook  The Departmental textbook is now available only via the internal SFCM Google Drive. It cannot be accessed from outside the SFCM community. You may also consult the Table of Contents. Aldwell-Schachter …

The Theory and Musicianship Department Textbook The Departmental textbook is now available only via the internal SFCM Google Drive . It cannot be accessed from outside the SFCM community. You may also consult the Table of Contents . … … SFCM …

Harmony Supplements     Chapter Lecture Notes Workbook Recordings Other         4: Triads and Seventh Chords     Quick Guide (PDF)         6: Procedures of Four-Part Writing     Lecture Slides (PDF)   Audio: Why Voice-Leading Matters         7: I, V, and …

Harmony Workbook   The following files are in PDF format that you may print and use to complete your assignments in courses MMT 112 - 115. 4-1 Root Position Triads 4-2 Triads in Inversion 4-3 Triads in a Key 4-4 Identifying Triads in a Key 4-5 Root …