Aldwell-Schachter Chapter 9 Click on a musical example for playback     V6/5 as lower neighbor to I. Note that here the lower neighbor figure is being recapitulated in the other voices as either a common tone (tenor) or as upper neighbor tones in the …

Aldwell-Schachter Chapter 10 Click on a musical example for playback   IV preparing V. Note that the soprano is moving in contrary motion to the bass; this particular soprano motion of ^4-^2-^1 is one of the more characteristic progressions found in …

Aldwell-Schachter Chapter 11 Click on a musical example for playback   How to create a cadential 64: the first step is a dominant on a strong beat, as in this example.       An old voice-leading practice involved “suspending” the 5th of IV (which is ^1), …

Aldwell-Schachter Chapter 12 Click on a musical example for playback   I moving to IV via a stopover on vi is a frequent and beautiful progression. One strong point is the ability to share ^3 between the two chords in the soprano. It is also an easy …

Adlwell-Schachter Chapter 13 Click on a musical example for playback   ii65 is the most frequently-used of all the ii7 chords. The 7th of the chord is ^1. Prepare that 7th carefully: it should be present in the preceding chord whenever possible. Here ii65 …

Aldwell-Schachter Chapter 14 Click on a musical example for playback   IV shares ^1 with the tonic and can be used to expand I rather nicely. This example is typical of such expansions—note the common tone ^1 in the tenor voice throughout the first …

Aldwell-Schachter Chapter 15 Click on a musical example for playback The chord on the 4th beat of measure 1 can be understood only in the context of the following chord. If we think momentarily in G Major (instead of C Major), we can see that the chord is …

Aldwell-Schachter Chapter 16 Click on a musical example for playback   This is the use of III in major as passing to IV or ii6/3; it is almost a direct substitute for I6/3 under such circumstances.      In minor keys, III is major and can be approached …

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 …