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 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 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 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 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 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 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 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 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 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 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 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 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 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 …

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 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 …

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 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 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 …

A Suggested Outline for an Analysis Paper Part I: Background This can provide historical background to the composition of the work in question. It needn’t be terribly involved, but at the same time there may be historical aspects that have bearing on the …