ch 8-10 Flashcards
what can precede a I chord
vii^o or V(7), IV
what can precede a vii^o or V(7) chord
IV or ii, I 6/4
reasons for bass arpeggiation
make repeated chords more interesting, easier voice leading identification in inner voices (not part of bass line)
reasons for 1st inversion triads
lessen weight of V and I chords (to not sound like cadence), improve contour of bass line, have more variety of pitches in bass line
parallel 1st inversion chords
serve as passing chords, connect beginning and end chord, avoids parallel 5ths, use in sequences
2nd inversion triads
not as stable, use for bass arpeggiation/melodic bass
cadential six-four
delays progression to V with 1 6/4, bracket both chords as V
when do cadential six-fours occur
on stronger beat or portion of the beat, beat 2 in 3/4
passing six-four
middle note of scalar bass figure, occurs on weak beat, put in parentheses
pedal six-four
move 3rd and 5th of a root position triad up and down a step - results in second inversion chord, put in parentheses
PAC
V(7) - I in root position with tonic in soprano
IAC
authentic cadence, tonic not in soprano, chord(s) inverted, or vii^o instead of V
deceptive cadence
V - anything (VI or vi), both in root position
plagal cadence
IV - I
phrygian half cadence
iv^6 - i
motive/motif
shorter idea than a phrase, similar idea in melody, rhythm, or both
period form
one pair of phrases back to back, second cadence stronger (HC - IAC - PAC)
parallel period
beginnings of phrases similar
contrasting period form
phrases not similar
phrase
musical idea ended by a cadence
repeated phrase
2 identical phrases (not a period)
double period
4 phrases in 2 pairs, cadence at end of second pair stronger
repeated period
same cadences, not a double period
sentence
immediate repetition or variation of a musical idea followed by motion towards a cadence
