| A | B |
|---|
| Only the V chord can... | Contrast with the tonic and, at the same time, lead to and affirm it so convincingly |
| How does V lead to I? | By both HARMONIC and CONTRAPUNTAL motion |
| V-I: Harmonic Motion | The harmonic motion is that of the descending 5th (or its inversion, the ascending 4th) |
| V-I: Contrapuntal Relation | The 5th and 3rd of V (scale degrees 2 and 7) stand in a stepwise contrapuntal relation to 1 |
| Progression V-I | (Because V leads to I by both harmonic and contrapuntal motion...) The progression V-I combines the strongest possible harmonic motion (in the bass) with the strongest possible melodic motion= (Is the basic progression of Western music) |
| Expanding I-V-I | Arpeggiating above a sustained bass= Basic way to expand the progression I-V-I is by using the harmonies as the source for more or less extended melodic lines |
| Cadence | (Latin: "cadere", to fall) A succession of chords that marks the end of a musical phrase or section= Because it creates a halt in the musical motion, a cadence is a rhythmic & tonal event |
| Authentic Cadence | V-I |
| Half Cadence | (aka Semicadence) Ends on V |
| Doublings: I and V | Most often, the root is doubled both in I and in V= However, the 5th and 3rd of I and the 5th of V are also possibilities= NEVER double the leading tone (3rd of V) |
| Scale Degrees: 2 and 7 | Can function as neighbors to scale degrees 3 and 1= Scale degree 2 can function as a passing tone between scale degrees 1 and 3 |
| I-V-I: Lower-Neighbor Figures | The common tone (scale degree 5) is kept in the same voice= Other voices move to the nearest position |
| I-V-I: Descending Passing Motion | Melodic progression of scale degree 3-2-1= Scale degrees 3 and 1 are stable tones belonging to the tonic triad= Scale degree 2 is a passing tone (dissonant against the tonic triad)= The V provides consonant support for this passing tone= With the soprano line, the common tone does NOT always remain in the same voice |
| I-V-I: Minor | In any progression where V goes to I (or creates the expectation of such a motion), scale degree 7 must be raised to form a leading tone= RESULT: V becomes a major triad |
| V^7 | (Unlike V[3/5]) Is a DISSONANT CHORD= The 7th, which represents a descending passing tone, must resolve (scale degree 4 resolves down by step to scale degree 3)= (Is often part of an Authentic Cadence) |
| V^7: Important Function | Support scale degree 4 in the soprano |
| V^7, like V[5/3] can support... | Scale degrees 7, 2, and 5 in the soprano= If scale degree 5 is in the soprano, the V^7 will be incomplete= Sometimes, V[5/3] is a better choice for supporting these tones= If the melodic line comes to rest on scale degrees 7, 2, or 5, V will generally produce a better effect than V^7 (which conveys an inappropriate feeling of activity)= RESULT: V^7 is rarely used in a Semicadence |
| V^7 in 4 Voices | May appear as a complete chord {7/(5/3)}, in which case there is NO doubling= May also appear as an incomplete chord with root doubled and 5th omitted {8/(7/3)} |
| V^7-I: Voice Leading Techniques | V^7 contains 2 tendency tones (scale degrees 4 and 7) |
| V^[5/3] and V^7: MINOR | Must always contain a leading tone= This means that SCALE DEGREE 7 must be raised in minor (DO NOT DO ANYTHING WITH THE 7th of the chord) |
| V^7-I: Scale degree 4 | (Scale degree 4 forms a dissonance with the bass) MUST move down by step to scale degree 3 |
| V^7-I: Scale degree 7 | Tends strongly to move to scale degree 8= If it appears in the soprano voice (an exposed position), it must do so |
| V^7-I: Resolution | Where both these tones (scale degrees 4 and 7) follow their natural tendencies, the tritone dissonance between upper parts will resolve normally= HOWEVER, the resolution occurs at a cost: One of the chords in the progression will be INCOMPLETE |
| V^7-I: V^7 is complete | The I will be incomplete |
| V^7-I: V^7 is incomplete | The I will be complete |
| V^7-I: Both are complete | Scale degree 7 may move to scale degree 5 (if it is an inner voice) |
| V^7-I: When scale degree 7 is in the soprano | It is impossible for both V^7 and I to be complete without writing 5ths by contrary motion |
| V^7-I: Doubling Scale degree 3 (GOOD) | Normal resolution of the 7th combined with the melodic motion scale degree 2-3 will result in a tonic with a DOUBLED 3rd= Despite irregular doubling, the contrary motion into the doubled 3rd has a good effect, and the motion up to scale degree 3 often helps to produce a great soprano line |
| V^7-I: Doubling Scale degree 3 (BAD) | Resolution of the 7th combined with the melodic motion of scale degrees 5-3 is not good= The similar motion into the OCTAVE on scale degree 3 creates an unpleasant effect |
| V^{8-7} | Dominant harmony is often extended and intensified by moving from [5/3] to 7= This happens often in an authentic cadence (where the introduction of the 7th can be emphasized by a DOWNWARD leap of an octave in the bass (note that the 7th sometimes comes from scale degree 5 rather than 8) |
| Expanding V^7 | Like I and V^[5/3], V^7 may be expanded by changing the positions of the upper voices= This may result in a transfer of the dissonant 7th from one voice to another= The 7th will resolve in the last voice in which it occurs |
| Authentic Cadence | V-I |
| Perfect Authentic Cadence | (Is a type of "Authentic Cadence") Soprano ends on s.d. 1 |
| Imperfect Authentic Cadence | (Is a type of "Authentic Cadence") Soprano ends on s.d. 3 or s.d. 5 |
| Half Cadence | I^[6/4]-V |
| Semicadences | I-V= Can end with the soprano on s.d.'s 7, 2, or 5 |
