Andrew Lewis Music 133

ENTRY 7 DOMINANT 7th, THE PREDOMINANT AREA AND CHORALE HARMONIZATION * The dominant 7th chord,   just like all of the 7th chords,  is made up of four notes, and it can be inverted in three different ways. This chord is usually found just before the end of a phrase, and it is used to form cadence. Figured Bass Symbols Identifying the 7th Chord Inversion.   * When using the dominant 7th as a cadence, it has two tendency notes that have to be resolved, the chordal seventh and the leading tone. The chordal seventh resolves to the third and the leading tone to the first. THE IMAGE BELOW SHOWS   In the soprano part of bar 1, B, the leading-tone is resolved up by step to C, and in bar 2, B, the leading-tone is resolved down to G by a leap.      In the alto part of bar 1, F, the 7th degree is resolved down by step to E, and in bar 2, it follows the same pattern.    In the tenor part of bar 1, B, the leading-tone is resolved up by step to C, and in bar 2, it follows the same pattern. * The pred

ENTRY 6 S A T B BASIC PHRASING STYLE *  The structure of most tonal music is similar to that of a paragraph.  Most paragraphs are made up of different types of sentences that end differently. The  closing sentence of a paragraph always uses a final ending.    Music is also designed with the same structure as a paragraph, these type of sentences are known as phrases. With  the different cadence  marking the end of these phrases, they work like the punctuation mark in a sentence. Image of A Vocal  Open Score Vocal Close Score  * With these melodic, harmonic and rhythmic elements, it makes a phrase sounds complete, and most of the time, they are  made up of four to eight measures. A musical-phrase is consists of three areas ,  the opening tonic area, the dominant area and the tonic closure or T-D-T. A Vocal Score With Phrase Marking * There are various types of cadence use at the end of a musical phrase, the most genuine is having the fifth chord move to the first this progression is call

 ENTRY 5 FROM SPECIES TO CHORALE STYLE SOPRANO & BASS LINES * The composition of a soprano and bass lines chorale-style has the characteristic of other species involved, along with embellishment added to the melody allowing it to be more attractive.  SOPRANO & BASS LINES CHORALE-STYLE * The cantus-firmus normally uses semibreve notes to establish the bass part of the melody, this and the other voices is now set-up like a fifty species counterpoint, and it still continues to carry the bass line for the melody.  THIS IS HOW A BASSLINE WOULD LOOK * Passing tones, neighbour tones and consonant skips are all used in the chorale style soprano and bass lines melodies.  PASSING TONES      NEIGHBOUR TONES   CONSONANT SKIP * There are three kinds of passing tones, the dissonant that is either accented or unaccent and the consonant passing tone. These passing tones are commonly found in chord suspensions. Unaccented passing tone * As in strict style species counterpoint, the dissonant sus