Andrew Lewis Music 133

ENTRY 9 CADENCES AND BASIC PROGRESSION * In this lesson we covered, three new cadence types, the basic, root progressions, and other diatonic harmonies.  * Both the deceptive cadence and deceptive resolution are made up of V-vi or VI, and the difference is the deceptive cadence is found at the end of a phrase while the deceptive resolution, in the middle. The Deceptive Cadence Layout  The Deceptive Resolution Layout  * The plagal cadence is also known as the "Amen" cadences, and it is often used at the end of   hymns  as an extension. This cadence is made up of IV-I or iv-i, and it prolongs the end with I-IV-I. This cadence is also used as a progression in some rock and blues pieces, and it served as the basic source of the harmonic structure.  The Plagal Cadence Layout   * The Phrygian cadence is a half cadence  identified as iv6-V in minor keys with a descending half step from ♭6 to 5 and ♭2 to 1. The highest part would usually move a whole step from 4-5, and only the 1st i

ENTRY 8 6/4 CHORDS & EXPANDING THE BASIC PHRASE   * The 6/4 chords are used to expand basic phrases ,  this chord is formed with the fifth degree in the bass, and it embellishes the V or V7 chord in root position.    * The chord progression that forms the expansion of a predominant harmony is 1, 4, 5, 1 or 1, 2, 5 1.  The predominant chords approaching the 6/4 are ii⁶, ii⁷, or IV, and in minor keys, they are ii𝇈⁶, ii𝆩⁷, and iv.  IMAGE OF A CADENTIAL 6/4 CHORD PROGRESSION. * Recognizing the 6/4 chord in the four voices using C major as an example. The embellished 6/4 chord that comes before the V is made up of G, E in the bass and G, C in the treble clef, appearing as the tonic. This is resolved by having the C move to B and the E move to D. * Even though the 6/4 may appear as the tonic, it is V6/4 leading to 5/3. This is identified as V 6 over 4 with two dashes leading to 5 over 3 (5/3). The V7  has a setup of the  V next to 8, 6, 4 that is above each other, with   three dashes l