Andrew Lewis Music 133

LESSON 6 SECONDARY DOMINANTS         Ø   This lesson features the secondary dominants, these are chords that act as the dominant, but they are used to resolve chords other than the tonic. In most cases, they are used in half cadences, and in other cases, to prolong the tonic area.   In this image, there are various secondary dominant chords and the tonicize-notes in a minor key.  Secondary Dominants Chords in Minor Keys - YouTube  There are also various secondary dominant chords and the tonicize-notes but in a major key.  https://i.ytimg.com/vi/VgrcQR2BsEg/maxresdefault.jpg      Ø   In recognizing the secondary-dominant chord to the dominant, you would notice it is a second-degree chord transformed. In transforming this chord into a secondary dominant chord, the fourth degree is raised by a half step in major-keys, while in minor-keys, the fourth and sixth-degree raises by a half step.  A minor third above the 5th of the chord further extends the chord to a V 7 . This image shows the

LESSON 5  DIATONIC SEQUENCES   Ø   This lesson expresses the diatonic sequence and how it can either be an ascending or descending sequence. Ascendant sequences are ascending fifth and ascending parallel 6/3 chords, while the descending parallel 6/3 chord and descending fifth are both descending sequences. Ø   These sequences can be as little as a motive or can expand as long as a two-bar phrase. These patterns occur one after the other and are transposed either up a step or down a step. The transposition of its intervals is known as the level of transposition.   Ø   The descending 5th follows a pattern that descends by a cycle of fifths. In a major key, this pattern moves from (I-IV, vii o -iii, vi-ii, V-I, or I, IV-vii o , iii-vi, ii-V, I), and in minor keys with usually the leading tone in chord V raised (i-iv-VII-III-VI-ii o -V-i). The result of this pattern entails the lowering of the second chord by a second. In this image of the descending 5th sequence, the first two chords C, a

  LESSON 4 PHRASES & MOTIVES Ø   In music, a phrase is usually referred to as a musical sentence. The structure of a musical sentence derives from various parts coming together to form a phrase structure. Phrases can usually be eight measures or sometimes as long as 16 or as short as 4 or 2 measures long. This is an example of a Musical Phrase Structure https://1g9v9u38ad6lxfzmd1t5auit-wpengine.netdna-ssl.com/wp-content/uploads/2011/10/SentenceComplete.png   Ø   While following the pattern of arranging a  phrase, it first has a presentation followed by a continuation, and they both comprised of four measures. The two first measures of the presentation form what is called the basic idea. This basic idea forms another two bars, which are repetition, and it leads into the continuation, sometimes made up of fragmented motives from the presentation. These fragmented motives can help to create a motion leaning to the cadence.   Ø   Both of the basic ideas can either be identical in h