Andrew Lewis Music 133

  LESSON 5 NEAPOLITAN SIXTH Ø The Neapolitan 6 th chord is a chromatic,  flattened supertonic chord , written in its  1st inversion  and distinct in its sound. The image on the left displays the second scale degree chord as it appears in a minor scale, a diminished chord, and on the right, the same chord but as a lower second scale degree in 1 st inversion.   https://viva.pressbooks.pub/openmusictheory/chapter/bii6/#:~:text=The%20Neapolitan%20sixth%20%28%E2%99%ADII6%29%20%28%E2%99%AD%20I%20I%206%29,of%20a%20iio6%20i%20i%20o%206%20chord .   Ø The Neapolitan  6 th   chord mainly comes from the second scale degree of the minor scale as a diminished chord. Having the 2 nd degree lower by a semitone, it transforms into a major chord.   This image displays the function of the chords as it appears just before a fully diminished 7th chord which is before the dominant. https://viva.pressbooks.pub/openmusictheory/chapter/bii6/#:~:text=The%20Neapolitan%20sixth%20%28%E2%99%ADII6%29%20%28%E2%

  LESSON 4 MODAL MIXTURE Ø Modal Mixture: defined as a ‘borrowed chord’; these chords add color and variety to the harmony and come from the parallel keys. This diagram uses the C major scale and the C minor scale to identify the borrowed chord notes highlighted in the C minor scale for the C major scale.   https://viva.pressbooks.pub/openmusictheory/chapter/modal-mixture/       Ø Usually, these chords are borrowed from the parallel minor keys and used in Major keys. The chords often used are the flat third, sixth, and seventh degrees, and the most commonly used is the flatten sixth degree. This diagram exhibit notes of the melody and harmony in the C minor scale used as borrowed chords for C major.   https://viva.pressbooks.pub/openmusictheory/chapter/modal-mixture/     Ø Using the flattened sixth as a borrowed chord in Major keys affects a few other chords. Such as those of the 2 nd , 4 th , and 7 th degree. This diagram exhibit notes of the melody and harmony in the C minor sca

  LESSON 3 VARIATION FORM Ø Variation form is a musical idea repeated throughout the melody in different ways. Some of the ways that create a variation to the musical idea are its rhythmic pattern, ornamentation, and mode change. There are two primary types of various forms: continuous and sectional variations. This image of the Theme and Variation shows the theme below. Above are the variation, and the notes highlighted in red are the corresponding notes from the theme.   http://www.raymelograne.com/uploads/5/8/3/0/5830182/4943018_orig.jpg     Ø Continuous variation is a style developed throughout the Baroque period under two forms, the ground bass, also called passacaglia and chaconne.     Ø Ground bass or passacaglia features a repetition in the bass line with its variation in the upper voice. At times, the upper voice takes on a portion of the bass line repetition that can be as long as a phrase and sometimes overlaps. In this image of Passacaglia, also known as Ground bass, not