Andrew Lewis Music 133

LESSON 7 POPULAR MUSIC Ø   Popular songs came about in the late 19th century. As time progressed, It brought on many changes. After following many changes, today, songs like jazz, hip-hop, metal, and rock are a few genres that evolved from popular songs. Even though there were changes, it incorporated both techniques. These changes made some differences in musical forms, scales, meter, rhythm, and harmony.    Tritone substitutions Ø   When arranging a tritone substitution, the first thing you may want to do is to consider V 7 /bV 7, which calls for using the dominant 7 th chord. If in the key of C major, the dominant 7 th chord will be G, B, D, F, and the V/V flats will be Db, F, Ab, Cb.  B, the enharmonic equivalent to Cb, now is substituting C flat, a tritone of F. The middle row of this diagram shows the V/V tritone substitution and the key to which it belongs.   https://th.bing.com/th/id/R.b56845729a739a4b9ff131113e73f290?rik=%2b%2fez3jUy1VDjMA&r...

LESSON 6 AUGMENTED 6 CHORD   Ø The focus of this lesson is to construct and resolve The Italian, French and German augmented 6 th chord in the minor key. This image will view Napoleon's 6 th , Italian, French, and German augmented 6th and the cadential 6/4 chord.   https://th.bing.com/th/id/R.21f98fdfd0a080e60bf4d46791f7b15d?rik=kB0jbHk8mfahYg&riu=http%3a%2f%2fbeststudentviolins.com%2fLargeExample.jpg&ehk=vGU45hV%2fAdU5FRKyAuXtncTGEyUWrTbQhDIP23N14Zw%3d&risl=&pid=ImgRaw&r=0     Ø When constructing the augmented 6th chord, the first is to place the 6th scale degree in the base for either of them. This image shows how to resolve the Italian, French, and German augmented 6 th chords.     https://files.wbk.kreativmedia.ch/c9/ba/c9bacab1-5746-4571-bf05-7197a626c974.jpeg Ø Secondly, above the bass note in the soprano is where to place a sharp 4 th  scale degree. This image displays the Italian 6 th  chord in a four-part voice ...

  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%20Neapo...

  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 th...

  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, a...

LESSON 2 INVENTION & FUGUE Ø Fortspinnung , this melody can be identified in several different aspects such as key change, continuous motion, harmonic or melodic sequences, different phrase lengths, and the use of other melodic lines joined together in one phrase.   This melody is an image of a triple fugue, Displaying The first, second, and third theme. https://th.bing.com/th/id/R.aff0325a26b86af19800300d96916264?rik=4ewLR769d0NwhA&riu=http%3a%2f%2fmichaelsmusicservice.com%2fsupport%2fBarnes.FugueInGMinor.03.gif&ehk=tbbUQgWRot%2bIm4L7aKC3Pn5XgAjcUr3YLqJkHKtiy1Q%3d&risl=&pid=ImgRaw&r=0 Ø   Point of imitation is answering a melodic idea from another voice that is the same. In an invasion, the main point of imitation is an octave apart, while in a fugue, the first two points are a fifth and an octave apart.   This is a fugue melody, written as an imitation   https://th.bing.com/th/id/R.0f15159f52ba9de7ee0fb69e416446e6?rik=UT5FLGJlUno9Ug&...