Music 1649A/B Lecture Notes - Lecture 8: Così Fan Tutte, Music Theory

• School: Western University
• Department: Music
• Course: Music 1649A/B
• Professor: Jonathan Gregory De Souza

Document Summary

Music theory 1649: the use of seventh harmony: v7. 4: chordal seventh (resolves down by step to 3) (tendency tone) 7: chordal third (resolves up by step to 1) (tendency tone) 5 d5 3rd, a4 6th unequal fifth p5 d5 (different quality), but cannot go the other way around (d5 p5 x) (cid:862)i(cid:374)co(cid:373)plete(cid:863) chords omit the chordal fifth. V7 i (without fifth) or v7 (without the fifth) i or both complete (inner-voice deception) V v7 is great, not the other way around. Chordal seventh as neighbour tone/passing tone: embellishment adding passing tones, neighbour tones, consonant skips, etc. to make a melody more ornate, reduction taki(cid:374)g out passi(cid:374)g to(cid:374)es, (cid:374)eigh(cid:271)our to(cid:374)es, et(cid:272). to (cid:272)larif(cid:455) (cid:373)elod(cid:455)"s. Harmonizing a simple melody: step one: identify cadences. Look for cadences every four or eight measures: step two: identify harmonic rhythm. Scale degrees 1, 3, and 5 imply i.