Final Music Case Study Analysis
Prelude in C major
There are seven chords in Roman numeral and conventions to follow. Uppercase Roman numeral refers to the major triad and lowercase numeral refers to a minor triad. The diminished symbol on a seventh chord means the triad is diminished and the distance from the root to seventh is a diminished seventh.
Let's apply Roman numerals to the C major scale. Since the first triad is major, its numeral is upper-case. The second triad is minor. Its numeral is lower-case. The third triad's numeral is also lower-case. The fourth triad's numeral is upper-case. The fifth triad's numeral is also upper-case.
Both significant sets of three and major–minor seventh harmonies can be optional predominant harmonies. Notice the chromaticisms in the model above. The raised notes by and large go about as the main tone to the base of the harmony being tonicized. In the significant mode, the main auxiliary predominant with a brought down chromaticism is (V7/IVV7/IV). The brought down note in V7/IVV7/IV goes about as ^44^ of the harmony being tonicized similarly the last level of a key mark is ^44^. The following are altogether optional predominant harmonies (sets of three and major-minor seventh harmonies) in the minor mode. Recollect that both vii∘vii∘ and the subtonic VIIVII happen in the minor mode. The subtonic VIIVII can be tonicized with V7/VIIV7/VII, while vii∘vii∘, being reduced, can't.
Notice that an F significant harmony in C minor can be V/VIIV/VII or IVIV, contingent upon how it capacities or advances. On the off chance that the F significant harmony advances to a B♭ harmony, name the F harmony as V/VIIV/VII. In the event that the F significant harmony has pre–predominant capacity and advances to a G significant harmony (in any reversal) or B∘B∘, name the F harmony as IVIV.
A pedal point is a note that is held through evolving harmonies, beginning as a harmony tone before turning into a non-harmony tone. Pedal focuses are regularly in the bass voice (the expression "pedal" identifies with the foot pedals on an organ). The Clara Schumann model above likewise has a suspension suspensions are talked about in the following area. At the point when a pedal point is in the bass, it isn't important to indicate the reversal of the harmony on the grounds that the bass pedal point clouds the reversal. You may likewise experience a pedal point in a higher voice, just as a "twofold pedal point," where two notes (frequently a fifth separated) go about as pedal focuses.
Secondary Function
Both major triads and major–minor seventh chords can be secondary dominant chords. An optional harmony is a predominant capacity harmony that isn't the prevailing harmony in the key of the piece, yet is the prevailing of one of the other major or minor tern ions in that key. This procedure is called tonicization: making a group of three other than the tonic sound immediately like it is the tonic, by going before it with its predominant. Just groups of three that are major or minor can be tonicized. Auxiliary harmonies can be embedded into any diatonic movement, to tonicize specific harmonies in that movement. Auxiliary dominants are chromatic harmonies, since they generally require at least one accidentals to make the right harmony quality.
NCT at the Bottom
Passing Tone Note: A passing tone that occurs on a strong beat is called an "Appoggiatura" or "Accented Passing Tone"
Neighbor tone "Upper Neighbor": dissonant note is higher than the starting note; "Lower Neighbor": dissonance is lower.
Cambiata: upper and lower "neighbor notes" in a pair..................................
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