The last type of chromaticism we will cover this quarter is modal borrowing, often referred to individually as borrowed chords. This phenomenon arrises when a composer borrows chords from the parallel major or minor for heightened emotional effect. (Parallel major and minor keys are those that share the same name: C major and c minor.)…
With the topic of LIPs (week 7), sequences are useful discussion. There are 2 main types: melodic and harmonic. A melodic sequence is a chunk of music or motive repeated, but most/all the notes transposed up or down a consistent interval. Sequences are often used in developmental or transitional passages, and can also be embellished…
Building on last week’s applied dominants is the concept of extended tonicizations. An applied dominant is essentially imagining the music in a different key for two chords. We call this tonicization – tonic-izing the second chord. When we have multiple chords that can be better explained in a different key, but not quite enough chords…
Having covered diatonic chords, we now move to chromatic (having sharps or flats outside of the key signature) chords. Applied dominants (sometimes called secondary dominants – from which I will refrain because of secondary functions, week 2) are one of the most straightforward chromatic concepts. Since we define Dominant function by its sound and resolution, almost…
This week we continued discussing concepts from the last several weeks with new music. Here is a summary handout: Midterm handout Here is an extra practice spelling worksheet: extra practice midterm For practice analyzing music we looked at Beethoven op 14#1 mvt 1 opening theme, and Beethoven op. 28 mvt 3, mm1-30. Here’s the quiz: midterm
Functional Analysis 