music theory chp 8

7/31/2019 Music Theory Chp 8

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Music Theory : Chapter 8

Triads in First Inversion


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Triads in First Inversion

Listen and compare these two examples

Most phrases of tonal music contain at least

one inverted chord

Root position does not equate to poor

composition, depends on effect

Classical Period used much root position


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Bass Arpeggiation

One way to vary a bass line is to arpeggiate

(use broken chords)

When analyzing, include all notes of the chord

together (each note does not indicate a new

inversion)


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Substituted First Inversion Triads

First inversion triads are often used as

substitutes for root position triads instead of

coming about through bass arpeggiation

Three reasons to use inversions:

Improve contour of bass line

Greater variety of pitches

Lessen importance of V and I chords


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Parallel Sixth Chords

Most phrases balance inverted/non-inverted

chords

Some phrases call for parallel first inversion

chords (sixth chords)

Most often used as passing chords connecting

a chord at the beginning to a chord at the end

of a phrase


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Checkpoint

What are the three uses of first inversion

triads?

What type of triad (major, minor, diminished)

is usually used in first inversion rather than in

root position?

How are inversions indicated in lead sheet

symbols?


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Part writing First Inversion Triads

Four- Part Textures

Inverted triads are nearly always complete in a

four-voice texture (one must be doubled)

1. In a contrapuntal texture, use the doubling that leads

to the best voice-leading

2. In a homophonic texture, the doubling should be one

that provides the best sonority

In any texture, do not double the leading tone

Ex. 8-10, 8-11


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Three-Part Textures

Inverted triads are usually complete in three-

voice textures, no doubling

Incomplete do occur less often

The member of the chord most often omitted

is the 5th (cannot be the 3, as it is in the bass)

Ex. 8-12, 8-13


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Soprano-Bass Counterpoint

First inversions allow for more interesting and musicallysatisfying bass lines

COUNTERPOINT

the combining of relatively independent musical lines

In tonal music, contrapuntal relationships are governed bycertain voice-leading rules and by conventions of harmonicprogression

The lines must fit within the context of the style of music(ex. Two melodies in different keys would make no sense)

Independent means having its own unique rhythm andcontour

Contour is more important (ex. 8-14, 8-15)


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Cont.

Identical rhythms and contours, offset by a

measure, will lead to canons/rounds.

Imitative Counterpoint -


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Ex. 8-16

Bach gives soprano/bass different contours

PSC (paralle vs. similar vs. contrary) Ex. 8-17

Neighbor Motions step down and back up in

the sop, step up and back down in the bass


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Where in tonal music is there much

counterpoint? THE BAROQUE (1600-1750)

Fugue a piece in which each voice states a

short theme (the subject)which is tossed from

voice to voice and slightly varied, fragmented,

and developed

Self-Test 8-1

music theory chp 8

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