TCM 5

Authentic cadences (full cadences) labeled AC close V-I (dominant to tonic in root position)

Half cadences (labeled HC) close on a root-position dominant

in  PAC  soprano moves 2-1 or 7-8 while the bass moves 5-1

HAS THE SOPRANO CLOSE ON 5 OR 3

when the bass mation other than 5-1 ( such as 7-8 or 2-1)  create a special type of IAC called contrapuntal cadence.

harmonically weaker

In minor, two common chromatic alterations occur. First, the dominant will be a major triad, so 7 must be raised to create a leading tone. second, the tonic harmony that closes a piece will sometimes contain a raised third to form a major traid. this idiom is called a picardy third.

a vocal range is the total span of pitchese that a voice can sing; thhis covers roughly the interval of a twelfth. 

Composers utilize this "unrestricted range" when writing for solo voice

composers set the majority of a vocal part in a more comfortable register, referred to as its tessitura. 

This"optimal range" is much better suited to accommodate four voice parts simultaneously sounding. 

Ambitus refers to the specific range of a melody

• 1. smoothness:
• cheif concern is for minimal movement of voices. smooth melodic motion is a primary requirement when connecting chords.

• 2. registral independence 
• maintaining a specific register for each voice to achieve voice independence.
• Never, voice overlaps( pitch of  lower voice higher than that of higher voice) and voice crossing ( pitch of higher voice lower than that of lower voice).

• 3.Contrapuntal independence
• aim for contrary and oblique motion
• parallel motion in thirds and sixths is perfectly acceptable.
• avoid parallel motion by perfect consonances( unison, fifths and octaves) between any pair of voices.
• move the voices the shortest possible distance when changing chords.)
• when see two leaps in two voices simultaneously is a indication that there may be something wrong
• when meet something wrong, just switch the pitches in the two voices

• to omit or double chord tones for best melody smooth
• 1. you may only omit fifth; all chords must contain a root and a third.
• 2. double root, seems it is the most stable tone. then fifth, later third
• 3. never double leading tone.

• close position : pack three upper voices within an octave 
• open position : the total spacing of upper voices is an octave or more.

swapping these two position called voice exchange.

• we can distinguish between structural and ornamental harmonies 
• base on the knowledge of the relationship of meter, rhythm,melody harmony and their contrapuntal combinations.

measure 1 beat 2 there is a metrical passing tone.

measure 2 subbeat of 2 A is a submetrical passing tone.

measure 3 beat 2 the B is a neighbor, then, it is on strong metric placement, we call it an accented neighbor note. Further, since it is made consonant by the V, it is a harmonized accented neighbor note. Finally, given its short duration, this accented neighbor note is a submetrical embellishing tone.



Becuase of the different interpretation of harmony progression, we have 3 version of harmony analysis. 

According to the listner's expectation of continuation of the pattern. We adopt Level 2A interpretation.

the key to hearing and analyzing music is being sensitive to the musical context, especially the meter, the rhythm, and the counterpoint between bass and soprano. 

Think of analysis as a musical triangle; each side is intimately connected with and dependent on the other two sides.