Chords,+Inversions,+Progressions,+Cadences

March 9: Started chords, inversions, progressions, and cadences unit. Took notes on "introduction to chords" and "triad inversion".

March 10: Took notes on diatonic triads, roman numerals, voicing chords, analysis number 1, seventh chords, and diatonic seventh chords.

March 11: Took notes on seventh chord inversions and the six four chord. Did exercises on chord identification and chord eartraining.

March 14: Did chord eartraining and chord identification drills. Took notes on circle progressions and common chord progressions.

March 15: Took notes on triads in first inversion and triads in second inversion. Did analysis exercise online.

March 16: Took notes on cadences and did theory vocabulary unit 4.


 * __CHORDS:__**


 * Introduction to chords:**

A chord is a combination of three or more notes...chords are built off of a single note, called the root...triads are chords created with a root, third, and fifth...a major triad (or major chord) is built with a major third and a perfect fifth from the root...a C major triad is C-E-G...a Eb major triad is Eb-G-Bb...a minor triad is created with a minor third and a perfect fifth from the root...a C minor triad is C-Eb-G...an augmented triad is built with a major third and an augmented fifth...a C augmented triad is C-E-G#...a diminished triad is built with a minor third and a diminished fifth...a C diminished triad is C-Eb-Gb Major: Root, Major 3rd, Perfect 5th Minor: Root, Minor 3rd, Perfect 5th Augmented: Root, Major 3rd, Augmented 5th Diminished: Root, Minor 3rd, Diminished 5th


 * Triad inversion:**

Life intervals, triads can be inverted by moving the lowest note up an octave...the lowest note called the bass note, determines the name of the inversion...when the lowest note is the root of the chord, the triad is in root position...when the bass note is the third of the chord (lowest), it is called first inversion...when the bass note is the fifth of the chord (lowest), it is called second inversion...(invert chord one more time, returns to root position up an octave)


 * Diatonic Triads:**

Every major and minor scale has seven special triads called diatonic triads which are formed from that scale's notes

//Major:// 1: Major 2: Minor 3: Minor 4: Major 5: Major 6: Minor 7: Diminished

//Natural Minor:// 1: Minor 2: Diminished 3: Major 4: Minor 5: Minor 6: Major 7: Major

//Harmonic Minor:// 1: Minor 2: Diminished 3: Augmented 4: Minor 5: Major 6: Major 7: Diminished

//Melodic Minor:// 1: Minor 2: Minor 3: Augmented 4: Major 5: Major 6: Diminished 7: Diminished

Roman Numerals can also be used to indicate inversions. First inversion is represented with a small 6 after the numeral, second inversion is represented with a small 6 and 4.
 * Roman Numeral:**

Composers will often arrange the notes of a chord in numerous ways in order to vary its sound. This process is called voicing. @http://www.musictheory.net/lessons/51
 * Voicing Chords:**

Analyzing the notes and chords of a song is a major part of music theory. First, determine the key (look at flats and sharps and first chord). Next, look at notes of each chord to determine chord, find how it is relative to the key, and find the inversion.
 * Analysis Number 1:**

A seventh chord is the combination of a triad and an interval of a seventh...five types of seventh chords are commonly used Dominant seventh: Major triad and a minor seventh combine, abbreviated with a simple 7 Major seventh: Major triad with a major seventh combine, abbreviated with a M7 Minor seventh: Minor triad with a minor seventh combine, abbreviated with a m7 Half-diminished seventh: A diminished triad and a minor seventh combine, abbreviated with a slashed circle and a 7 Diminished seventh: A diminished triad and a diminished seventh combine, abbreviated with an open circle and a 7
 * Seventh Chords:**

In addition to diatonic triads, every major and minor scale has seven diatonic seventh chords. //Major:// 1: Major seventh 2: Minor seventh 3: Minor seventh 4: Major seventh 5: Dominant seventh 6: Minor seventh 7: Half-diminished seventh
 * Diatonic Seventh Chords:**

//Natural Minor:// 1: Minor seventh 2: Half diminished seventh 3: Major seventh 4: Minor seventh 5: Minor seventh 6: Major seventh 7: Dominant seventh

//Harmonic Minor:// 1: Minor-major seventh 2: Half-diminished seventh 3: Augmented-major seventh 4: Minor seventh 5: Dominant seventh 6: Major seventh 7: Diminished seventh

//Melodic Minor:// 1: Minor-major seventh 2: Minor seventh 3: Augmented-major seventh 4: Dominant seventh 5: Dominant seventh 6: Half-diminished seventh 7: Half-diminished seventh


 * Seventh Chord Inversions:**

Like triads, seventh chords can be inverted by moving the lowest note up an octave...root inversion is the same as a triad, the root is the lowest (bass) note..first inversion is the same, the third is the lowest note...second inversion is also the same, the fifth is the lowest note...third inversion is when the seventh is the lowest note...(if inverted one more time, the chord returns to its root position)


 * The Six Four Chord:**

Perhaps the primary reason to use inversions is to improve the melodic line of the bass and to create good conterpoint with the melody. Chords in first inversion can be used relatively freely; chords in 2nd inversion, however, must be treated with greater care. Very rare to see anything but primary chords in the second inversion (6/4 chords)...make sure 6/4 chords fit into the four catagories, having to do with the bass pattern.... the first pattern is known as cadential-tonic 6/4, the 6/4 chords only happen at cadences and they tonic chords. in addition, the I 6/4 chord is really an embelishment of the V chord. the top two notes behave and sound like non chord tones that embelish, and then resolve into, the dominant harmony. Also, the dominant to tonic resolution is usually weak beat to strong beat, therefore the I 6/4 chord will almost always appear on a strong beat and resolve to the V on a weak beat. the voice-leading for these is easy--just remember to resolve the "non-chord" tones down by the step, the doubled bass note will be a common tone...(its best to think of 2nd inversion chords, not as individual chords, but as patterns of 2 to 3 chords and bass notes)...the second pattern is known as a passing 6/4 chord, the bass is moving upward or can move downward, it is a passing tone... the third pattern has four names: pedal, stationary, neighboring, or auxillary. the voice-leading for these is simple: think neighboring tones and keep the common tone...the fourth pattern is known as arpeggiated. its name comes from the arpeggiation of the bass line. no real voice-leading problems because it's the same chord repeating, just be mindful of doubling and spacing...memorize these basic patterns, especially the motion of the bass lines and the characteristic motion in the upper voices for each type. when harmonizing a melody, look for melodic patterns that would suggest one of these types of 6/4 chord. use your ears to hear identify these patterns aurally.


 * __PROGRESSIONS:__**


 * Circle Progressions:**

Root motion is the movement from one chords root to another chord's root...C(I) to A (vi) is down a third or up a sixth...a circle progression occurs when root motion is equal to up a forth or down a fifth...major scale circle progressions are I to IV to vii (diminished) to iii to vii to ii to V to I...minor scale circle progressions are i to iv to VII to III to VI to ii (diminished) to V to i


 * Common Chord Progressions:**

Hundreds of progressions possible, but most tend to follow a pattern...in a major key, the goal of any chord progression is the I chord...the rest of the pattern is based around the strongest ways to get to this chord...an authentic cadence (V to I) or (vii diminished to I) is the strongest way to approach a one chord...next we use circle progressions; the strongest way to approach a V is a circle progressions from ii and the strongest way to approach vii diminished is a circle progression from IV...the strongest way to approach IV is a circle progression from I...a circle progression from vi leads us to ii... a circle progression iii leads to vi...the strongest way to get to iii is a circle progression from vii diminished...finally, since I is the main chord of the scale, it can go to any other chord...dominant means the fifth scale degree, since the V chord is built on the dominant, it is a dominant chord...since vii diminished functions like V (by going to I), it can also be labeled as a dominant...since ii and IV come before V and vii diminished, they are usually labeled as predominants...the minor scale chart only has one difference; the strongest way to approach III is not vii diminished, instead it is a circle progression from VII...charts do not have to be followed strictly




 * Triads in First Inversion:**

When do we use first inversion triads? One use of first inversion is to smooth out the bass line (ascending or descending?)...we can also use first inversion when repeating a chord (if a progression has duplicate or similar chords, a composer can create more movement by placing one of the chords in first inversion...possibly second usually?)...the diminished triad presents the final use for first inversion...early composers did not like using augmented or diminished intervals...notice that a root position diminished triad contains a diminished fifth...the second inversion of the same triad contains an augmented fourth...only the first inversion contains no augmented or diminished intervals...because of this, composers prefer first inversion diminished triads...while root position diminished triads are used occasionally, second inversion is rarely encountered...it should be noted that the examples presented in this lesson are not strict rules. Sometimes, first inversion is used simply because a composer likes its sound.


 * Triads in Second Inversion:**

While composers use root position and first inversion triads freely, second inversion occurs in three situations...like first inversion, second inversion may be used to smooth out a bass line (move by step)... second inversion triad used in this fashion is called a passing six-four chord...second inversion may also be used to straighten a bass line (movement in bass line is eliminated)... a second inversion triad used in this fashion is called a pedal six-four chord....the cadential six-four chord is the final and most noticeable use...in this form, the second inversion triad preceeds a five chord in a cadence...often, the cadence will sound stronger due to the cadential six-four's presence...on the chord progression chart, the cadential six-four occurs between predominants and dominants.



__**CADENCES:**__


 * Phrases and Cadences:**

A phrase is a series of notes that sound complete even when played apart from the main song...if not complete, then it is not a phrase...a cadence is a two-chord progression that occurs at the end of a phrase...if a phrase ends with any chord going to V, a half cadence (HC) occurs...most people will hear a half cadence as sounding incomplete; because of this, composers usually follow cadences with a phrase ending in an authentic cadence (AC)...an authentic cadence occurs whenever a phrase ends with V or vii diminished going to I (or i if minor)...authentic cadences are often classified as either perfect or imperfect...to be considered a perfect authentic cadence (PAC), the cadence must met three requirements...first, V must be used rather then vii diminished...second, both chords must be in root position...finally the highest note of the I (or i) chord must be the tonic of the scale...an imperfect authentic cadence (IAC) fails to meet these requirements...in addition to authentic and half cadences, two other kinds exist...if a phrase ends with IV (or iv) and going to I (or i), a plagal cadence (PC) occurs...if a phrase ends with V going to a chord other than I (or i) a deceptive cadence (DC) occurs...deceptive cadences are often used in place of an authentic cadence Half Cadence= Any to V Authentic Cadence= V to I Plagal Cadence= IV to I Deceptive Cadence= V not to I

http://bbamusic.wikispaces.com/Cadences

SUMMARY  Here is a table with the various cadences:  ||  TYPE OF CADENCE  ||  PROGRESSION  ||  ||  Perfect Authentic Cadence (PAC)  ||  V-I, where both chords are in root position, and the soprano ends on the tonic.  ||  ||  Imperfect Authentic Cadence (IAC)  ||  V-I, where one of the chords is in inversion, or the soprano does not end on the tonic. <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> || <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> || <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> Half Cadence (HC) <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> || <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> Any chord to V (but commonly I-V) <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> || <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> || <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> Plagal Cadence (PC) <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> || <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> IV-I <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> ||

<span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;">**Diatonic Triads:** Seven special triads formed from the notes of any major or minor scale <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Major Chord:** a triad <span style="font-family: arial,helvetica,sans-serif; line-height: 19px;">built with a major third and a perfect fifth from the root <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Minor Chord:** a triad <span style="font-family: arial,helvetica,sans-serif; line-height: 19px;">created with a minor third and a perfect fifth from the root <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Augmented Chord:** a triad <span style="font-family: arial,helvetica,sans-serif; line-height: 19px;">built with a major third and an augmented fifth <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Diminished Chord:** a triad <span style="font-family: arial,helvetica,sans-serif; line-height: 19px;">built with a minor third and a diminished fifth <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Primary Triad:** A triad built on the tonic, subdominant, and dominant degrees <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Secondary Triad:** A triad that is not built on the tonic, subdominant, and dominant degrees <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Root Position:** The chord inversion position when <span style="font-family: arial,helvetica,sans-serif; line-height: 19px;">the lowest note is the root of the chord <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **First Inversion:** The chord inversion position <span style="font-family: arial,helvetica,sans-serif; line-height: 19px;">when the bass note is the third of the chord <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Second Inversion:** The chord inversion position <span style="font-family: arial,helvetica,sans-serif; line-height: 19px;">when the bass note is the fifth of the chord <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Figured Bass:** Figured bass, or thoroughbass, is a kind of integer musical notation used to indicate intervals, chords, and nonchord tones, in relation to a bass note. <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Progression:** A succession of tones or chords <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Retrogression:** The act or process of declining notes or chords. <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Cadence:** A progression of chords moving to a harmonic close, point of rest, or sense of resolution <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Imperfect Authentic Cadence:** <span style="font-family: arial,helvetica,sans-serif; line-height: 19px;">a cadence that occurs whenever a phrase ends with V or vii going to I (or i) that fails to meet the requirements of a perfect authentic cadence <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Perfect Authentic Cadence:** a cadence that occurs <span style="font-family: arial,helvetica,sans-serif; line-height: 19px;">whenever a phrase ends with V going to I (or i), where the V is in root position and the highest note of the I (or i) is the tonic <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Plagal Cadence:** a cadence that occurs when<span style="font-family: arial,helvetica,sans-serif; line-height: 19px;"> a phrase ends with IV (or iv) and going to I (or i) <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Deceptive Cadence:** a cadence that occurs when <span style="font-family: arial,helvetica,sans-serif; line-height: 19px;">a phrase ends with V going to a chord other than I (or i)  <span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> **Half Cadence:** a cadence that occurs when a phrase ends with any chord going to V