V@-! Cadential or Accented @

1
V_at_-! Cadential or Accented _at_
2
Harmonic Prolongationvia expansion
2 Basic Phrase Shapes I-V (half cadence)
I-V(7)-I (authentic/full)
I- V- I
I- IV- V- I
I- IV- II- V- I
I-V-I- IV- I6- II- V I
3
V_at_-! Harmonic Prolongation via Delay
a minor I- IV ? - V! I
4
V_at_-! Delays V via double upper neighbors
6th above bass delays 5th
4th above bass delays 3rd
3
NN
1
NN
5
V V_at_ - !
Expressed as scale degrees V_at_-! delays V via __
to __ and __ to __.
Because of delay function V_at_-! is always a
package
_at_ part uses notes of tonic triad, but is dominant
function (never label I_at_)
Tonic note (1) is dissonant (forms 4th with
bass tone)
5
Beethoven, 7 Variations on God Save the King
V_at_-! Basics 1. Notes (scale degrees) in _at_
portion AND bass tone 2. Doubling (give as
scale degree and as root, 3rd, or 5th) 3. _at_
Metrically strong or weak (hint in 3/4 beats 1-2
are both strong) ! (dominant arrival)
strong or weak 4. Voice -leading in upper
voices 5. Characteristic bass motion
6
1. What 2 characteristic melody lines (3 notes)
does V_at_-! -I often support?
2. How is the dissonant scale degree 1
approached in bar 5?
3. Is it difficulty to connect V_at_-V7 instead of
V! (see m. 13)?
4. What function chord (tonic, interm. dom) leads
to both V_at_-! Figures?
7
What is the function of this V_at_-!?
8
5 6 7 1 2 3 4 3 2
1