Music Theory II

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Music Theory II

• New York University

2
Housekeeping (3/30/05)

• Audio quote of the day
• Hitchhiker You heard of this thing the 8 minute
  abs?
• Ted Yeah, sure 8 minute abs yeah, the exercise
  video.
• Hitchhiker Yeah, well this is going to blow that
  right out of the water. Listen to this, 7 minute
  abs.
• Theres Something About Mary

3
Agenda (3/30/05)

• Homework Returned/Reviewed
• Keyboard Applied-Chord Sequences
• Chapter 22 Tonicization and Modulation

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Overview

• Review of Theory I (13, 11)
• Diatonic Harmony continued (14-16)
• Applied Chords (21)
• Tonicization and Modulation (22)
• (You are here)
• The Period and other small musical structures
  (17-18)
• Sequences (19-20)

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Assignment (3/30/05)

• Workbook page 229, ex. 21.22

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Music Theory II

• New York University

10
Housekeeping (4/4/05)

• Audio quote of the day
• Hitchhiker Seven chipmunks twirling on a branch,
  eating lots of sunflowers on my uncles ranch. You
  know that old children's tale from the sea!
• Theres Something About Mary

11
Agenda (4/4/05)

• Homework Returned
• Quiz III-Chapters 2122 (4/11/05)
• Chapter 22 Tonicization and Modulation

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Chapter 22 Tonicization and Modulation

• Weve just learned about small dominant-tonic
  harmonic motions toward chords other than the
  tonic. These tonicizations usually require
  accidentals that were members of the temporarily
  tonicized key.
• We will now explore larger tonicizations, which
  can range in length from two chords to entire
  phrases, and modulations, which are tonicizations
  that occupy entire sections of a piece.

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Tonicization and Modulation (contd)

• Tonicizations function in a longer diatonic
  progression in the same way that a harmonic
  expansion functions within a phrase. In 21.1B,
  the ii of m. 2 is expanded in the same way as the
  tonic of m. 1 through a passing viio6 chord.
  Note that a new leading tone (G) is imported to
  support the tonicized key. Aminor.

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Tonicization and Modulation (contd)

• Note how the numerals have become a bit cluttered
  in m.2 viio6/ii. Even worse, there seems to be
  an inconsistency of nomenclature if ii at the
  second level is controlling the harmony of m. 2,
  the label of ii at the first level implies
  implies supertonic harmonies of the controlling
  key of ii. (D minor).

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Tonicization and Modulation (contd)

• The solution is to grant tonic status to the
  tonicized harmony at the first level (call it I)
  and to label the surrounding harmonies in
  relation to it.
• For example, instead of analyzing m. 2 at the
  first level as ii-viio6/ii-ii6, simply write
  i-viio6-i6 the second-level bracket informs us
  that the first-level harmonies are all in
  relation to the supertonic, i.e., they are all
  of ii.

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Tonicization and Modulation (contd)

• Lets explore this idea further in example 22.2

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Tonicization and Modulation (contd)

• A PAC in Eb major closes the first phrase. The
  second phrase begins on a C major harmony, the
  unprepared nature of the chord creating quite an
  unexpected and jarring effect. Lets look
  further
• Given that a chordal seventh is added to C in m.
  13, and it moves to f minor, we hear C as V/ii in
  the key of Eb, which is reflected in the
  second-level analysis

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Tonicization and Modulation (contd)

• The supertonic is tonicized until the A natural
  of m. 14, which functions as an applied leading
  tone to V (V65/V).
• Thus, we understand mm. 12-14 as an expanded
  pre-dominant in the underlying eight-measure
  progression, I-ii-V-I.

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Tonicization and Modulation (contd)

• Lets now explore 22.3

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Tonicization and Modulation (contd)

• 22.3 begins with a sequential harmonic
  progression. The tonic (g minor) is barely
  established before it moves to III (Bb). One
  could argue that the song begins in Bb major, but
  on vi, which moves to V7 (F-A-C-Eb), and then to
  I.
• The pattern repeats when the tonicized harmony
  (Bb major) functions as VI in d minor, moves to
  V7 (A-C-E-G), and then finally resolves to
  temporary I (d minor).
• This brief tonicization of G, Bb, and D results
  in a large-scale arpeggiation of the tonic g
  minor.

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Tonicization and Modulation (contd)

• Lets now explore 22.4

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Tonicization and Modulation (contd)

• 22.3 is similar to the previous examples but
  somewhat more complex. Again the supertonic is
  expanded , following a back-relating half-cadence
  in measure 4.
• We can now understand the function of the a minor
  chord in measure 4 it is a iv in the key of e
  minor and not some sort of minor v chord of the
  home tonic, D.

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Tonicization and Modulation (contd)

• Lets now listen to 22.5

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Tonicization and Modulation (contd)

• This example contains tonicizations of two
  harmonies vi and ii. The music of the piano
  intro contains a D3 (D4/A2) sequence, which is
  disrupted by the chromatically altered A2 of m.
  2.
• From this point, vi is tonicized for almost two
  measures by its dominant (F major). When D3
  moves to D3 in m. 3, vi is transformed into an
  applied V65 which tonicizes E minor (ii).
• As the structural dominant in m. 4 resolves to
  the tonic (D major) in m. 5, the vocal line
  enters.

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Tonicization and Modulation (contd)

• As the opening measures are reprised with words,
  the same tonicizations of vi and ii appear again.
  
• The submediant is tonicized in mm. 6-7 the
  supertonic is tonicized in m. 8-10 (a sort of
  elongation compared with the momentary sense of
  ii in mm. 3-4.)
• The second-level analysis reveals that over the
  course of the excerpt, the tonicizations of vi
  and ii repeatedly expand the simple underlying
  harmonic progression of I-vi-ii-V-I.

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Assignment (4/4/05)

• Workbook Page 305 - 22.1D, E, F