Vocabulary SATB Style Notation PowerPoint Presentation, PPT

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Range . Spacing. Voice Crossing. Doubling. Notation. Soprano and Alto on treble staff. . Soprano-stems up. . Alto-stems down. Bass and Tenor on bass staff. . Tenor-stems up. . Bass-stems down. Range. ID: 748385

By giovanna-bartolotta
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Vocabulary SATB Style Notation

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Vocabulary
SATB Style
Notation
Range
Spacing
Voice Crossing
Doubling
Notation
Soprano and Alto on treble staff
Soprano-stems up
Alto-stems down
Bass and Tenor on bass staff
Tenor-stems up Bass-stems down
Range
Spacing
No more than an octave between the soprano and alto or between alto and tenor. More than an octave between tenor and bass is ok, but usually stays within a 12th
Voice CrossingAny particular voice cannot sing higher than the voice above it or lower than the voice below it.
This helps maintain the independence of each musical line
Doubling
Doubling in My Country Tis of Thee
0
1
Parts of a Basic Phrase
Phrase:
basic unit of musical thought, similar to a sentence in language; phrases are marked by ending with a cadence
Cadence:
harmonic, melodic, and rhythmic features that make a phrase sound like a complete thought
Phrases can end conclusively (like a period in a sentence) or inconclusively (like a comma or semicolon in a sentence
2
3
The Basic Phrase and Harmonic Function
Conclusive phrases include at least three tonal areas. These areas form the harmonic structure of the basic phrase:
opening tonic area, dominant area, closing tonic area
Conclusive phrases will end with an authentic cadence
Inconclusive phrases start with an opening tonic area and usually cadence on the dominant
inconclusive phrase end with a half cadenceTonic at the beginning of a phrase establishes a tonal center (“home base”)
4
Establishing the Tonic Area
The tonic area in the Beethoven is expanded through repetitious
arpeggiation
The tonic area in the Bach is expanded through inverting the tonic triad under the melody
5
The tonic is actually made stronger by the use of the V on the anacrusis
Bach also uses
i
-V-
i
motion, but the V is very weak (because of the inversion) and so serves to expand the tonic area
6
Cadential Area
Cadential
area: area that marks the end of the phrase.
Cadence: the ending of a phrase
Cadence Types:
Authentic Cadence: V-I
Perfect Authentic Cadence (PAC): V-I; root position V and root position I AND soprano is on scale degree 1 Imperfect Authentic Cadence (IAC): V-I; V or I (or both)
7
Imperfect Authentic Cadence
Perfect Authentic Cadence
8
Half Cadence (HC):
ends on V
Authentic cadences are defined by two chords (V-I) but half cadences are identified only by their final chord; the chord that precedes the V could be one of several. Half cadences typically end on a root-position dominant, and often (though not always) feature scale degree 2 in the soprano
9
0
Resolving from V(7) to I or i
Check the inversion!
Resolve the leading tone up (only exception is if it is in the tenor or alto)
Resolve the 7
th
(if present) down
No parallel fifths or octaves
No contrary fifths or octaves Repetition of fifths or octaves is ok
1