H2 Week 2 1801
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The document discusses harmonic rhythm, cadences, and chord progressions. It defines harmonic rhythm as the rate at which chords change and identifies four common harmonic rhythms. It also discusses five common cadences in major keys, including the full dominant cadence, half cadence, subdominant/plagal cadence, and deceptive cadence. Additionally, it explains how harmonic rhythm and chord placement relate to metrical stress patterns in music and how expectations around stress patterns can be manipulated for musical effect.
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H2 Week 2 1801
- 2. Learning Outcomes • By the end of today’s session, students will be able to: • Identify 4 common harmonic rhythms • Understand the links between harmonic rhythm and chord function • Identify 5 common cadences in major keys
- 3. Harmonic Rhythm • Harmonic rhythm is the rate at which chords change in a phrase • It can be expressed by note values; ie. Whole note harmonic rhythm, half note harmonic rhythm etc.
- 4. Whole note Harmonic Rhythm – 1 chord per bar
- 5. Half note harmonic rhythm – 2 chords per bar
- 6. Quarter note harmonic rhythm – 4 chords per bar
- 7. Mixed harmonic rhythm – Different values
- 8. Change in Harmonic Rhythm • Change in the harmonic rhythm is important in a piece of music • It’s often used as a way of increasing excitement or tension in a progression • See “We are the Champions” - Queen
- 9. Metrical Stress Patterns and Their Effect on Chord Progressions • Music that has a time signature usually has a regular pattern of what’s called “rhythmic stress” • In a bar of 4/4:
- 10. Stress Patterns S - the first pulse is the strongest W - the second pulse is not as weak as the last s - the third pulse is not as strong as the first w - the last pulse is the weakest
- 11. • Chords in a progression will receive a strong or weak stress, depending on their placement • If the harmonic rhythm is a quarter note rhythm: – the first chord will be most prominent – 2nd of lesser importance – 3rd will seem strong again – 4th will seem weakest • The expectation is that relatively stable chords will be placed on strong stresses in a pattern, while unstable chords will be placed on weak stresses
- 12. Stress Patterns and Slower Harmonic Rhythm • The same stress pattern (S W s w) that we feel within a bar also operates within harmonic phrases. • When the harmonic rhythm is slower that a quarter note rhythm (one chord per beat), the listener will still sense the alternation of strong and weak stresses • These will align with the chords harmonic rhythm • See page 11 of your Harmony book
- 13. Playing with Expectations • Knowing that there is an expectation to put stable chords on strong stresses, and unstable chords on weak stresses means that we can play with listeners expectations: • Below is a chord progression that accommodates expectations:
- 15. Harmonic Phrase and Cadences • A harmonic phrase is a musical idea the length of a breath • The length of the harmonic phrase depends on the tempo of the tune • The harmonic phrase is often separate from the melodic phrase • The harmonic phrase is a potentially independent accompaniment to the primary melody.
- 16. Harmonic Cadence • A harmonic cadence is a clearly recognizable harmonic (chordal) event that comes at the end of the phrase • Harmonic cadence can be open-ended (unresolved, unfinished), or closed ended (complete, coming to rest) • There are 5 different kinds of common harmonic cadence
- 17. Common Diatonic Major Key Cadences • Full dominant cadence: V7 – I – Close-ended – Sometimes preceded by subdominant function IV – V – I, or IIm7 – V7 – I • Half cadence: phrase ending on V7 – Open-ended, unresolved – Also looks like IIm7 – V7 – called a jazz half cadence
- 18. • Subdominant/Plagal cadence: IVmaj7 – I – Close-ended – Called the “Amen” cadence – Not as strong as dominant/tonic relationship • Subdominant half cadence: phrase ending in IVmaj7 or IIm7 – Open-ended
- 19. • Deceptive Cadence: either V7 – VIm or V7 – IIIm7 – And odd combination of open-ended and close- ended