Music Theory - Diatonic Chord Progressions - Revision history

Meambobbo: /* Authentic Cadence */

2015-06-14T02:34:46Z

‎Authentic Cadence

2015-06-14T02:33:49Z

‎Cadences

2015-06-14T02:04:26Z

‎Circle Progression

2015-06-12T01:35:53Z

2015-06-08T01:25:21Z

‎Homework

2015-04-03T15:13:03Z

‎Homework

2015-04-03T15:07:04Z

‎Homework

2015-03-17T18:56:33Z

‎Harmonic Functions

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2015-02-26T22:38:47Z

‎Homework

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 |Music Theory - Diatonic Chord Progressions#Interrupted/Deceptive Cadence|Deceptive}}
-An '''Authentic Cadence''' is a dominant-tonic progression.  The [[7th Chords|dominant 7th (covered later in a later lesson)]] can be used in place of the dominant triad.  A '''''perfect'' authentic cadence''' must use the V or V{{7}} chord as the dominant, have both chords in root position, and voice the tonic note in the tonic chord in the highest voice.  An '''''imperfect'' authentic cadence''' is similar, but breaks one or more of the above conditions.  It may substitute the vii{{dim}} chord for the V.
+An '''Authentic Cadence''' is a dominant-tonic progression.  The [[7th Chords|dominant 7th (covered later)]] can be used in place of the dominant triad.  A '''''perfect'' authentic cadence''' must use the V or V{{7}} chord as the dominant, have both chords in root position, and voice the tonic note in the tonic chord in the highest voice.  An '''''imperfect'' authentic cadence''' is similar, but breaks one or more of the above conditions.  It may substitute the vii{{dim}} chord for the V.
 === Half Cadence ===

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 |Music Theory - Diatonic Chord Progressions#Cadences|Cadences}}
-''Cadences'' are harmonic devices to create a sense of resolution for the end of a progression.  There are several types, based on the chords involved, as well as their voicing.
+'''Cadences''' are harmonic devices to create a sense of resolution for the end of a progression.  There are several types, based on the chords involved, as well as their voicing.
 === Authentic Cadence ===

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     C   F   Em  Am  Dm  G   C
     I   IV  iii vi  ii  V   I
-  e-0---1---0---0---1---3---0--
+  E-0---1---0---0---1---3---0--
-  b-1---1---0---1---3---3---1--
+  B-1---1---0---1---3---3---1--
-  g-0---2---0---2---2---0---0--
+  G-0---2---0---2---2---0---0--
-  d-2---3---2---2---0---0---2--
+  D-2---3---2---2---0---0---2--
-  a-3-------2---0-------2---3--
+  A-3-------2---0-------2---3--
-  e---------0-----------3------
+  E---------0-----------3------
 Every chord leads into the next pretty seamlessly.  Notice we basically have 2 passes through the tonic - subdominant - dominant - tonic paradigm of harmonic function.  I-IV-iii-vi and vi-ii-V-I.

← Older revision		Revision as of 01:25, 8 June 2015
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−	~~'''~~Congratulations - you are ready to move on to [[Contents#Intermediate Lessons\|Intermediate Lessons]]!!!!~~'''~~	+	{{loud\|Congratulations - you are ready to move on to [[Contents#Intermediate Lessons\|Intermediate Lessons]]!!!!}}

	==Q/A==		==Q/A==

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 == Homework ==
 * Memorize the tables of chords and functions above - you should already be familiar with most of it from past lessons, but try to get it fully memorized now.
 * Play through all the progressions on this page, following the analysis of harmonic function or how it relates to the circle progression.
 * Create at least 3 of your own progressions.  Learn how to establish the key of C Major, create tension, and relieve it.

← Older revision		Revision as of 15:07, 3 April 2015
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−	'''Congratulations - you are ready to move on to [[Contents#Intermediate\|Intermediate Lessons]]!!!!'''	+	'''Congratulations - you are ready to move on to [[Contents#Intermediate Lessons\|Intermediate Lessons]]!!!!'''

	==Q/A==		==Q/A==

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 So if all these chords fall into these functions and each one leads into the next one, how do we create unique compositions?  ''It may feel like these rules are locking us inside a cage where we can make a substitution here and there but aren't really free to branch out.''  Here are several points to keep in mind:
 * We are only using diatonic chords.
 * We are immediately moving from one function to the next, rather than hanging around and embellishing the function before moving on.

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 == Homework ==
-Memorize the tables of chords and functions above.  Play through all the progressions on this page, following the analysis of harmonic function or how it relates to the circle progression.  Create at least 3 of your own progressions.  Learn how to establish a key, create tension, and relieve it.
+* Memorize the tables of chords and functions above - you should already be familiar with most of it from past lessons, but try to get it fully memorized now.
 '''Congratulations - you are ready to move on to [[Contents#Intermediate|Intermediate Lessons]]!!!!'''