Syllabus Announcements: Class cancelled - 9/3 Assesment Test - 9/4
Quizes
Supplemental Material Cadences Study these by first listening to the chords as a whole (not as separate notes) and developing a feel for which cadences are strong and which weak - they are listed roughly in order of strong to weak. Then listen for bass movement and note the different ways the bass resolves - for example, if you hear the bass resolving down by half step, it's a phrygian cadence. If you hear the bass repeating the same note, it is a Plagal Cadence with the IV chord in second inversion. The tonic chord will be played before each example to orient you. Perfect Authentic: V7 - I in root position Play Imperfect Authentic: V7 - I in any position Play Plagal: IV - I (root position) Play Half: I 6/4 - V Play Phrygian: iv 6 - V Play Deceptive: V - vi Play Links: Cadences Defined: http://en.wikipedia.org/wiki/Cadence_(music)#Classification_of_cadences_in_common_practice_tonality More Cadence Midi Examples: http://www.smu.edu/totw/cadences.htm Augmented Sixth Cords: http://www.utexas.edu/courses/mus612b/fmain/fdocs/notes/augsixth.html This page contains a more concise explaination of Aug 6ths: http://www.tonalityguide.com/xxaug6.php Secondary Dominants: http://www.musictheory.halifax.ns.ca/26secondarydominants.html   Supplemental Material on Sec. Doms Secondary Dominants in Major (pdf) refer to this document for the audio examples below V/V Ex. 1 - Tonic Key triads Ex. 2 - Change one note for V/V Ex. 3 - w/dom 7's V/ii Ex. 4 - Tonic Key triads Ex. 5 - Change one note for V/ii Ex. 6 - Change another note for V/V Ex. 7 - w/dom 7's V/iii Ex. 8 V/IV Ex. 9 - I-I-IV-V7-I Ex. 10 - I-V7/IV-IV-V7-I V/vi Ex. 11 - V/vi in between a deceptive cadence Ex. 12 - Tonic triads around circle of fifths Ex. 13 - Change one note for V/ii Ex. 14 - Chain of sec. dom's w/dom 7's Secondary Dominants in Minor (pdf)