US Army Music Course - Traditional Harmony I

267 Pages·1987·9.55 MB·English

by  U.S. Army Element

EDITION A
TRADITIONAL HARMONY I
Primary Triads and the Dominant Seventh Chord
Subcourse Number MU 3310
U.S. Army Element, School of Music
Little Creek, NAB, Virginia 23521-5170
29 Credit Hours
Edition Date: September 1987
SUBCOURSE INTRODUCTION
This subcourse is designed to show how four-voice chords are constructed and connected in the traditional style.
Contained within this subcourse is instruction on the basic skills of part writing primary triads and the dominant
seventh chord.
Part writing (or voice leading) is the connecting of the parts (voices) of one chord to the parts of another chord. For
good part writing, each part should move smoothly, without error, and be easily singable.
The ability to read music in bass and treble clef and the knowledge of scales, intervals, and triads are prerequisites to
this subcourse. You can take subcourses MU 1300, Scales and Key Signatures, and MU 1305, Triads and Intervals
to obtain the prerequisite knowledge to complete this subcourse.
TERMINAL LEARNING OBJECTIVE
ACTION: Connect four-part primary triads and the dominant seventh chord smoothly and without error
in treble and bass clef from a given bass line.
CONDITION: Given the information in this subcourse.
STANDARD: Demonstrate competency by achieving a minimum of 70% on the subcourse examination.
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TABLE OF CONTENTS
Section
Subcourse Introduction
Table of Contents
Administrative Instructions
Grading and Certification Instructions
L esson 1: P reliminary Knowledge and Skills
P art A P lacement of Voices
P art B V oice Motion
P art C F igured Bass and Analysis
Practical Exercise
Answer Key and Feedback
L esson 2: P rimary Triads in Root Position
P art A O verview
P art B P art Writing Primary Triads (Major)
P art C P art Writing Primary Triads (Minor)
P art D R epeated Triads
P art E C adences
Practical Exercise
Answer Key and Feedback
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L esson 3: P rimary Triads in First Inversion
P art A O verview
P art B P art Writing First Inversion Primary Triads
P art C F irst Inversion Progressions
P art D C adences
Practical Exercise
Answer Key and Feedback
L esson 4: P rimary Triads in Second Inversion
P art A O verview
P art B T ypes of Second Inversion Triads
Practical Exercise
Answer Key and Feedback
L esson 5: T he Dominant Seventh Chord
P art A O verview
P art B P art Writing the Dominant Seventh Chord to Tonic
P art C P art Writing the Subdominant Triad to the Dominant Seventh Chord
P art D M elodic Preparation of the Seventh of the Dominant Seventh Chord
Practical Exercise
Answer Key and Feedback
Examination
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ADMINISTRATIVE INSTRUCTIONS
1. Number of lessons in this subcourse: Five
2. References: TC 12-41, Basic Music, and TC 12-42, Harmony.
3. Supervisory requirements: None.
4. Tasks supported by this subcourse:
Soldier’s Manual Tasks
514.469.3001 Arrange Music for a Combo
514.469.3220 Score Music for the Marching Band
514-441-3501 Train the Section for Performance in a Marching/Ceremonial Setting
514-441-3702 Train the Section for Performance in a Non-Marching/Non-Ceremonial Setting
514.455.4501 Train the Ensemble for Performance in a Marching/Ceremonial Setting
514.455.4502 Train the Ensemble for Performance in a Non-Marching/Non-Ceremonial Setting
514.455.4723 Lead the Stage Band in Performance
Warrant Officer Bandmaster Tasks
02-4407.00-0005Conduct the Concert Band in Performance
02-4407.00-0007 Rehearse the Concert Band
02-4407.00-0012 Prepare a Musical Score
S2-4409.00-0001 Compose/Arrange/Transpose Marches and Organizational Songs
S2-4409.00-0002 Compose/Arrange/Transpose Openers and Fanfares
S2-4409.00-0008 Compose/Arrange/Transpose Ensemble music
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GRADING AND CERTIFICATION INSTRUCTIONS
Examination: This subcourse contains a performance-based multiple-choice and true/false examination covering the
material in the five lessons. Complete the examination after you study the lessons and work through the exercises.
Point and click on the small circle to left of your choice for each question. NOTE: You may select only one choice
for each question. We recommend you print out your completed examination before submitting. This will give you
a record of your answers in case you need to resubmit due to problems with the electronic transmission. NOTE:
Some older browsers may not support this function. To submit your exam for grading, point and click on
SUBMIT. You will receive an interim examination score by electronic mail. You will receive 29 credit hours for
successful completion of this examination.
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Lesson 1
PRELIMINARY KNOWLEDGE AND SKILLS
INTRODUCTION
LESSON DESCRIPTION:
In this lesson, you will learn voicing, ranges, doubling, spacing, open and close positions, types
of voice motion, objectionable voice motion, figured bass, and analysis.
TERMINAL LEARNING OBJECTIVE:
ACTION: After completing this lesson, you will:
1. Name and identify the ranges of the four voices.
2. Write voice doublings.
3. Write correct voice spacing in open and close position.
4. Identify voice motions.
5. Identify crossed voices, overlapping voices, parallel voices, and hidden
voices.
6. Write figured bass and analysis.
CONDITION:Given the information contained in this lesson.
STANDARD: In accordance with (IAW) the information contained in this lesson.
REFERENCES: The material contained in this lesson was derived from the following
publications: TC 12-41, Basic Music, and TC 12-42, Harmony.
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PART A PLACEMENT OF VOICES
1. Voice Names.
a. The four voices in traditional four-part writing are soprano, alto, tenor, and bass. These
are often abbreviated as SATB. The soprano is the highest voice and is notated in the
treble clef staff with its stems up. The alto is the second highest voice and is notated in
the treble clef with its stems down. The tenor is the third highest voice and is notated in
the bass clef with its stems up. The bass voice is the lowest voice and is notated in bass
clef with its stems down (Figure 1-1).
Figure 1-1. SATB Notation
b. When the soprano and alto or tenor and bass are in unison (sounding the same pitch), the
stems go up and down on the same note head (Figure 1-2).
Figure 1-2. Stemming Shared Note Heads
NOTE: The soprano part is often called the melody. The alto and tenor parts are called the
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inner voices. The bass part is called the bass line.
2. Voice Ranges. The normal singing range for the soprano, tenor, and bass voices is an octave
and a sixth (Major 13th). The alto range is an octave and a fifth (Perfect 12th). Figure 1-3
shows the notes of each voice range. Avoid using the extreme range (the highest or lowest
note or two) of each voice unless dictated by the voice leading.
Figure 1-3. SATB Ranges
3. Voice Doubling. In four part writing, the three-note triad must have one of its tones
duplicated. When the triad is in root position (bass voice has the root of the chord), the bass
voice and one of the three upper voices will have the same letter name note. This doubling
can be at the unison or any octave relationship. Doubling does not change the harmonic
structure of the chord, but it may alter its color and resonance (Figure 1-4).
Figure 1-4. Voice Doubling
SELF REVIEW EXERCISE 1. Write the inner voices of each triad. Use one third and double
the root. The alto voice should have a note higher than the tenor voice (Figure 1-5). Stay within
the voice ranges.
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CLICK HERE FOR PRINTABLE VERSION.
CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.
4. Voice Spacing.
a. The distance between the soprano and the alto voices must be a simple interval of an
octave or less.
b. The distance between the alto and tenor voices must also be a simple interval.
c. The distance between the tenor and the bass voices can be either a simple or a compound
interval. However, there are restrictions on certain simple intervals between the tenor and
bass voices. These restrictions, called low interval limits, dictate how low some intervals
may be voiced. The restricted intervals are the minor sixth, the tritone, the third (Major
or minor), and the second (Major or minor). There are no limits on the other intervals
within the bass voice range (Figure 1-6).
Figure 1-6. Low Interval Limits
d. Figure 1-7 shows incorrect and correct voice spacing.
Figure 1-7. Incorrect and Correct Voice Spacing
SELF REVIEW EXERCISE 2. Correct the improperly spaced voicing. Reposition the alto
and tenor voices. Do not change the soprano voice (Figure 1-8).
CLICK HERE FOR PRINTABLE VERSION.
CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.
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NOTE: The term chord is often used when referring to a triad.
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