MATERIAL DE LECTURA

FORMACIN TERICA Y
AUDITIVA 4
 R. OTTMAN
Section 2. The dominant seventh (V7) chord; intervals of the seventh
and the tritone.

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Section 4. Structured improvisation.

>> A melodic outline is provided below. Using entirely stepwise motion
and any combination of), and) that fits the meter, connect these notes (all
of which fall on the beat) so that they form a complete melody.

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>> Complete this melody, frequently including the opening motive (both
the rhythm and the use of passing tones). Create an effective half cadence at
the end of the first four-measure phrase and an authentic cadence at the
end of the second four-measure phrase.

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 MELODY
Chromaticism (I)

Chromatic Non harmonic Tones;

The Dominant
of the Dominant (VN) Harmony;
Modulation to the Key of the Dominant

Section I. Chromatic nonharmonic tones. Augmented and diminished

intervals created by their use.
Chromatic notes are those that are not members of the scale of the
key in which the music sounds. Examples: In C major, F is diatonic, H is
chromatic; in D major, H is diatonic, Fx is chromatic; in m major, A~ is dia-
tonic, A is chromatic. In its usual stepwise resolution, a raised chromatic
note moves up a half step to the next diatonic note, and a lowered chro-
matic note moves down a half step to the next diatonic note. The opening
examples in this chapter show representative nonharmonic usages.
Passing tone, melody 13.1
Neighboring tone, melodies 13.2 and 13.3
Appoggiatura, melodies 13.4 and 13.5
Double neighbors (or changing tones}, melody 13.6

Chromatic appoggiaturas will sometimes produce augmented or dimin-

ished intervals with the notes that precede them. Uses of t7 in a minor key
may also create such intervals. One way to perform them is to think of the
note that follows the chromatic note, and then to relate this note back to
the chromatic note. For example, in melody 13.5, you will see an appog-
giatura E# resolving to F# in D major. Think about the F# that continues the
stepwise descent from B starting in measure 3, then lead into that H goal
from a half step below-the E# appoggiatura. Alternatively, you might no-
tice that the E# in melody 13.5 is part of a longer chromatic ascent from the

186
D that begins in measure 1. Contextualizing chromatic notes so that we can
understand their relationships to diatonic notes makes them easier to sing.
Different solmization systems identify chromatic notes differently. A
variety of popular approaches is explained in Appendix B.

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MELODAS MODALES
 R. CORDERO
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