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UNIT II
Diatonic Sequences I
Now that you know and are comfortable with all of the diatonic scale degrees,
Unit II will explore various ways that they are utilized in a diatonic context.
This unit expands on your current understanding of phrases, moving towards
larger forms. The excerpts in this chapter introduce the diatonic sequence, a
frequently used technique for organizing pitches and harmonies. A sequence is
simply the repetition of a musical idea at a different pitch level from the
original (typically with at least two repetitions). Sequences can be
fundamentally harmonic, melodic, or both. In a harmonic sequence, a regular
interval is maintained between the chord roots of several subsequent
harmonies that occur with a consistent harmonic rhythm. Typical examples
include the falling-third sequence (I-vi-IV) and the falling-fifth sequence
(vi-ii-V-I). Melodic sequences are often accompanied by a recognizable
harmonic sequence, but not always. Some melodic sequences are purely linear in design. Melodic
sequences typically maintain a consistent contrapuntal relationship with the bass, however, creating a
repeating intervallic pattern (10-5 and 10-8 between the outer voices are common possibilities). What
is most important at this stage in your learning, however, is recognizing that a sequence has started or
finished and using this to your advantage as you attempt to sight sing accurately. In this chapter, not
only will you want to learn all the parts of the excerpts, but you will also want to practice the excerpts
carefully, singing one part while playing the other on the piano. When you are practicing, be sure to
bracket all occurrences of the sequence, as well as its model (the musical idea upon which the
sequence is based).
Example 8-1. Johann Sebastian Bach (16851750), Little Prelude in C major (transposed)
* The simple ascending-fifth harmonic sequence is accompanied by a 10-5 intervallic pattern. The
sequential motion causes the succession of harmonies to defy the most common harmonic practice here
(with preference for descending fifths). Also, note how Bach delays the arrival of the top chord tone in
the right hand. The diagonal lines show the displacement of the contrapoint.
* The intervallic pattern between outer voices and the descending-fifth-related chord roots are all
marked for you. Note how the arrival on the acting soprano pitch is displaced in the even-numbered
measures.
Chapter 8-2
Sight Singing and Musical Style
Example 8-3. J. S. Bach, Invention No. 8 in F major (transposed)
* How does Bach adjust this extensive descending-fifth sequence so that it stays within diatonic
boundaries? Note that the chord roots are labeled for you.
* This very familiar excerpt is based on a repeating ground bass that includes a special harmonic
sequence. The harmonic motion is broken up by a descending fifth to each even numbered harmony:
I-(V)-vi-(iii), and so forth. What is the relationship between the upper two parts? Can you add a fourth
voice?
Chapter 8-3
Example 8-6. J. S. Bach, Well-Tempered Clavier I, Prelude 21
* Does this sequence sound familiar? Be sure to take this excerpt very slowly.
Example 8-7. Wolfgang Amadeus Mozart (1756-1791), Piano Concerto, K.488, mvt. 1
* Note how the outer parts move at different times. Some affectionately call this an inchworm
sequence, but most label it by the pattern of intervals; what is the pattern?
Chapter 8-4
Sight Singing and Musical Style
Example 8-9. J. S. Bach, Prelude from Cello Suite No. 2 in D minor
* Label the model and its melodic sequences. See if you can trace the harmonic progression here. Note
that although the movement is in d minor, this passage is in a related key.
Chapter 8-5
Example 8-11. Claudio Monteverdi (15671643), Perch se modiavi
Translation: Why, if you despised me [did you] pretend to love me, only to deceive me? Alas, a star made you so beautiful,
so cruel, so haughty, to destroy [my] soul.
* The intervallic pattern for both of the included sequences is marked. Pay special attention to how
Monteverdi plays with our expectations when he breaks out of the sequence. Why did Monteverdi need
an extra beat in the first complete measure of the second half (consider the text: Alas, a star made you
so beautiful)?
Example 8-12. Ludwig van Beethoven (17701827), "Waldstein" Sonata, op. 53, mvt. 3
Chapter 8-6
Sight Singing and Musical Style
Chorale Workshop (further expansions of tonic):
SOMETHING ABOUT why we introduce expansion of the tonic before sequences, which are
often used to expand tonic.
1) Working at a piano, play the following paradigms in simple major and minor keys. Try placing each
of the listed melodic patterns in the soprano voice. Note that the motion from vii6-I6 allows unusual
voice leading in the upper voices, wherein the diminished fifth may move to a perfect fifth (because
the resolution of the fourth-scale degree arrives in the strong bass voice). Sometimes, you may prefer
to include an incidental harmony between I6 and root-position I, in the form of a second-inversion
triad, or passing 6/4. In this case, all the voices move by step or maintain a single pitch:
As you play, attempt good voice leading, but your focus should be on the outer voices (soprano and
bass). From this point forward, all students should be able to sing one outer voice while playing the
other on the piano. In addition, you should be able to do at least one of the following:
a. Play the paradigms at the piano in three or four voices (in at least two major and two minor
keys).
b. Be able to sing the paradigms in an arpeggiated format (with 3 or 4 notes per chord).
c. Be able to play the paradigms in an arpeggiated format on your instrument (with 3 or 4 notes
per chord).
(2) Expansions of the tonic through the dominant-seventh chord (note some idiomatic motions)
Paradigm Soprano Paradigm Soprano
I-V6/5-I or i-V6/5-i: 3-4-3 I-V4/2-I6 or i-V4/2-i6: 3-2-5
3-2-1 3-2-1
5-4-3 1-7-1
1-2-1 5-5-5
5-5-5 I6-V4/3-I or i6-V4/3-i: 5-4-3
I-V4/3-I or i-V4/3-i: 1-7-1 1-7-1
3-4-3 5-5-5
5-5-5
I-V4/3-I6 or i-V4/3-i6: 3-4-5
1-7-1
5-5-5
Chapter 8-7
(3) Now, review all the 3-chord tonic expansions that you learned in the previous chapters. Practicing
with a partner, try to distinguish them by ear. You will want to start by notating outer voices. Then,
you will want to think about possible harmonic functions, using your brain to confirm what your ear
may be hearing. Distinguishing between V6/5, vii and P6/4 may seem like a challenge at first, but
pretty soon youll hear the tritone (or absence thereof) in the upper voices.
(a)
(b)
(c)
(d)
Chapter 8-8
Sight Singing and Musical Style
(e)
Once you have learned the rhythmic patterns above, practice performing them as a round in a group of
3 or 4. Be prepared to perform them this way in class. Also try a chance exercise, wherein each
person picks a different random order for the patterns, and then you perform as an ensemble, with one
individual entering at the beginning of each successive measure.
Chapter 8-9
Suggested Smartmusic Assessments:
Start by practicing the excerpts listed belowbe sure that you can sing them smoothly and accurately
on scale degrees or syllables, while conducting the appropriate meter. Log into Smartmusic, click
assignments, and complete the assigned assessments for the following excerpts. Be sure to try to
identify (a) harmonies, when possible, (b) types of harmonic sequences, where applicable, (c) types of
linear intervallic patterns, when applicable: Ex. 8-1 (bass only), 8-2 (bass only), 8-4 (outer parts), 8-6
(bass only), 8-7 (outer parts), 8-9 (melody), 8-10 (both parts), 8-12 (both parts).
Note: you will be assessed by the computer, but can repeat the exercise until it is done to your own
satisfaction. In addition, your instructor may choose one or two of the recordings to evaluate directly.
Remember the following Smartmusic tips:
***Smartmusic tip#1: to hear your starting pitch for an excerpt before the accompaniment starts to
play, click P on your computer. Avoid doing this more than once during your actual assessment as
this constitutes cheating!
***Smartmusic tip#2: you can always change the key, tempo, and click options for your Smartmusic
excerpt before completing an assessment.
Chapter 8-10
Sight Singing and Musical Style
Name:____________________________Date:____________Instructor:________________________
2. The
excerpt
starts
on
an
F-minor
harmony,
and
the
melody
starts
on
A
b .
On
which
pitch
does
it
end?
What
is
the
root
of
the
chord
that
underlies
the
final
measure?
Ending melodic pitch: ______. Root of the final chord: ______.
3. How
often
does
this
sequential
excerpt
change
harmonies
(i.e.
what
is
the
harmonic
rhythm)?
a) every measure b) every two measures c) twice per measure
4. Accurately transcribe the bass (both pitches and rhythm) for the entire excerpt on the staves
below.
5. Now
transcribe
the
melody
(both
pitches
and
rhythm)
for
all
the
measures
except
for
m.
6,
which
starts
and
ends
on
an
F.
6. Note
that
the
second
pitch
in
m.
6
is
a
chromatic
alteration.
What
is
the
interval
of
the
leap
in
m.
6?
See
if
you
can
guess
the
second
pitch
in
m.
6
(notate
on
the
staff).
a) M3 b) A4 c) P5 d) P4 e) d5
7. Underneath
the
staves,
label
the
roots
of
the
harmonies
implied
in
each
measure.
Note
that
all
the
harmonies
are
in
root
position.
Chapter 8-11
Contextual
Listening
8-1
All
the
Things
You
Are
(continued)
8. What
quality
of
chord
is
implied
in
m.
6?
9. What
type
of
harmonic
sequence
controls
this
excerpt?
Note
that
the
melodic
sequence
is
longer
than
the
rate
of
harmonic
change.
Try
bracketing
the
model
and
the
subsequent
sequences
in
your
transcription.
a) descending thirds
b) ascending step
c) descending fifths
d) ascending fifths
Chapter 8-12
Sight Singing and Musical Style
Name:____________________________Date:____________Instructor:________________________
1. What
is
the
meter
of
the
excerpt?
Hint:
the
rhythm
of
the
first
and
third
bars
will
indicate
the
meter.
Measures
two
and
four
suggest
a
different
meter
or
a
syncopation
of
the
initial
meter.
5. Notate
the
rhythm
and
outer
parts
of
the
first
four
bars
only.
Chapter 8-13