Music Theory

  Lesson 27 November 23th, 2021 Lesson 27 The photos above are the music for my jury piece entitled Jesu, Joy of Man's Desiring. You can see where I made numerous markings on the music indicating where motives are located, along with cadences and other general information on the piece. The video above is me playing the music from the score above the video. Motives : One of the important things I highlighted in my piece was the motives littered throughout the song, both in the lead melody and the accompaniment piano part. The prevalent motive that stood in the music was the transposing motive. However, the song featured all five commonly used motives, including the transposing motive mentioned prior, inverted, extended, truncated, and fragmented. Cadences : Another important thing I highlighted in my piece was the various cadences scattered throughout the music. There were half cadences (HC), imperfect authentic cadences (IAC), and a perfect authentic cadence (PAC). Phrases : There

  Lesson 26 November 14th, 2021 Lesson 26 Lecture notes: Modulation is when a piece of music changes key signatures permanently at a certain point in the music, unlike tonicization , which only briefly changes the key of music for a single bar and continues on in the original starting key . There are three prominent modulation types : pivot chord , closely related key , and direct . The pivot chord modulation , sometimes called a ' common ' chord modulation , occurs when the starting and new keys share the same chord . The chord in question is used to transition from one key to the next hence the name pivot. Pivot chords function differently depending on the key signature and or transition you want to make. The pivot chords for a major to the dominant would be: I   - IV ,  iii - vi , V - I , and vi - ii . The pivot chords for a minor to its relative major would be: i - vi , iio - viio , III - I , iv - ii , v - iii , and VI - IV . The pivot chord

  Lesson 25 November 3rd, 2021 Lesson 25 Lecture notes: The secondary leading tone chord creates a temporary tonic by resolving a viio7 chord to a V chord . To find the leading tone note of the tonicized V chord , you simply go down diatonically by a half step to get the desired note. So, for example, in the key of C major , the fifth degree would be G , and the seventh degree of the fifth note ( G ) would be F# . After identifying the leading tone note of the tonicized V chord , you would stack the leading tone note with minor thirds to create the diminished seventh chord , which acts as a dominant substitute to resolve to the V chord . For example, the notes in an F# diminished seventh chord would be F# , A , C , Eb , which resolves to G , B , D , G . Like the secondary dominant chord , the secondary leading tone chord creates a temporary key change for a brief instant. But then, it continues on as usual in the original key like nothing ever happened. Second