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TMU131H Review of Sequence Types
Transcript of TMU131H Review of Sequence Types
VII slides to V7
Vivaldi concerto in A minor
The Windmills of Your Mind
The D (P5th above the bass G) moves to E, so the original 5th
is now a 6th.
By this 5th-to-6th move
the parallel 5th voice-leading problem
that would usually occur between G/D and A/E
when chord I moves to chord ii is 'corrected'.
Notice that rather than labelling the '6' move
as a separate 1st inversion chord with root E ("vi6")
it makes more sense to write "I" and "ii" with
figured bass numbers indicating the move.
The 5-6 technique as shown in 'Bargup, Bargup' from "Tubby the Tuba"
Infant holy, infant lowly
The descending 3rd ('Pachelbel') sequence
Passing chords to the rescue!
Actually, in 'Friends Forever' the iii is an E major triad (listen for the G#),
and so it creates an 'applied dominant: a 'V of A minor' or 'V of vi'.
What's interesting is that means that the A minor V-i harmony
copies exactly the tonic-dominant function of the opening I-V chords in C+.
but in a few places
there's a ii6/5 between
root position ii and V
(listen for bass re-fa
before the V soh)
Morning After Dark
Beethoven: Bagatelle op.33 no2
I V ii VI (V of ii)
(don't bother memorizing this one!)
Tchaikovsky: Violin Concerto
Rachmaninoff: Rhapsody on a Theme of Paganini
Rhapsody on a Theme
of Paganini - Variation XVIII
V - - - - - - - - - - - - - - ii - - - - - - - - - - - - - -
- - - - vi - - - - - - - - - - - - - - - - iii
If not, open your mind's hard drive and press 'Save'!
(entire film c.9')
sequence begins here
* this skip is what composers usually do!
skip to . . .
skip to . . .
1. Two descending sequences
2. Two ascending sequences