Lesson 3 - Diatonic Substitutions 3: The V-vi Progressions

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來自 National University of Singapore 的課程

像莫扎特一样作曲：古典音乐作曲概论

228 個評分

National University of Singapore

像莫扎特一样作曲：古典音乐作曲概论

228 個評分

这门课程将带领学生了解欧洲艺术音乐的常见创作手法，除重复、变奏、展开这些作曲概念之外，还涉及和声进行、声部导引、音乐织体的知识。开设此门课程是为了在风格模仿的思想局限中提供另一个音乐创作空间的可能。

從本節課中

Module Four

In this module, we look at the idea of chord substitution. All of the substitutions we will learn about this week are diatonic, that is, the substituting chord is within the key of the passage. Melodic writing is also introduced, and in the 3 parts of Lesson 7, I walk through creating an entire passage of music from a very simple 2 voice outline. Along the way, I try to articulate the things that one thinks about when creating and working with a melody within a phrase. We will also look at the kinds of harmonic progressions that take place at the end of a phrase. These are called cadences, and they are crucial for the experience of form in common practice music. With cadences introduced, we will be able to take a look at one of the simplest forms found - the period form. With the concepts and techniques learned in this module, you will be able to take a short 4-8 bar passage and generate a small composition from it. In fact, the assignment for the week is to take a sketch of a 5-bar phrase and turn it into a 10-15 bar simple composition that uses a parallel period form. The description of the assignment should tip you off to the fact that the “solution” is just one possibility. Previously, there were always more solutions that the one given, but not many more. This week is different. There will be a bunch of solutions, but I do feel that the solution given is a good implementation of the things learned in the week’s lectures. I would suggest, then, to use your study groups (or to form study groups) to share some of your solutions since they will differ in some ways from the given one. It would also be good preparation for the final project, where you will give such feedback when assessing your peers. I want to also note that while your solution might differ in details from mine, the more general aspects - structure, cadence types and locations, for instance - should not. I want to remind everyone that all of these different ways of engaging with the assignment - completing it, checking it against the solution, getting feedback from others, and giving feedback - are part of the learning process.

Lesson 1 - Diatonic Substitutions12:05

Lesson 2 - Diatonic Substitutions 2: Substituting IV with ii 6:46

Lesson 3 - Diatonic Substitutions 3: The V-vi Progressions8:45

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Peter Edwards
Associate Professor
Yong Siew Toh Conservatory of Music

So far, we've looked at substitutions of the ii chord for the IV chord, and

a sudden diminished chord for the V chord, and there's a pattern here, isn't there?

These chords are a third apart from each other.

And so it raises a, a question worthy of answering, which is,

can we just substitute any chord that's a third away from the other?

The answer to that is no, we can't. But there

is one more that's worth looking at.

And I think once you learn this one, and you have this repertoire of three diatonic

substitutions, you'll really have the three substitutions that

you see the most in this era of music.

Well, we're going to substitute a VI chord for a i chord,

but these are also a third apart. But there'll be an important difference

that I'll point out towards the end.

Nonetheless, let's take a look at it theoretically at first.

[MUSIC]

Here's our i chord.

[MUSIC]

Here's our VI chord. We see we have two common tones.

[MUSIC]

Whoops, that's not what I wanted.

[MUSIC]

We see that, if we put this in first inversion so we can see it more clearly.

The notes that are different, are a step away from each other.

But that's no surprise.

What's important to recognize though, is that this note here, that's the note

that has to change, is actually the root note of the V chord.

Now why

is that important? Let's take a look at it.

We're going to go from a V chord into this sub, into this

i chord, and we're going to substitute out rather than having a i chord,

[MUSIC]

We're going to substitute out a six with a VI

chord, like that, and this has ramifications for how we

have to voice lead this chord, because before when it

was V to i these chords were a fifth apart.

Now they're a step apart, and we know that the voice leading rules

for that, at least the algorithm that we were using, is fundamentally different.

So for instance, we say this isn't a common tone we've got to move that too.

Well, that's a big problem, because that just gives us parallel octaves.

And now what was very nice voice leading

between bass and soprano is now miserable voice leading.

This is parallel fits.

So you say, well, okay, so these are a step apart, so why

don't we treat it like it's the IV chord going to the V chord.

And we use the same voice leading principles

as the IV chord going to the V chord.

In some situations you can do that.

[MUSIC]

Let's do that. What, what does that mean.

This goes up by step.

Everybody else moves down in contrary motion to, to the nearest chord tone.

[MUSIC]

Well this looks fine, and it would be if we

were in major, but we're not in major, we're in minor.

And so we get this augmented third, and that we want to avoid.

Ok, so if we start thinking about what our options are, well this look pretty good.

Except for this.

So, and I can't think of a good way to deal with it, otherwise.

And after you think about it a little, a little while.

You realize well, if I could somehow.

[MUSIC]

Just double the third, then everything would be fine.

But you know, that Edwards guy told me

I can't double the third with root position triads.

So, I'm stuck.

Well Edwards guy is now telling you, that in fact you can.

In this situation, V to VI, especially if you're in minor you can.

In fact you'll see it all the time. That in this situation, seeing the third

doubled rather than the root is very

common. [SOUND] VIIth cords as well.

If we made this V7.

Now with a V7, we have these tendency tones which forces

this guy to go here, forces this guy to go here.

And see it say well, then what do I do because I can't move this.

[MUSIC]

One up here. So again same situation.

[MUSIC]

You find yourself needing to double the third.

You can probably alleviate this if you're using a

melodic line that allows you to add non-chord tones.

Or if you're not doing this sort of strict homorhythmic homophonic texture.

But in such a situation, you're going to find that you need to double the third.

Okay, enough about that.

I want you to hear the effect of this though, because unlike the ii chord, which

when you, when you substitute in a ii

chord for a chord, it's still a sub-dominant.

When you substitute in a VII diminished chord

for a V chord, it's still a dominant.

But that's not the case here.

And, we're going to get a very different experience.

These are, you know, the difference between

a V and a VII diminished is a subtle experience.

It's a subtle difference.

The difference between a IV and a ii is a subtle difference.

The difference a i and a VI is a profound difference actually,

and that has a lot to do with the fact that even though you can

substitute the VI for a i chord. You, by doing so,

you're not keeping the function the same.

That is no situation, as a VI chord, functionally a tonic.

It just doesn't work.

So, let me, let, let me give an example of this, so you can hear.

So we're going to have this i, IV, V chord progression.

Let me just say something real quick about it.

Notice that it is a i, IV, V chord progression, but I've added

in some of the stuff we've looked at over the last couple of weeks.

This is our, well we

just learned about this, but this is our ii chord substituting for the IV.

This is the insertion of the cadential six four, prior

to the V chord which we learned about in week two.

Then we go to i. Lets take a listen to this.

[MUSIC]

Okay, that's all fine and dandy. Now let's [SOUND] make

our changes. [SOUND]

Like that.

And now we have V going to VI. And now let's listen to this.

This is going to sound significantly different.

And before you had this sense

that when we got V to i, there was a sense of finality.

We're not going to get that at all here.

What we're going to get is a feeling like we've been tricked.

[MUSIC]

It's a nice kind of trick actually in minor.

This chord always sounds very refreshing to me.

It's a nice surprise.

It's why this progression here, the V going

to VI, doesn't matter in major or minor.

The V chord going to the VI chord is what we call a

deceptive [SOUND], it's a deceptive progression.

Or, a deceptive,

well, you, I'll call it deceptive progression.

If it's at a cadence, it's called a deceptive cadence.

You know, it's this, we, we're deceived, and we've been tricked.

And now we're actually a little bit at a loss, because at

the moment we hear this chord we can kind of go anywhere.

And so the composer has to do that for us, the, it's

as though when we get to this VIth chord, we've accidentally taken a

diversion off the path we were on, and the composer has to

get us back on that path, and get us back to one somehow.

It's not very hard. You just follow it

with a subdominant, and then a dominant chord,

and then a tonic, just like we had here.

In fact, you could just repeat this part, and

then have V go to I, and then you're fine.

So this deceptive progression adds interest and intrigue and color and all

sorts of nice things, but it is not a substitute for a tonic function.

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