Chapter 20 Chromatic Alterations: Nonharmonic Tones 20.1. Building Aural/Oral Skills Reading Readiness Tonal Patterns • Listen as your instructor sings a variety of tonal patterns; echo each pattern. 1 Vocal-Pitch Exercises Scale • Sing the basic and additive chromatic scales integrating a variety of rhythm patterns. Chromatic intervals EXERCISE 1: • Solfège Ascending: do, ti | , do; re, di, re; mi, ri, mi; fa, mi, fa; so, fi, so; la, si, la; ti, li, ti; do | Decending: do | , ra | , do | ; ti, do | , ti; la, te, la; so, le, so; fa, se, fa; mi, fa, mi; re, me, re; do, ra, do, ti | , do • Numbers Ascending: 1, 7 | , 1, 2, #1, 2; 3, #2, 3; 4, 3, 4; 5, #4, 5, 6, #5, 6; 7, #6, 7, 1 | Descending: 1 | , b2 | , 1, 7, 1; 7, 6, b7, 6; 5, b6, 5; 4, b5, 4; 3, 4, 3; 2, b3, 2; 1, b2, 1, 7 | , 1 EXERCISE 2: • Solfège Ascending: do, ti, di, re; di, ri mi; mi, ri, fa, fi; fa, mi, fi, so; so, fi, si, la; la, si, li, ti; ti, li, di | , do | , ti, do | Descending: do | , te, ti; ti, le, la; la, se, so; so, mi, fa; fa, me, mi; mi, ra, re; re, ti | , do Ascending: do, ti | , di, re; re, di, ri mi; mi, ri, mi, fa; fa, mi, fi, so; so, fi, si, la; la, si, li, ti; ti, li, ti, do | Descending: do | , re | , do | , ti; ti, do | , te, la; la; te, le, so; so; le, se, fa; fa, so, fa, mi; mi, fa, me, re; re, me; ra, do • Numbers Ascending: 1, 7 | , #1, 2; 2, #1, #2, 3; 3, #2, 4, #4; 4, 3, #4, 5; 5, #4, #5, 6; 6, #5, #6, 7; 7, #6, #1 | , 1 | , 7, 1 | Descending: 1 | , b 7, 7; 7, b 6, 6; 6, b 5, 5; 5, 3, 4; 4, b 3, 3; 3, b 2, 2; 2, 7 | , 1 20.2. Symbolic Association Chromaticism Chromaticism refers to the use of pitches of the chromatic scale in addition to or instead of the pitches in the diatonic scale of a particular key. These chromatically altered tones may be used as altered chords and nonharmonic tones – neighbor tones (CNT), passing tones (CPT), appoggiaturas (CAPP), and escape tones (ET). All of these nonharmonic tones are nonessential chromatics, as they are part of the surface detail rather than the structure of the composition. Altered chords will be explored in the next chapter. 1 Note to instructors: The tonal patterns are found in section 20.3. 469
12
Embed
Chapter 20 Chromatic Alterations: Nonharmonic Tones - OUP · PDF fileChapter 20 Chromatic Alterations: Nonharmonic Tones ... All of these nonharmonic tones are nonessential ... Notice
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
Chapter 20
Chromatic Alterations: Nonharmonic Tones
20.1. Building Aural/Oral Skills
Reading Readiness Tonal Patterns• Listen as your instructor sings a variety of tonal patterns; echo each pattern.1
Vocal-Pitch ExercisesScale
• Sing the basic and additive chromatic scales integrating a variety of rhythm patterns.
ChromaticismChromaticism refers to the use of pitches of the chromatic scale in addition to or instead ofthe pitches in the diatonic scale of a particular key. These chromatically altered tones may beused as altered chords and nonharmonic tones – neighbor tones (CNT), passing tones (CPT),appoggiaturas (CAPP), and escape tones (ET). All of these nonharmonic tones are nonessentialchromatics, as they are part of the surface detail rather than the structure of the composition.Altered chords will be explored in the next chapter.
1Note to instructors: The tonal patterns are found in section 20.3.
Appoggiaturas and escape tones are sometimes referred to as incomplete neighbors (IN), becausethe first note of the neighbor tone is missing. Notice that in measure 2 the first F is missingand the neighbor tone is thus incomplete.
20.3. Tonal Patterns
Raised Fourth Scale Degree, Major Mode
& # # œ œ œ œ# œA1.
œ œ# œn œ œA2.
œ œ œ# œn œA3.
œ œ œ# œ œA4.
& # # œ œ œ œ# œA5.
œ œ# œn œ œA6.
œ œ œ# œn œ œA7.
œ œ œ# œn œ œA8.
Lowered Seventh Scale Degree, Major Mode
? b b b b œ œ œb œn œB1.
œ œb œn œB2.
œ œb œ œn œB3.
œ œb œ œ œB4.
? b b b b œ œ œb œn œB5.
œ œ œb œ œn œB6.
œ œ œb œ œB7.
œ œ œb œ œB8.
Raised Tonic Scale Degree, Major Mode
& # œ œ# œ œ œnC1.
œ œ œ œ# œnC2.
œ œ œ œ# œC3.
œ œ# œn œ œNC4.
Track 124
Track 125
Track 126
krue20_469-480hr.qxd 4/16/10 4:24 PM Page 470
Raised Second Scale Degree, Major Mode
CHAPTER 20. CHROMATICISM: NONHARMONIC TONES 471
? b œ œ œ# œ œD1.
œ œ œ# œn œD2.
œ œ œ œ# œ œD3.
œ œ œ# œ œ œD4.
& b b b œ œ œb œ œE1.
œ œ œb œn œE2.
œ œ œb œ œE3.
œ œ œ œb œ œE4.
& # # œ œ œ œ# œF1.
œ œ# œn œ œF2.
œ œ# œ œ œ œF3.
œ œ# œ œ œ œ œF4.
? b œ œ œ œ# œG1.
œ œ# œn œ œG2.
œ œ œ œ# œn œG3.
œ œ# œ œ œ œG4.
& # œ œ œ œ# œH1.
œ œ# œn œ œH2.
œ œ œ œ œ# œH3.
œ œ œ œ# œ œH4.
Lowered Third Scale Degree, Major Mode
20.4. Exercises
Raised Fourth Scale Degree, Major Mode
Raised Third Scale Degree, Minor Mode
Raised Sixth Scale Degree, Major Mode
Raised Fourth Scale Degree, Minor Mode
& b b b 43 œ œp1.
Lento ed espressivo
.œ Jœ œ œ œ jœ ‰ œ œ œ œ œ œ œ .œ Jœ
& b b b œ œn œb œ œ œ œ œ œ œ œ œ œ œ
? # # 43 œ œ œ œ œp2.
Minuetto œ> œ œ œ œ œ œ œ œ œ> œ œ œ
? # # ..œ œ œ œ œ œ# œ .œn Jœ œ œ œ œ œ œ œ Œ Œ
Ludwig van Beethoven (1770–1827), “An die ferne Geliebte,” Op. 98, No. 1