MUSC 132- Midterm Exam Guide - Comprehensive Notes for the exam ( 38 pages long!)
Document Summary
When functional areas are expanded, diatonic triads may lose their usual functions and work in quite different ways. For example, iv may no longer serve as a predominant, but instead become an extension of the tonic. In the classical style, many cadences include a brief expansion of the dominant area by a cadential 6/4. The cadential 6/4 has a dominant function, even though it is built of tones from the tonic triad. Its 6/4 to 5/3 motion expands the dominant area of the basic phrase, with the dissonant 6/4 on the strong beat and its resolution on a weaker beat. To write a cadential 6/4: always double the bass, which reinforces the dominant function. Any other doubling will result in voice-leading problems and won"t be idiomatic: approach the cadential 6/4 from a predominant harmony: usually ii6, ii7, or iv or other inversions. In tripe meter, the cadential 6/4 sometimes appears on beat 2, resolving to.