Teaching and resources for English and Music

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Mediant Studies

Harmony covered in the AMusTCL course

The Score Analysis section about harmony introduces a wide range of chords.  The chords you need to be familiar with depends on which questions you plan to answer.

Question 1 (Bach chorales) includes chromatic (secondary) dominants and diminished seventh chords.  Bach seldom used other chromatic chords, and examiners tend to regard any use of a style which Bach did not often use as wrong.

Question 3 (Piano Solo) adds chords in common use in the early Romantic Period - (Italian, German and French) sixth chords,  Neapolitan sixths, and ninth and thirteenth chords, as well as subdominant chords in a major key and chromatic seventh chords.

Most of the above are introduced in the Harmony section of the Score Analysis module, then given more detailed treatment in the sections on the questions mentioned above.

Question 4 (Popular Songs) introduces chords which a jazz player would often use, including sus chords, added and chromatic notes, and a range of chord extensions (particularly major and minor sixth, seventh, ninth and thirteenth chords). 

There is an emphasis on strong progressions expected in questions 1 and 3, including the passing 6/3 and the passing and cadential 6/4.

There are a number of worksheets about modulations.  At AMusTCL level this usually consists of the use of a pivot chord and dominant seventh (sometimes preceded by a cadential 6/4), or (less commonly) a diminished seventh chord.  Students will not learn the sort of “advanced” modulations that appear in the music of late Romantic composers, such as the enharmonic use of chromatic chords (e.g. a German sixth as a dominant seventh), as there is no need to write music in this style at either AMusTCL or LMusTCL level. 

 

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