Analysis of 6/3 chords: recording links

W.A. Mozart, Sonata for Violin and Piano, K. 481, opening of 2nd movement - recording


L.v. Beethoven, Sonata for Piano, op. 10, no. 1, mm. 1-16 - recording


W.A. Mozart, Piano Sonata, K. 309, 1st movement (opening) - recording


Analysis of Beethoven excerpt (RN and cadences in teal, 2nd-level analysis in dark blue):

Elizabeth

Morgan

  Adam homework

Sydney

JASMYN P.173 EXORCISTS

C. Oliver 6/3 chords 2.0

Mary

Z^2

Hayden

Glory Dami

Error!

Fix by changing two notes.

Zach and Hayden Part writing

Kaitlyn 6/3 Choral Part Writing

Morgan Dobbs

Jasmyn - 6/3 Choral Part-Writing

Mary 6/3

Oliver 6/3

Glory Dami

Elizabeth's First Inversions Triads

1st Inversion triads

Glory Dami

Morgan's First Inversion Triads

First Inversion triads

first inversion part writing

First Inversion Triads

First Inversion chords- Zach Z.

6/3 Chords - Jasmyn

6/3 Chords - Kaitlyn

First Inversion Triads (6/3 chords) MKH

Directions for excercises on 6/3 chord worksheet

1. Chord spelling. For each example, write the key signature. Build the requested chord in four-part chorale style, paying attention to appropriate spacing, stem direction, and doubling.

2. Part writing. Write the following brief progressions in four-part chorale style. If possible, include voice exchange. Consider each progression a complete phrase and label the cadence. Also give a second-level analysis showing the tonal areas of the phrase—Tonic, Predominant, Dominant, Tonic.

Chaptee Fore

How many times is it acceptable to use prolonging dominants? What about doubling the V6 bass note makes it bad? I am uncertain. How does the sound differ from a regular V chord and a prolonging tonic chord?

What is the maximum amount of inversions we can have, and is there a certain order they should be in?

chapter four

Can you have too many inversions?

Chapter 4 questions

Are the first inversion chords only used when prolonging the the tonic or dominant, or can they be used in different chord progressions? Obviously other chords can use them, but are they specifically only for prolongation?

Chapter 4 Questions

How many first inversion chords can one have when prolonging a phrase?

Does one need to change said chord progression to make it a correct phrase?

Question

Is it possible to have too many first inversion chords in a progression?

Blog Question for Chapter 4

1) Can you put a first inversion chord anywhere in the chord progression in order to prolong the cadence?
2) What would be wrong with doubling the leading tone?

Chapter 4 Question

If applicable, where in a chord progression would it be inappropriate to utilize the first inversion chord for prolonging purposes?

Corrected version of Exercise 5 from partwriting worksheet

It has been brought to my attention that the worksheet contains an error. Here is the corrected version of exercise 5.

It might be a good idea to do the exercises on the back of the worksheet in preparation for tomorrow's quiz.

Recordings on Handout "The subdominant chord"

1. Beethoven,“Kriegslied der Oesterreicher”, WoO 122

2. Beethoven, 12 Variations on a Theme by Haibel, WoO 68

 

3. Brahms, “Die Wollust in den Maien”, WoO 34 no. 11

4. Berlioz, Veni creator, H. 141 - Excerpt on handout starts about 2:40