III and VII

Homework: Workbook Ed 3 Chapter 15: Preliminaries pg 121 a, e, g Preliminaries pg 122 c,d,h Pg 123#2, 126 #2 127#3, 128#3 130#6
Homework: Workbook Ed 4 Chapter 16: pg 133-137 all, 139#3, 140#s 1,23
ABOUT THE MIDTERM:

 The first partof the midterm will be a take home writing assignement in which you will compose a short passage based on specified criterion.   You may see and download the midterm on the  webnotes.

The second part will be an in-class second species counterpoint 

All homework assignments will be due the  day of the midterm.               

Uses of III

1.  I-III-V in minor :
a. Since III shares two tones with I (^3 & ^5) a direct progression from I to III sometimes sounds like nothing more than an expansion of I.  This is particularly true when the chordal 5th (^7) is missing from the III.   As a result we see that the progression I-III-V seldom occures in direct succession in the classical period.  However, the direct progression I-III occurs rather frequently after that period and is a particularly effective way to evoke a modal change within a progression (ie change from minor to major or major to minor)  and is often used in music for media.

b. However, since the progression I-III-V outlines the tonic triad in the bass, its use as an outline of harmony is valuable. In minor we often move from I to II via - VII (remember I use - instead of b to indicate a lowered tone... thus in C minor the "-VII" is a Bb Major triad). As you can see, the VII in minor can act as an applied dominant to III. Similarly the II6 in minor can act as the applied Vii6 to III.

c. When moving from III to V it is common to lead from III to V via II6 or IV with the ^4 acting as a passing tone in the bass.

2.  Modulating to III in minor.
a. We remember from the common progression V65-I that in minor the LT ^7 is raised thereby forming a d5 with the ^4 (chordal 7th). We know that by rule the LT must resolve to the tonic and the dissonant chordal 7th must resolve down.

b. In its natural state, minor contains a d5 between the ^2 and ^6. If the ^2 similarly resolves up and the ^6 similarly resolves down, we have a naturally occuring tonicization of III.

3. I-III-V in Major
a.    In major the tritone occurs naturally at ^7 and ^4 and thus, as we have seen over and over gravitates towards ^1 and ^3. To tonicize or modulate to III in major we have to employ an applied dominant or Vii6 thereby requiring a chromatic alteration. As such, this harmony and voice leading was not common in the classical period. Its not until the 19th century and the onset of the romantic period of music that we see such chromatic alterations.

b. When using an applied dominant to III in major notice that the ^7 is temporoarily absent of its role as the the leading tone as the leading tone function is now temporarily relegated to the +^2. As a result a ^7 that does not act as a LT may be doubled since it does not force us into ¶8va

c. When using an applied Vii6 to III in major the progression from I creates an unlikely d5 voice leading in the bass. To avoid such voice leading we can first move away from root position I. Notice that just as Vii6 may lead to I or I6, so to can an applied Vii6 move to III or III6. Again, +^2 becomes the temporary LT and should not be doubled.

4. III moving to I through an inversion of V7
a. H&VL is a little obscure here. In section 15-1 we saw that III moves to V via a passing bass in a II6 or IV. Here H&VL says that III moves to I through an inversion of V(7). As well, by their own admission, H&VL states that III does not move to and from I because the two common tones dont allow the voice leading to sound like a progression as much as it sounds like an expansion of I. THUS: FOR NOW - III DOES NOT USUALLY MOVE TO I. IT MOVES TO V. In addition to moving to II6 and IV and then onto V, III can move directly to V43 or V42 with a stepwise bass.

5. The Cross Relation
a.  In minor, when we move directly from III to an inversion of V, we will have ^7 followed immediately by +^7. When the ^7 exists in the soprano voice and the +^7 exists in the bass, it is called a cross relation and should be avoided.

6. III as upper 5th of VI: III-VI-II-V-I
a.  Just as the cadential harmony V-I, and the intermediary harmony VI-II lead convincingly well as a result of the decending 5th bass tone, so too does the progression III-VI

7. III in smaller contexts
a.  Another point of clarification in H&VL is the use of III immediately following I. We have seen that III functions commonly as an inner harmony within an intermediate progression. We have also stated that the similarity between III and I (two common tones) results in the progression I-III sounding more like an expansion of I than a movement to III. However one very important use of III immediately following I is to support a decending ^8-^7-^6 line. In this context the ^7 provides stability above the ^3 of the III. This stability and the resultant voice leading cuases the ^7 to appear not as a leading tone to ^1 but rather a passing tone to ^6

8&9. III as equivalent to I6
a.  III is closely related to I. By sharing a common bass tone, III is even more connected to I6 via a similar ^5-^6 technique that connected IV-II6 and VI-IV6. It stands to reason then, that as the other progressions employing the ^5-^6 technique, III can sometimes occur in contexts where the bass would normally suggest a 16.

b. If we apply this technique in a context where Vii6 or an inverstion of V(7) leads to I6 than by substituting the III for the I6 we have yet another "deceptive" type cadence. Be aware: This type of cadence is not as convincing to the ear as the V-VI and should not normally be referred to as a "deceptive cadence"

c. In minor, III lacks a LT and does not usually move to I. Raising the ^7 of III in minor creates an augmented triad and is reserved for a later discussion.

10. Natural VII leading to III
a.  In minor, Just as VII acts as the applied dominant to III, so can inversions of VII act as inverted applied dominance.

11. Natural VII leading to V
a. Since the two upper tones of VII also belong to V7, the ^7 in minor need only be raised a half step to be absorbed completely into a V7. As a result, in minor, we sometimes see V7 (inversions) immediately follow VII. One particularly noteworthy voice leading is VII-V65-I which allows for a chromatic rise in the bass to I.

b. In minor, since the bass tone of VII is not a LT, it may fall to the ^6. Most often this occurs with the progression VII-IV6 (II65)-V7

12. VII5 in Major and raised VII5 in minor
a.  For now, avoid all root position LT VII chords.