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V@-! Cadential or Accented @

V@-! Cadential or Accented @. Harmonic Prolongation via expansion. 2 Basic Phrase Shapes: I-V (half cadence). I-V (7) -I (authentic/full). I- V- I . I- IV- V- I . I- IV- II- V- I .

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V@-! Cadential or Accented @

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  1. V@-! Cadential or Accented @

  2. Harmonic Prolongationvia expansion 2 Basic Phrase Shapes: I-V (half cadence) I-V(7)-I (authentic/full) I- V- I I- IV- V- I I- IV- II- V- I I-V#-I- IV- I6- II- V°—‡ I

  3. V@-! = Harmonic Prolongation via Delay a minor: I- IV ? - V! I

  4. V@-!Delays V via double upper neighbors: 6th above bass delays 5th 4th above bass delays 3rd ^3 NN ^^1 NN ^5 V V@ - ! Expressed as scale degrees: V@-! delays V via __ to __ and __ to __. Because of delay function V@-! is always a “package” @ part uses notes of tonic triad, but is dominant function (never label I@) Tonic note (^1) is dissonant (forms 4th with bass tone)

  5. Beethoven, 7 Variations on “God Save the King” V@-! Basics: 1. Notes (scale degrees) in @ portion AND bass tone 2. Doubling (give as scale degree and as root, 3rd, or 5th) 3. @ Metrically strong or weak (hint: in 3/4 beats 1-2 are both strong) ! (dominant arrival) strong or weak 4. Voice -leading in upper voices 5. Characteristic bass motion

  6. 1. What 2 characteristic melody lines (3 notes) does V@-! -I often support? 2. How is the dissonant scale degree ^^1 approached in bar 5? 3. Is it difficulty to connect V@-V7 instead of V! (see m. 13)? 4. What function chord (tonic, interm. dom) leads to both V@-! Figures?

  7. What is the function of this V@-!?

  8. ^5 ^6 ^7 ^1 ^2 ^3 ^4 ^3 ^2 ^1

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