1. Battle of the Sexes! VI and IV 6 Men sit Screen Right Women sit Screen Left

2. VI and IV 6 Basics What is the main structural feature shared by VI an IV 6 that causes them to function similarly?

3. Questions on VI (submediant harmonies) 1. Quality. What is the quality (M, m, dim, etc.) of VI in Major Keys? In minor keys? 2. Common Tones. How many common tones does VI share with the tonic triad (I)? What are these common tones, expressed as scale degrees?

4. 3. One of the most common I-V progressions using VI is called the descending thirds progression or bass-arpeggiation progression. Express this progression in roman numeral notation. I VI IV V I (II6) VI (cont.) a.k.a Heart and Soul or Rock ‘n Roll Progression

5. VI continued 4. Another common progression leading from I to V using VI is called the descending-5th progression Express this progression in roman numeral notation. I VI II V(7) I 4b. In what common circumstance can you NOT use this descending-5th progression? a.k.a “Blue Moon Progression”

6. VI continued 6. Another useful but less common progressions using VI is called the approach-to-V-from-above or direct-to-V progression. Express this progression in roman numeral notation. 7. What do you call the special function of VI when it substitutes for the tonic in the progression V-VI or V 7 -VI? 8. What special voice-leading problem that you already know arises in connecting V-VI? Name the other two progressions that we know where this problem occurs.

7. VI Continued The rising melodic line ^5-^6-^7-^8 can can be suppported by the direct-to-V I-VI-V-I. What previous progression supports ^5-^6-^7-^8 even more characteristically?

8. A phrase that begins with repeated notes ^1-^1 (“My Coun-try) or ^3-^3 (Sweet Land...) often suggests the harmonies: ________________________

9. IV 6 1. What three notes does IV6 contain? Which is the bass tone? 2. What is the quality of IV 6 in Major? In minor keys? 3. IV 6 can expand subdominant harmony, IV. Give a two-chord progression where it fulfills this function (roman numerals). 4. IV 6 can substitute for VI. Give two progressions where IV 6 fulfills the substitute function. Express as roman numerals. 5. Another special function of IV 6 is at phrygian cadences. Express a phyrgian cadence in roman numerals.

10. IV 6 (cont.) 10. Why is the melodic line ^3-^4-^5 sometimes difficult to harmonize using only tonic and dominant harmonies? 11. What new way to harmonize the melody line ^3-^4-^5 do VI and/or IV 6 make possible? [leads from I to V] 6. What is the normal soprano line at a phrygian cadence? 7. What is the bass line (always) at a phrygian cadence? 8. What tone is normally doubled in IV 6 at phrygian cadences? 9. (On the board) Write a phrygian cadence in g minor. 12. What is elegant about the outer voice voice-leading in ^3- ^4- ^5 supported by: I-IV 6 -V [hint:] c__________ m___________

11. Musical Examples I The underlined passages prolong tonic harmony via what progressions?

12. 12. (On Board) Write a 4-voice accompaniment to a 50s-style rock’n roll song: *D Major 5 bars *4 identical quarter notes in each bar setting the text “doo-doo-doo-doo” *descending 3rds progression, ending on I * connect bars with PTs in the bass whenever possible First group to perform in 4 voices wins.

13. C minor: I VI IV V __________ PT Musical Examples: Name that Progression NN

14. Musical Examples