### Harmonic Analysis Method Source: https://context7.com/openmusictheory/openmusictheory.github.io/llms.txt Steps and examples for identifying phrases, cadences, and harmonic structure. ```text # Step 1: Identify Phrases and Cadences Cadence Types: PAC - Perfect Authentic Cadence (V-I with soprano on tonic) IAC - Imperfect Authentic Cadence (V-I, soprano not on tonic) HC - Half Cadence (ends on V) DC - Deceptive Cadence (V-VI) # Step 2: Label Chords with Roman Numerals and Functions T = Tonic function (I, I6, VI) S = Subdominant function (IV, II, II6) D = Dominant function (V, V7, VII) # Step 3: Identify Harmonic Structure # Phrase ending with Half Cadence: T——————— (S) D # Phrase ending with Authentic Cadence: T——————— (S) D T # Example Analysis: Haydn Piano Sonata in C Major, Hob. XVI:21, I Measure: | 1 | 2 | 3 | 4 | 5 | 6 | Chord: | I | IV6 | I | I | V7 | I | Function: | T | T | T | T | D | T | |<---- Tonic Prolongation --->| Cadential | Progression Cadence: PAC in m. 6 # Functional Bass Notation T1 = Tonic with bass on scale degree 1 S4 = Subdominant with bass on scale degree 4 D5 = Dominant with bass on scale degree 5 # Cadential Progression Patterns Standard PAC: T1 - S4 - D5 - T1 With ii6: T1 - S2 - D5 - T1 Compound: T1 - T6/4 - D5 - T1 (cadential 6/4) ``` -------------------------------- ### D Major Scale Example Source: https://context7.com/openmusictheory/openmusictheory.github.io/llms.txt Example of the D Major scale with interval markings. ```text D - E - F# - G - A - B - C# - D W W H W W W H ``` -------------------------------- ### A Natural Minor Scale Example Source: https://context7.com/openmusictheory/openmusictheory.github.io/llms.txt Example of the A Natural Minor scale with interval markings and solfege. ```text A - B - C - D - E - F - G - A W H W W H W W Solfege: do - re - me - fa - sol - le - te - do ``` -------------------------------- ### Melodic Minor Scale Example Source: https://context7.com/openmusictheory/openmusictheory.github.io/llms.txt Ascending and descending forms of the A Melodic Minor scale. ```text Ascending: natural minor with raised 6th and 7th A - B - C - D - E - F# - G# - A Solfege: do - re - me - fa - sol - la - ti - do Descending: natural minor form A - G - F - E - D - C - B - A Solfege: do - te - le - sol - fa - me - re - do ``` -------------------------------- ### Trinket Notation Syntax and Embedding Source: https://context7.com/openmusictheory/openmusictheory.github.io/llms.txt Defines the text-based syntax for pitch, rhythm, ties, and chords in Trinket, along with the HTML iframe tag for embedding interactive examples. ```text # Trinket Notation Syntax ## Pitch Notation (Helmholtz system) # Octave 4 (middle C up): lowercase letters c d e f g a b # Octave 5: add primes c' d' e' f' g' a' b' # Octave 6: two primes c'' d'' e'' # Octave 3 (below middle C): uppercase C D E F G A B # Octave 2: double uppercase CC DD EE FF GG AA BB # Accidentals c# # C-sharp b- # B-flat fn # F-natural # Rests r # rest ## Rhythmic Values c4 # quarter note C d2 # half note D e8 # eighth note E f2. # dotted half note F g4.. # double-dotted quarter note G ## Ties c4~ c4 # two tied quarter notes ## Chords (notes in angle brackets) 4. # dotted quarter chord (C-E-G) 8 # eighth note chord (D-F) ## Example: Simple Melody with Lyrics # Notes: c4 d4 e4 f4 | g2 g2 | a4 a4 g2 | f4 f4 e4 e4 | d2 d2 | c1 # Lyrics: do re mi fa sol ~ la la sol fa fa mi mi re ~ do ## Embedding in HTML ``` -------------------------------- ### First Species Counterpoint Rules Source: https://context7.com/openmusictheory/openmusictheory.github.io/llms.txt Guidelines for voice-leading in first species counterpoint exercises. ```text # First Species Counterpoint (1:1) ## Beginning Rules # Counterpoint ABOVE cantus firmus: - Start on do (P1, P8) or sol (P5) # Counterpoint BELOW cantus firmus: - Must start on do (P1, P8) only - Never start on sol (creates dissonant P4) ## Ending Rules # Final interval must be P1 or P8 (unison or octave) # Approach by contrary stepwise motion: # If cantus ends: re - do # Counterpoint: ti - do (forms m3 to P1/P8) # If cantus ends: ti - do # Counterpoint: re - do (forms M6 to P1/P8) ## Forbidden Progressions # Parallel perfect consonances (NEVER allowed): P5 - P5 (parallel fifths) P8 - P8 (parallel octaves) P5 - P12 (compound = same as P5-P5) # Direct/Hidden octaves (moving to P5/P8 by similar motion) ## Allowed Motion Types Contrary: voices move in opposite directions (preferred) Oblique: one voice stationary, other moves Similar: same direction, different intervals Parallel: same direction, same interval (imperfect consonances only) ## Voice Spacing - Maximum interval: P12 (octave + fifth) - Preferred: within an octave - Avoid voice crossing (upper below lower) - Avoid voice overlap (leaping past previous note of other voice) ## Consonance Classification Imperfect consonances (preferred for middle intervals): M3, m3, M6, m6 Perfect consonances (use for beginning/ending): P1, P5, P8 ## Example First Species Cantus: D | E | F | G | A | G | F | E | D | Counterpoint: A | G | A | B | C' | B | A | G | D | Interval: P5 | m3 | M3 | M3 | m3 | M3 | M3 | m3 | P1 | Motion: -- | C | C | S | C | C | C | C | C | (C=Contrary, S=Similar) ```