{"id":587,"date":"2023-05-11T19:03:25","date_gmt":"2023-05-11T19:03:25","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/sequence-uses-of-the-mediant\/"},"modified":"2025-08-13T18:43:56","modified_gmt":"2025-08-13T18:43:56","slug":"sequence-uses-of-the-mediant","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/sequence-uses-of-the-mediant\/","title":{"raw":"Sequence and uses of the mediant","rendered":"Sequence and uses of the mediant"},"content":{"raw":"<div class=\"sequence-&amp;-uses-of-the-mediant\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 18<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>How melodic sequences are structured<\/li>\r\n \t<li>How to write melodic sequences<\/li>\r\n \t<li>Common types of harmonic sequences<\/li>\r\n \t<li>How to identify melodic and harmonic sequences in musical contexts<\/li>\r\n \t<li>Ways in which the mediant triad is used<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Melodic sequence\"><\/a>Melodic sequence<\/h1>\r\n<p class=\"import-Normal\">[pb_glossary id=\"4667\"]Sequence[\/pb_glossary] is a common compositional device that relies on a series of successively occurring rhythmic, melodic, and\/or harmonic patterns. [pb_glossary id=\"2131\"]Melodic sequence[\/pb_glossary] occurs anytime a portion of music (both intervallic and rhythmic content) is immediately replicated at a different pitch level. <span>The first iteration of a sequence is called the [pb_glossary id=\"2132\"]model[\/pb_glossary], and each subsequent iteration is called a [pb_glossary id=\"2133\"]leg[\/pb_glossary]. Example 18-1 contains a transcription of a recording by Mitski that uses a melodic sequence. The model features intervals of a descending sixth followed by an ascending fifth, and each leg begins a third lower than the previous iteration.<\/span><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 18\u20111. Transcription of Mitski, \u201cWashing Machine Heart,\u201d 1:10\u20131:24<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image116.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image116.png\" width=\"1341\" height=\"214\" alt=\"image of score\" class=\"alignnone\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.1-Mitski.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4Ys8jQvZOISzmp34BsImRf?si=3f199615b82c4767\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Japanese-American singer-songwriter <strong>Mitski<\/strong> (b. 1990) by reading her <a class=\"rId279\" href=\"https:\/\/www.last.fm\/music\/Mitski\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">bio<\/span><\/a> at last.fm.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Melodic sequences can be either real (exact) or tonal. [pb_glossary id=\"2138\"]Real sequences[\/pb_glossary] maintain the exact intervallic qualities in each leg of the sequence. [pb_glossary id=\"2139\"]Tonal sequences[\/pb_glossary] maintain the quantity (number) of each interval, but not the quality, in order to fit within a key. The melodic sequence in Example 18\u20111 is tonal because all the notes are diatonic in the key of the excerpt (A major). <span>It is rewritten as a real sequence in Example 18-2, using chromaticism to preserve the exact intervallic structure of the initial model (mi6 descending followed by P5 ascending) in each leg.<\/span> Most melodic sequences we encounter in tonal music will be [pb_glossary id=\"2139\"]tonal[\/pb_glossary], not [pb_glossary id=\"2138\"]real[\/pb_glossary], sequences.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 18\u20112. Example 18\u20111 re-written as a real sequence<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image117.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image117.png\" width=\"7842\" height=\"1050\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.2.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">While melodic sequences are common in a variety of styles, they are especially common in Baroque music. The music of J. S. Bach, one of the most famous European composers of the Baroque era, features melodic sequences with great frequency. Example 18\u20113 shows a representative passage, annotated to show three melodic sequences from Bach\u2019s Violin Sonata in G minor. The first, in m. 90, states the model starting on B[latex]\\flat[\/latex], and the leg that follows starts a step higher. The second sequence in this passage occurs in the following measure and contains the model starting on C[latex]\\sharp[\/latex], followed by no fewer than four complete legs, each starting a step lower than the previous one. The sequence breaks before the completion of what would have been the fifth leg. The final sequence in this passage occurs in m. 93. Each leg following the model begins a third lower than the previous segment.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 18\u20113. J. S. Bach, Violin Sonata in G minor, Fuga, mm. 90\u201394<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image118.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image118.png\" width=\"1430\" height=\"353\" alt=\"image of annotated score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.3-bach.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by violinist Hilary Hahn, on <a href=\"https:\/\/open.spotify.com\/track\/1Xkup8WkrOfFVPZ4r7Zkhf?si=d43f4b2f1d2a4fd1\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Johann Sebastian Bach<\/strong> (1685\u20131750) by reading this <a class=\"rId280\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278195\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christoph Wolff and Walter Emery.\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Harmonic sequence\"><\/a>Harmonic sequence<\/h1>\r\n<p class=\"import-Normal\">Sequences may also be harmonic. [pb_glossary id=\"2148\"]Harmonic sequence[\/pb_glossary] occurs when a repeating pattern of root motion appears in a harmonic progression. This list is not exhaustive, but three common harmonic sequences include root motion:<\/p>\r\n\r\n<ul>\r\n \t<li>by fifth (circle-of-fifths)<\/li>\r\n \t<li>down a fourth, up a second (\u21934 \u21912)<\/li>\r\n \t<li>by falling thirds<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Each of these types is shown in the examples below.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 18\u20114. Circle-of-fifths sequence in Jerome Kern, \u201cAll the Things You Are,\u201d with harmonization as performed by Michael Jackson<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-18.4-Kern.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-18.4-Kern-1024x267.png\" alt=\"image of score\" width=\"1024\" height=\"267\" class=\"alignnone wp-image-2152 size-large\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.4.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4DDOgnNo7c3s6OyFz1qcva?si=840c46536f174c7b\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American musical theater composer <strong>Jerome Kern<\/strong> (1885\u20131945) by reading this <a class=\"rId281\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.14917\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Ronald Byrnside and Andrew Lamb.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 18\u20115. \u21934 \u21912 sequence in Johann Pachelbel, Canon in D, mm. 1\u20137<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image120.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image120.png\" width=\"1311\" height=\"684\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.5-pachelbel.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by the Orpheus Chamber Orchestra, on <a href=\"https:\/\/open.spotify.com\/track\/7ELzGCy3RzQUnkOLy2m7NJ?si=e2362161c8e5473c\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Johann Pache<\/strong><strong>l<\/strong><strong>bel<\/strong> (1653\u20131706) by reading this <a class=\"rId282\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278237\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Ewald V. Nolte and revised by John Butt.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 18\u20116. Transcription of \u21934 \u21912 sequence in Bachelor, \u201cStay in the Car,\u201d 0:00\u20130:16<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image121.png\" width=\"1327\" height=\"403\" alt=\"image of annotated score\" class=\"alignnone\" \/><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.6-bachelor.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4dqLp802ursHwl7OM7HpmM?si=af95139fa3624bec\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American indie duo <strong>Bachelor<\/strong> at their record label\u2019s <a class=\"rId283\" href=\"https:\/\/www.polyvinylrecords.com\/artist\/bachelor\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">website<\/span><\/a>.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 18\u20117. Transcription of falling thirds sequence in Gene Chandler, \u201cDuke of Earl,\u201d 0:00\u20130:11<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image122.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image122.png\" width=\"1350\" height=\"254\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.7-chandler.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6Hy22YDN9HJMRlJP1LwnJy?si=c2aa0c7d13cb4533\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American singer, songwriter, and producer <strong>Gene Chandler<\/strong> (b. 1937) by reading his <a class=\"rId284\" href=\"https:\/\/www.thehistorymakers.org\/biography\/gene-chandler\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">bio<\/span><\/a> on the History Makers website.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T41 Sequence (7:30)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/vimeo.com\/997856247?share=copy\r\n<p class=\"import-Normal\">This video introduces melodic and harmonic sequences and features the musical examples by Mitski, Michael Jackson, Pachelbel, and Gene Chandler shown above. Please note that in the Michael Jackson example, Dmi7 is used in lieu of D[latex]\\flat[\/latex]MA7 in m. 5, and Ami7 instead of A[latex]\\flat[\/latex]MA7 in m. 13. See Example 18\u20114 above for a more accurate harmonic transcription.<\/p>\r\n\r\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1IkF3OpPja7jWLOpBpz62OhOf9UntZdPlHYXotf5NgvA\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Sequence and uses of the mediant slides<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples (and more) featured in this video here: <a class=\"rId288\" href=\"https:\/\/open.spotify.com\/playlist\/6iLFujGrhuuveniPQRgH3p?si=dcf0db8fbbbf4e95\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for sequence<\/span><\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 18-1 Analysis with sequence\"><\/a>EXERCISE 18-1 Analysis with sequence<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 18-1 Analysis with sequence<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">After listening to each excerpt, complete a Roman numeral analysis, label cadences, and identify the texture and type of harmonic sequence. When a melodic sequence is also present, bracket and label the model and each leg of the sequence above the staff. <span>For the harmonic analysis, disregard non-chord tones, which appear in parentheses.<\/span><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 18\u20111. George Frideric Handel, Courante, mm. 5\u20138<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\" style=\"text-align: right\">Texture: ______________________<\/p>\r\n<p class=\"import-Normal\" style=\"text-align: right\">Harmonic sequence root motion: ______________________<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.1-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.1-rev-1024x280.png\" alt=\"image of score\" width=\"1024\" height=\"280\" class=\"alignnone wp-image-5768 size-large\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.1-Handel-Courante-mm5to8.mp3\"][\/audio]\r\n\r\nListen to an arrangement of the piece in its entirety, performed by guitarist John Williams, on <a href=\"https:\/\/open.spotify.com\/track\/0LILZPizcjX02BXNuSiYIY?si=1a3c4858aadc4dc1\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English composer <strong>George Fr<\/strong><strong>i<\/strong><strong>deric Handel<\/strong> (1685\u20131759) by reading this <a class=\"rId285\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40060\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Anthony Hicks.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 18\u20112. Carl Friedrich Zelter, <em>Der K\u00f6nig in Thule<\/em>, mm. 1\u20134<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\" style=\"text-align: right\">Texture: ______________________<\/p>\r\n<p class=\"import-Normal\" style=\"text-align: right\">Harmonic sequence root motion: ______________________<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.2-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.2-rev-1024x373.png\" alt=\"image of score\" width=\"1024\" height=\"373\" class=\"alignnone wp-image-5770 size-large\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.2-Zelter-Der-Konig-excerpt.mp3\"][\/audio]\r\n\r\nListen to an arrangement of the piece in its entirety, performed by Carl Maria von Weber Men's choir, on <a href=\"https:\/\/open.spotify.com\/track\/7jIyON0SGkyE7BD1uWWuin?si=1065bede84f94041\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nRead an <a href=\"https:\/\/oxfordsong.org\/song\/der-ko%CC%88nig-von-thule-2\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the song text at the Oxford International Song Festival <a href=\"https:\/\/oxfordsong.org\" target=\"_blank\" rel=\"noopener\">website<\/a>.\r\n\r\nLearn about German composer and conductor <strong>Carl Friedrich Zelter<\/strong> (1758\u20131832) by reading this <a class=\"rId286\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.30917\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Hans-G\u00fcnter Ottenberg.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 18\u20113. Amy Marcy Cheney Beach, \u201cA Hermit Thrush at Eve,\u201d op. 92, no. 1, mm. 10\u201313<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\" style=\"text-align: right\">Texture: ______________________<\/p>\r\n<p class=\"import-Normal\" style=\"text-align: right\">Harmonic sequence root motion: ______________________<\/p>\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.3-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.3-rev-1024x327.png\" alt=\"image of score\" width=\"1024\" height=\"327\" class=\"alignnone wp-image-5774 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.3-Beach.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by pianist Christopher O'Riley, on <a href=\"https:\/\/open.spotify.com\/track\/6jz1xnSAuUhSxsvael2zzN?si=adcbb957d2d24cba\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American composer and pianist <strong>Amy Marcy Cheney Beach<\/strong> (1867\u20131944) by reading this <a class=\"rId287\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2248268\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Adrienne Fried Block and revised by E. Douglas Bomberger.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/Ex18.1-Analysis-wtih-sequence-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex18.1 Analysis wtih sequence<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 18-2 Creating melodic sequences\"><\/a>EXERCISE 18-2 Creating melodic sequences<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 18-2 Creating melodic sequences<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Given the model, create a tonal melodic sequence by adding one or two legs and then complete the melody logically (following the principles we've studied in the chapter) in the blank measures that follow. First determine the most logical key, based on the key signature and other musical cues. Each melody should end on tonic. Bracket and label the model and each leg of the sequence. The first is done for you.<span style=\"margin-left: 26pt\"><\/span><\/p>\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\">EXAMPLE. The given model:<\/p>\r\n<p style=\"padding-left: 40px\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-1024x103.png\" alt=\"image of score\" width=\"1024\" height=\"103\" class=\"alignnone wp-image-2194 size-large\" \/><\/a><\/p>\r\n<p style=\"padding-left: 40px\">The completed sequence:<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model.png\"><\/a><\/p>\r\n<p style=\"padding-left: 40px\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-complete.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-complete-1024x110.png\" alt=\"image of score\" width=\"1024\" height=\"110\" class=\"alignnone wp-image-2195 size-large\" \/><\/a><\/p>\r\n(1) <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no1-1024x128.png\" alt=\"image of score\" width=\"1024\" height=\"128\" class=\"alignnone wp-image-2198 size-large\" \/><\/a>\r\n\r\n(2) <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no2.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no2-1024x130.png\" alt=\"image of score\" width=\"1024\" height=\"130\" class=\"alignnone size-large wp-image-2199\" \/><\/a>\r\n\r\n(3) <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no3.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no3-1024x107.png\" alt=\"image of score\" width=\"1024\" height=\"107\" class=\"alignnone wp-image-2201 size-large\" \/><\/a>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2025\/06\/Ex18.2-Creating-melodic-sequences.pdf\" target=\"_blank\" rel=\"noopener\">Ex18.2 Creating melodic sequences<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 18-3 Composing a melody with sequence\"><\/a>EXERCISE 18-3 Composing a melody with sequence<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 18-3 Composing a melody with sequence<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">On staff paper or using a notation program, compose a melody of four to eight bars in length. The melody should have a melodic sequence (comprising the initial model, no longer than one bar in length, and two subsequent legs) and a conclusive tonal cadence (implying either a [pb_glossary id=\"2300\"]PAC[\/pb_glossary] or [pb_glossary id=\"2303\"]IAC[\/pb_glossary]).<\/p>\r\n<p class=\"import-Normal\">As with all tonal compositions, your melody should have a clef, key signature, time signature, and bar lines. All systems after the first should continue to have a clef, key signature, and bar lines.<\/p>\r\n<p class=\"import-Normal\">You may find it useful to sketch some ideas first on a separate sheet of manuscript paper before copying your composition neatly in its final form.<\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/06\/Ex18.3-Composing-a-melody-with-sequence.pdf\">Ex18.3 Composing a melody with sequence<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Melodic dictation with sequences\"><\/a>Melodic dictation with sequences<\/h1>\r\nYou can hone your aural skills by notating melodies that use melodic sequence. See nos. 23\u201327 in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-d-melodic-dictations\/\" target=\"_blank\" rel=\"noopener\">Appendix D<\/a> for melodic dictations using sequence.\r\n<h1><a id=\"Uses of the mediant\"><\/a>Uses of the mediant<\/h1>\r\n<p class=\"import-Normal\">Unlike all of the other diatonic triads we have studied, the mediant triad appears less often. It is perhaps the least versatile of all chords because it usually appears in one of the following specific contexts:<\/p>\r\n\r\n<ul>\r\n \t<li>Part of a harmonic sequence<\/li>\r\n \t<li>An extension of [pb_glossary id=\"4975\"]tonic function[\/pb_glossary] in the progression I \u2013 iii \u2013 IV \u2013 V (or i \u2013 III \u2013 iv \u2013 V in minor), often harmonizing a descending melody, with scale-degrees [latex]\\hat{8}[\/latex] \u2013 [latex]\\hat{7}[\/latex] \u2013 [latex]\\hat{6}[\/latex] \u2013 [latex]\\hat{5}[\/latex]<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Example 18\u20118 shows how the mediant triad works with the \u21934 \u21912 sequence, made famous by Pachelbel\u2019s Canon. The mediant triad may appear in other sequences as well, such as the circle-of-fifths sequence.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 18\u20118. Johann Pachelbel, Canon in D, mm. 1\u20132<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image131.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image131.png\" width=\"667\" height=\"717\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.5-pachelbel.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by the Orpheus Chamber Orchestra, on <a href=\"https:\/\/open.spotify.com\/track\/7ELzGCy3RzQUnkOLy2m7NJ?si=e2362161c8e5473c\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Johann Pache<\/strong><strong>l<\/strong><strong>bel<\/strong> (1653\u20131706) by reading this <a class=\"rId282\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278237\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Ewald V. Nolte and revised by John Butt.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 18\u20119 shows the voice-leading context for the use of the mediant with the I \u2013 iii \u2013 IV \u2013 V progression.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 18\u20119. Typical progression using the mediant triad<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image132.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image132.png\" width=\"815\" height=\"409\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.9.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 18\u201110 uses this progression in the key of G major (I \u2013 iii \u2013 IV \u2013 V), and Example 18\u201111 uses a similar progression in A major (I \u2013 iii \u2013 IV \u2013 I).<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 18\u201110. Ronnie Milsap, \u201cSmoky Mountain Rain,\u201d 0:48\u20131:20<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.10-milsap.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7CX9JYwpiObnYl2NzFqj4c?si=fb6823d3cc99490b\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American country musician <strong>Ronnie Milsap <\/strong>(b. 1943) by reading the <a href=\"https:\/\/ronniemilsap.com\/about-ronnie-milsap\/\" target=\"_blank\" rel=\"noopener\">bio<\/a> on the artist's official website.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 18\u201111. Peter, Paul, and Mary, \u201cPuff, the Magic Dragon,\u201d 0:39\u20130:45<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.11-p-p-and-m.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7raciFPVU5VuHmqVbw2c1h?si=2e6e387791a547c8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about 20th-century American folk group <strong>Peter, Paul, and Mary<\/strong> by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267442\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Richard D. Driver.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Occasionally the mediant triad functions as a substitute for dominant (this occurs in a handful of late 19th-century compositions, as well as a few pop tunes). However, since it shares scale degrees [latex]\\hat{3}[\/latex] and [latex]\\hat{5}[\/latex] with the tonic triad, and [latex]\\hat{5}[\/latex] and [latex]\\hat{7}[\/latex] with the dominant triad, it is generally a less effective and less clear means of conveying [pb_glossary id=\"4979\"]dominant function[\/pb_glossary] than the dominant or leading tone chords.<span style=\"margin-left: 26pt\"><\/span><\/p>\r\n\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T42 Uses of the mediant (5:51)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">https:\/\/vimeo.com\/997850358?share=copy<\/p>\r\n<p class=\"import-Normal\">This video shows you the two ways the mediant triad is used in most tonal music: (1) as part of a larger harmonic sequence and (2) as an extension of tonic function in the chord progression I - iii - IV. This video features the musical examples by Pachelbel, Ronnie Milsap, and Peter, Paul, and Mary shown above.<\/p>\r\n\r\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1IkF3OpPja7jWLOpBpz62OhOf9UntZdPlHYXotf5NgvA\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Sequence and uses of the mediant slides<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video (and more) here: <a class=\"rId289\" href=\"https:\/\/open.spotify.com\/playlist\/04FZonV8pV6bR8sKgRExbV?si=dbef822067aa405e\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for uses of the mediant<\/span><\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 18<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a class=\"rId290\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/25-diatonic-descending-fifth-sequences\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount's chapter on sequences by fifth<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId291\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/26-other-diatonic-sequences\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount's chapter on other sequences<\/span><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"sequence-&amp;-uses-of-the-mediant\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 18<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>How melodic sequences are structured<\/li>\n<li>How to write melodic sequences<\/li>\n<li>Common types of harmonic sequences<\/li>\n<li>How to identify melodic and harmonic sequences in musical contexts<\/li>\n<li>Ways in which the mediant triad is used<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Melodic sequence<\/h1>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_587_4667\">Sequence<\/a> is a common compositional device that relies on a series of successively occurring rhythmic, melodic, and\/or harmonic patterns. <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_587_2131\">Melodic sequence<\/a> occurs anytime a portion of music (both intervallic and rhythmic content) is immediately replicated at a different pitch level. <span>The first iteration of a sequence is called the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_587_2132\">model<\/a>, and each subsequent iteration is called a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_587_2133\">leg<\/a>. Example 18-1 contains a transcription of a recording by Mitski that uses a melodic sequence. The model features intervals of a descending sixth followed by an ascending fifth, and each leg begins a third lower than the previous iteration.<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 18\u20111. Transcription of Mitski, \u201cWashing Machine Heart,\u201d 1:10\u20131:24<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image116.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image116.png\" width=\"1341\" height=\"214\" alt=\"image of score\" class=\"alignnone\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-587-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.1-Mitski.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.1-Mitski.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.1-Mitski.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4Ys8jQvZOISzmp34BsImRf?si=3f199615b82c4767\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Japanese-American singer-songwriter <strong>Mitski<\/strong> (b. 1990) by reading her <a class=\"rId279\" href=\"https:\/\/www.last.fm\/music\/Mitski\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">bio<\/span><\/a> at last.fm.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Melodic sequences can be either real (exact) or tonal. <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_587_2138\">Real sequences<\/a> maintain the exact intervallic qualities in each leg of the sequence. <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_587_2139\">Tonal sequences<\/a> maintain the quantity (number) of each interval, but not the quality, in order to fit within a key. The melodic sequence in Example 18\u20111 is tonal because all the notes are diatonic in the key of the excerpt (A major). <span>It is rewritten as a real sequence in Example 18-2, using chromaticism to preserve the exact intervallic structure of the initial model (mi6 descending followed by P5 ascending) in each leg.<\/span> Most melodic sequences we encounter in tonal music will be <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_587_2139\">tonal<\/a>, not <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_587_2138\">real<\/a>, sequences.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 18\u20112. Example 18\u20111 re-written as a real sequence<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image117.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image117.png\" width=\"7842\" height=\"1050\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-587-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.2.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.2.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">While melodic sequences are common in a variety of styles, they are especially common in Baroque music. The music of J. S. Bach, one of the most famous European composers of the Baroque era, features melodic sequences with great frequency. Example 18\u20113 shows a representative passage, annotated to show three melodic sequences from Bach\u2019s Violin Sonata in G minor. The first, in m. 90, states the model starting on B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, and the leg that follows starts a step higher. The second sequence in this passage occurs in the following measure and contains the model starting on C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, followed by no fewer than four complete legs, each starting a step lower than the previous one. The sequence breaks before the completion of what would have been the fifth leg. The final sequence in this passage occurs in m. 93. Each leg following the model begins a third lower than the previous segment.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 18\u20113. J. S. Bach, Violin Sonata in G minor, Fuga, mm. 90\u201394<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image118.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image118.png\" width=\"1430\" height=\"353\" alt=\"image of annotated score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-587-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.3-bach.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.3-bach.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.3-bach.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by violinist Hilary Hahn, on <a href=\"https:\/\/open.spotify.com\/track\/1Xkup8WkrOfFVPZ4r7Zkhf?si=d43f4b2f1d2a4fd1\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Johann Sebastian Bach<\/strong> (1685\u20131750) by reading this <a class=\"rId280\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278195\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christoph Wolff and Walter Emery.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Harmonic sequence<\/h1>\n<p class=\"import-Normal\">Sequences may also be harmonic. <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_587_2148\">Harmonic sequence<\/a> occurs when a repeating pattern of root motion appears in a harmonic progression. This list is not exhaustive, but three common harmonic sequences include root motion:<\/p>\n<ul>\n<li>by fifth (circle-of-fifths)<\/li>\n<li>down a fourth, up a second (\u21934 \u21912)<\/li>\n<li>by falling thirds<\/li>\n<\/ul>\n<p class=\"import-Normal\">Each of these types is shown in the examples below.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 18\u20114. Circle-of-fifths sequence in Jerome Kern, \u201cAll the Things You Are,\u201d with harmonization as performed by Michael Jackson<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-18.4-Kern.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-18.4-Kern-1024x267.png\" alt=\"image of score\" width=\"1024\" height=\"267\" class=\"alignnone wp-image-2152 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-18.4-Kern-1024x267.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-18.4-Kern-300x78.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-18.4-Kern-768x200.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-18.4-Kern-1536x400.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-18.4-Kern-2048x533.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-18.4-Kern-65x17.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-18.4-Kern-225x59.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-18.4-Kern-350x91.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-587-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.4.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.4.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.4.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4DDOgnNo7c3s6OyFz1qcva?si=840c46536f174c7b\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American musical theater composer <strong>Jerome Kern<\/strong> (1885\u20131945) by reading this <a class=\"rId281\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.14917\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Ronald Byrnside and Andrew Lamb.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 18\u20115. \u21934 \u21912 sequence in Johann Pachelbel, Canon in D, mm. 1\u20137<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image120.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image120.png\" width=\"1311\" height=\"684\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-587-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.5-pachelbel.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.5-pachelbel.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.5-pachelbel.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by the Orpheus Chamber Orchestra, on <a href=\"https:\/\/open.spotify.com\/track\/7ELzGCy3RzQUnkOLy2m7NJ?si=e2362161c8e5473c\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Johann Pache<\/strong><strong>l<\/strong><strong>bel<\/strong> (1653\u20131706) by reading this <a class=\"rId282\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278237\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Ewald V. Nolte and revised by John Butt.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 18\u20116. Transcription of \u21934 \u21912 sequence in Bachelor, \u201cStay in the Car,\u201d 0:00\u20130:16<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image121.png\" width=\"1327\" height=\"403\" alt=\"image of annotated score\" class=\"alignnone\" \/><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-587-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.6-bachelor.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.6-bachelor.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.6-bachelor.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4dqLp802ursHwl7OM7HpmM?si=af95139fa3624bec\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American indie duo <strong>Bachelor<\/strong> at their record label\u2019s <a class=\"rId283\" href=\"https:\/\/www.polyvinylrecords.com\/artist\/bachelor\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">website<\/span><\/a>.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 18\u20117. Transcription of falling thirds sequence in Gene Chandler, \u201cDuke of Earl,\u201d 0:00\u20130:11<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image122.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image122.png\" width=\"1350\" height=\"254\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-587-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.7-chandler.mp3?_=7\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.7-chandler.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.7-chandler.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6Hy22YDN9HJMRlJP1LwnJy?si=c2aa0c7d13cb4533\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American singer, songwriter, and producer <strong>Gene Chandler<\/strong> (b. 1937) by reading his <a class=\"rId284\" href=\"https:\/\/www.thehistorymakers.org\/biography\/gene-chandler\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">bio<\/span><\/a> on the History Makers website.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T41 Sequence (7:30)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T41 Sequence\" src=\"https:\/\/player.vimeo.com\/video\/997856247?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video introduces melodic and harmonic sequences and features the musical examples by Mitski, Michael Jackson, Pachelbel, and Gene Chandler shown above. Please note that in the Michael Jackson example, Dmi7 is used in lieu of D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>MA7 in m. 5, and Ami7 instead of A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>MA7 in m. 13. See Example 18\u20114 above for a more accurate harmonic transcription.<\/p>\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1IkF3OpPja7jWLOpBpz62OhOf9UntZdPlHYXotf5NgvA\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Sequence and uses of the mediant slides<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples (and more) featured in this video here: <a class=\"rId288\" href=\"https:\/\/open.spotify.com\/playlist\/6iLFujGrhuuveniPQRgH3p?si=dcf0db8fbbbf4e95\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for sequence<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 18-1 Analysis with sequence<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 18-1 Analysis with sequence<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">After listening to each excerpt, complete a Roman numeral analysis, label cadences, and identify the texture and type of harmonic sequence. When a melodic sequence is also present, bracket and label the model and each leg of the sequence above the staff. <span>For the harmonic analysis, disregard non-chord tones, which appear in parentheses.<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 18\u20111. George Frideric Handel, Courante, mm. 5\u20138<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\" style=\"text-align: right\">Texture: ______________________<\/p>\n<p class=\"import-Normal\" style=\"text-align: right\">Harmonic sequence root motion: ______________________<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.1-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.1-rev-1024x280.png\" alt=\"image of score\" width=\"1024\" height=\"280\" class=\"alignnone wp-image-5768 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.1-rev-1024x280.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.1-rev-300x82.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.1-rev-768x210.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.1-rev-1536x420.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.1-rev-2048x559.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.1-rev-65x18.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.1-rev-225x61.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.1-rev-350x96.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-587-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.1-Handel-Courante-mm5to8.mp3?_=8\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.1-Handel-Courante-mm5to8.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.1-Handel-Courante-mm5to8.mp3<\/a><\/audio><\/p>\n<p>Listen to an arrangement of the piece in its entirety, performed by guitarist John Williams, on <a href=\"https:\/\/open.spotify.com\/track\/0LILZPizcjX02BXNuSiYIY?si=1a3c4858aadc4dc1\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English composer <strong>George Fr<\/strong><strong>i<\/strong><strong>deric Handel<\/strong> (1685\u20131759) by reading this <a class=\"rId285\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40060\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Anthony Hicks.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 18\u20112. Carl Friedrich Zelter, <em>Der K\u00f6nig in Thule<\/em>, mm. 1\u20134<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\" style=\"text-align: right\">Texture: ______________________<\/p>\n<p class=\"import-Normal\" style=\"text-align: right\">Harmonic sequence root motion: ______________________<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.2-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.2-rev-1024x373.png\" alt=\"image of score\" width=\"1024\" height=\"373\" class=\"alignnone wp-image-5770 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.2-rev-1024x373.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.2-rev-300x109.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.2-rev-768x280.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.2-rev-1536x560.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.2-rev-2048x746.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.2-rev-65x24.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.2-rev-225x82.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.2-rev-350x128.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-587-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.2-Zelter-Der-Konig-excerpt.mp3?_=9\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.2-Zelter-Der-Konig-excerpt.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.2-Zelter-Der-Konig-excerpt.mp3<\/a><\/audio><\/p>\n<p>Listen to an arrangement of the piece in its entirety, performed by Carl Maria von Weber Men&#8217;s choir, on <a href=\"https:\/\/open.spotify.com\/track\/7jIyON0SGkyE7BD1uWWuin?si=1065bede84f94041\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Read an <a href=\"https:\/\/oxfordsong.org\/song\/der-ko%CC%88nig-von-thule-2\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the song text at the Oxford International Song Festival <a href=\"https:\/\/oxfordsong.org\" target=\"_blank\" rel=\"noopener\">website<\/a>.<\/p>\n<p>Learn about German composer and conductor <strong>Carl Friedrich Zelter<\/strong> (1758\u20131832) by reading this <a class=\"rId286\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.30917\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Hans-G\u00fcnter Ottenberg.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 18\u20113. Amy Marcy Cheney Beach, \u201cA Hermit Thrush at Eve,\u201d op. 92, no. 1, mm. 10\u201313<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\" style=\"text-align: right\">Texture: ______________________<\/p>\n<p class=\"import-Normal\" style=\"text-align: right\">Harmonic sequence root motion: ______________________<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.3-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.3-rev-1024x327.png\" alt=\"image of score\" width=\"1024\" height=\"327\" class=\"alignnone wp-image-5774 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.3-rev-1024x327.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.3-rev-300x96.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.3-rev-768x245.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.3-rev-1536x490.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.3-rev-2048x653.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.3-rev-65x21.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.3-rev-225x72.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.3-rev-350x112.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-587-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.3-Beach.mp3?_=10\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.3-Beach.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-18.3-Beach.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by pianist Christopher O&#8217;Riley, on <a href=\"https:\/\/open.spotify.com\/track\/6jz1xnSAuUhSxsvael2zzN?si=adcbb957d2d24cba\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American composer and pianist <strong>Amy Marcy Cheney Beach<\/strong> (1867\u20131944) by reading this <a class=\"rId287\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2248268\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Adrienne Fried Block and revised by E. Douglas Bomberger.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/Ex18.1-Analysis-wtih-sequence-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex18.1 Analysis wtih sequence<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 18-2 Creating melodic sequences<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 18-2 Creating melodic sequences<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Given the model, create a tonal melodic sequence by adding one or two legs and then complete the melody logically (following the principles we&#8217;ve studied in the chapter) in the blank measures that follow. First determine the most logical key, based on the key signature and other musical cues. Each melody should end on tonic. Bracket and label the model and each leg of the sequence. The first is done for you.<span style=\"margin-left: 26pt\"><\/span><\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px\">EXAMPLE. The given model:<\/p>\n<p style=\"padding-left: 40px\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-1024x103.png\" alt=\"image of score\" width=\"1024\" height=\"103\" class=\"alignnone wp-image-2194 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-1024x103.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-300x30.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-768x77.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-1536x154.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-65x7.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-225x23.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-350x35.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model.png 1830w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p style=\"padding-left: 40px\">The completed sequence:<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model.png\"><\/a><\/p>\n<p style=\"padding-left: 40px\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-complete.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-complete-1024x110.png\" alt=\"image of score\" width=\"1024\" height=\"110\" class=\"alignnone wp-image-2195 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-complete-1024x110.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-complete-300x32.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-complete-768x82.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-complete-1536x165.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-complete-65x7.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-complete-225x24.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-complete-350x38.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/exB-model-complete.png 1836w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>(1) <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no1-1024x128.png\" alt=\"image of score\" width=\"1024\" height=\"128\" class=\"alignnone wp-image-2198 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no1-1024x128.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no1-300x37.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no1-768x96.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no1-65x8.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no1-225x28.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no1-350x44.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no1.png 1530w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>(2) <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no2.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no2-1024x130.png\" alt=\"image of score\" width=\"1024\" height=\"130\" class=\"alignnone size-large wp-image-2199\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no2-1024x130.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no2-300x38.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no2-768x98.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no2-1536x195.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no2-65x8.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no2-225x29.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no2-350x44.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no2.png 1550w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>(3) <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no3.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no3-1024x107.png\" alt=\"image of score\" width=\"1024\" height=\"107\" class=\"alignnone wp-image-2201 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no3-1024x107.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no3-300x31.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no3-768x80.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no3-65x7.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no3-225x24.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no3-350x37.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-18.2-no3.png 1527w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2025\/06\/Ex18.2-Creating-melodic-sequences.pdf\" target=\"_blank\" rel=\"noopener\">Ex18.2 Creating melodic sequences<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 18-3 Composing a melody with sequence<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 18-3 Composing a melody with sequence<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">On staff paper or using a notation program, compose a melody of four to eight bars in length. The melody should have a melodic sequence (comprising the initial model, no longer than one bar in length, and two subsequent legs) and a conclusive tonal cadence (implying either a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_587_2300\">PAC<\/a> or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_587_2303\">IAC<\/a>).<\/p>\n<p class=\"import-Normal\">As with all tonal compositions, your melody should have a clef, key signature, time signature, and bar lines. All systems after the first should continue to have a clef, key signature, and bar lines.<\/p>\n<p class=\"import-Normal\">You may find it useful to sketch some ideas first on a separate sheet of manuscript paper before copying your composition neatly in its final form.<\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/06\/Ex18.3-Composing-a-melody-with-sequence.pdf\">Ex18.3 Composing a melody with sequence<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Melodic dictation with sequences<\/h1>\n<p>You can hone your aural skills by notating melodies that use melodic sequence. See nos. 23\u201327 in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-d-melodic-dictations\/\" target=\"_blank\" rel=\"noopener\">Appendix D<\/a> for melodic dictations using sequence.<\/p>\n<h1><a><\/a>Uses of the mediant<\/h1>\n<p class=\"import-Normal\">Unlike all of the other diatonic triads we have studied, the mediant triad appears less often. It is perhaps the least versatile of all chords because it usually appears in one of the following specific contexts:<\/p>\n<ul>\n<li>Part of a harmonic sequence<\/li>\n<li>An extension of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_587_4975\">tonic function<\/a> in the progression I \u2013 iii \u2013 IV \u2013 V (or i \u2013 III \u2013 iv \u2013 V in minor), often harmonizing a descending melody, with scale-degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-305cc2bb0dcd930679d767fedcb5879d_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#56;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> \u2013 <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> \u2013 <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-92d0faf37742011b58b4bf8ae77dec73_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> \u2013 <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/><\/li>\n<\/ul>\n<p class=\"import-Normal\">Example 18\u20118 shows how the mediant triad works with the \u21934 \u21912 sequence, made famous by Pachelbel\u2019s Canon. The mediant triad may appear in other sequences as well, such as the circle-of-fifths sequence.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 18\u20118. Johann Pachelbel, Canon in D, mm. 1\u20132<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image131.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image131.png\" width=\"667\" height=\"717\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-587-11\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.5-pachelbel.mp3?_=11\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.5-pachelbel.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.5-pachelbel.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by the Orpheus Chamber Orchestra, on <a href=\"https:\/\/open.spotify.com\/track\/7ELzGCy3RzQUnkOLy2m7NJ?si=e2362161c8e5473c\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Johann Pache<\/strong><strong>l<\/strong><strong>bel<\/strong> (1653\u20131706) by reading this <a class=\"rId282\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278237\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Ewald V. Nolte and revised by John Butt.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 18\u20119 shows the voice-leading context for the use of the mediant with the I \u2013 iii \u2013 IV \u2013 V progression.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 18\u20119. Typical progression using the mediant triad<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image132.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image132.png\" width=\"815\" height=\"409\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-587-12\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.9.mp3?_=12\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.9.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.9.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 18\u201110 uses this progression in the key of G major (I \u2013 iii \u2013 IV \u2013 V), and Example 18\u201111 uses a similar progression in A major (I \u2013 iii \u2013 IV \u2013 I).<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 18\u201110. Ronnie Milsap, \u201cSmoky Mountain Rain,\u201d 0:48\u20131:20<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-587-13\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.10-milsap.mp3?_=13\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.10-milsap.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.10-milsap.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7CX9JYwpiObnYl2NzFqj4c?si=fb6823d3cc99490b\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American country musician <strong>Ronnie Milsap <\/strong>(b. 1943) by reading the <a href=\"https:\/\/ronniemilsap.com\/about-ronnie-milsap\/\" target=\"_blank\" rel=\"noopener\">bio<\/a> on the artist&#8217;s official website.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 18\u201111. Peter, Paul, and Mary, \u201cPuff, the Magic Dragon,\u201d 0:39\u20130:45<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-587-14\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.11-p-p-and-m.mp3?_=14\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.11-p-p-and-m.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-18.11-p-p-and-m.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7raciFPVU5VuHmqVbw2c1h?si=2e6e387791a547c8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about 20th-century American folk group <strong>Peter, Paul, and Mary<\/strong> by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267442\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Richard D. Driver.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Occasionally the mediant triad functions as a substitute for dominant (this occurs in a handful of late 19th-century compositions, as well as a few pop tunes). However, since it shares scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> with the tonic triad, and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> with the dominant triad, it is generally a less effective and less clear means of conveying <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_587_4979\">dominant function<\/a> than the dominant or leading tone chords.<span style=\"margin-left: 26pt\"><\/span><\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T42 Uses of the mediant (5:51)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T42 Uses of the Mediant\" src=\"https:\/\/player.vimeo.com\/video\/997850358?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video shows you the two ways the mediant triad is used in most tonal music: (1) as part of a larger harmonic sequence and (2) as an extension of tonic function in the chord progression I &#8211; iii &#8211; IV. This video features the musical examples by Pachelbel, Ronnie Milsap, and Peter, Paul, and Mary shown above.<\/p>\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1IkF3OpPja7jWLOpBpz62OhOf9UntZdPlHYXotf5NgvA\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Sequence and uses of the mediant slides<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video (and more) here: <a class=\"rId289\" href=\"https:\/\/open.spotify.com\/playlist\/04FZonV8pV6bR8sKgRExbV?si=dbef822067aa405e\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for uses of the mediant<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 18<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a class=\"rId290\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/25-diatonic-descending-fifth-sequences\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount&#8217;s chapter on sequences by fifth<\/span><\/a><\/p>\n<p class=\"import-Normal\"><a class=\"rId291\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/26-other-diatonic-sequences\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount&#8217;s chapter on other sequences<\/span><\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_587_4667\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_587_4667\"><div tabindex=\"-1\"><p>a common compositional process that uses a series of successively occurring rhythmic, melodic, and\/or harmonic patterns<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_587_2131\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_587_2131\"><div tabindex=\"-1\"><p>process in which a portion of music (both intervallic and rhythmic content) is successively replicated at a different pitch level<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_587_2132\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_587_2132\"><div tabindex=\"-1\"><p>with regard to melodic sequence, the first iteration of sequential material<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_587_2133\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_587_2133\"><div tabindex=\"-1\"><p>with regard to melodic sequence, term referring to each subsequent iteration of sequential material, following the initial model<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_587_2138\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_587_2138\"><div tabindex=\"-1\"><p>type of melodic sequence that replicates the exact intervallic profile (both quantity and quality) of all intervals of the model, regardless of the key<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_587_2139\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_587_2139\"><div tabindex=\"-1\"><p>type of melodic sequence that maintains the quantity (number) of each interval, but not necessarily the quality, in order to fit within a key<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_587_2148\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_587_2148\"><div tabindex=\"-1\"><p>process in which a repeating pattern of root motion appears in a harmonic progression<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_587_2300\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_587_2300\"><div tabindex=\"-1\"><p>abbreviation for \"perfect authentic cadence,\" which is the most conclusive cadence type, having both of the following features: (1) the cadence uses a dominant chord in root position followed by a tonic chord in root position, and (2) the tonic triad uses scale degree 1 (\u201cdo\u201d) in the soprano melody or main melodic part<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_587_2303\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_587_2303\"><div tabindex=\"-1\"><p>abbreviation for \"imperfect authentic cadence,\" which refers to any cadence that moves from dominant function to the tonic triad in which any of the chords is inverted or uses the leading tone chord instead of V, or in which a scale degree other than 1 (\"do\") is in the highest part or melody with the tonic chord<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_587_4975\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_587_4975\"><div tabindex=\"-1\"><p>the most stable tonal function of repose, resolution, or conclusion, exemplified by the triad built on scale degree 1<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_587_4979\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_587_4979\"><div tabindex=\"-1\"><p>the most unstable tonal function characterized by tension, setting up a listener\u2019s expectation to hear tonic as a resolution; chords with dominant function include the dominant triad, dominant seventh, and chords built on the leading tone<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":18,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-587","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/587","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":75,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/587\/revisions"}],"predecessor-version":[{"id":7049,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/587\/revisions\/7049"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/587\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=587"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=587"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=587"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=587"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}