ABCDEFGHIJKLMNOPQRSTUVWXYZAA
1
This spreadsheet is the collaborative work of music theorists from around the world. Anyone can contribute! Click here to submit an example. For more information about our group, visit composersofcolor.hcommons.org. INSTRUCTIONS -- The goal is to assemble a repository of examples by composers of color for use in the theory and aural skills curriculum. Feel free to add examples under any of the existing topics, or to add other relevant topics wherever you see fit. Examples from popular, vernacular, world, and other repertoires welcome; scores are not necessary! Notes are appreciated -- good notes will identify whether an example is straightforward (i.e. teach on day one) or more complicated (i.e. good for a homework assignment), and whether a piece would be useful for whole class discussion (i.e. "this piece uses many inversions of V7 and has a transparent texture that would make it accessible for extended analysis in a theory 1 class; discussion might address the use of cadential six-four in the expansion of the consequent"). If a PD score is not available, please provide a worldcat link to a published edition if possible. PLEASE NOTE: ADDITIONAL TOPICS ARE IN SEPARATE SHEETS (SEE THE BOTTOM OF THE PAGE)318 examples so far!
2
UnitTopicSubtopicComposer (include bio link)TitleDateExample Measure/TimingIdentity (gender, race, LGBTQ+, disability, etc.)Score LinkEngraving LinkRecording LinkNotesRelated scholarship (whether including analysis or otherwise)
3
Diatonic HarmonyTriad IdentificationVincente LusitanoHeu me domine1551throughoutPortuguese, of African descent, manhttps://ks.imslp.net/files/imglnks/usimg/4/4d/IMSLP625287-PMLP328104-Lusitano_Heu_me_Domine_4_-_Score.pdfhttps://www.youtube.com/watch?v=Q5ApDUYxRGcnearly every verticality is triadic; good fundamentals exercise for identifying root, inversion, and quality of triads
4
Primary chords and Tonal FunctionsI, V, and V7Joseph BoulogneString Quartet Op. 1, no. 6, mvt. ii1773mm. 79–86Afro-European, Caribbean heritagehttps://open.spotify.com/track/3UvjsAt8Rg3l6x8HL3wjCZ?si=O3OWK5ADS1ivNxAJ_SvJvwall root-position I, V, and V7
5
Joseph Boulogne, Chevalier de Saint GeorgesSymphony no. 2 in D Major, Op. 11, mvt. iii (Presto)1779mm. 1–47, mm. 48–67Afro-European, caribbean heritagehttps://imslp.org/wiki/2_Symphonies%2C_Op.11_(Saint-Georges%2C_Joseph_Bologne)https://www.youtube.com/watch?v=4pfSI-g6dcg&list=RD4pfSI-g6dcg&start_radio=1&t=13DM section is almost exclusively root position I and V throughout; then D minor section similarly opens with i-V alternation; entire DM section is diatonic so would be accessible early in the curriculum
6
Francis JohnsonVictoria Gallopca. 1839m. 17African Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632405/hfin
https://www.youtube.com/watch?v=nD7_y0ucv9U
very dramatic buildup to adding the seventh to a V7 chord; leads to interruption and seventh resolves in an inner voice
7
Joseph White (José Silvestre White Lafitte)Zamacueca, Op. 30 (for violin and piano)1897throughoutAfro-Cubanhttps://imslp.org/wiki/Zamacueca%2C_Op.30_(White%2C_Joseph)
https://www.youtube.com/watch?v=TgG-5R2ICOk
lots of tonic and dominant alternation, with some secondary dominants and passing 6/4 chords; would make a great listening example for tonic and dominant function; discussion questions: how might a composer create variety in a piece that primarily focuses on tonic and dominant? (opens discussion to aspects like instrumental techniques, relationship to dance, etc.
8
Bob ColeThe Katy-did, the Cricket and the Frog1903throughoutAfrican Americanhttps://imslp.org/wiki/The_Katy-did%2C_the_Cricket_and_the_Frog_(Cole%2C_Bob)straightforward use of I and V7 throughout, useful for MT 1
9
Undine Smith MooreCome Down Angels1978throughoutAfrican American, Womanin Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor
https://www.youtube.com/watch?v=7XABTl-iPGw
great for aural skills classes: melody arpeggiates I and V7 (well, really viiØ7) throughout; good for listening and analysis too though there is a tonic pedal under much of the dominant, but good for hearing the difference between prolongational and cadential dominants
10
T and D FunctionsFrancis JohnsonVictoria Gallopca. 1839mm. 1–8, 21–28African Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632405/hfin
https://www.youtube.com/watch?v=nD7_y0ucv9U
11
Isaac HazzardMartha, from Terpsichore1836entire pieceAfrican-Americanat the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.htmlmelody harmonization with tonic and dominant: possible assignment -- give students the melody only and have them supply harmonies (melody very clearly implies tonic and dominant harmonies), have them use other pieces from the set to supply idiomatic accompaniment pattern
12
Dominant LockR. Nathaniel DettMammy (no. 4 from Magnolia Suite)1912B sectionBlack Canadian-American
https://imslp.org/wiki/Magnolia_(Dett%2C_Robert_Nathaniel)
https://www.youtube.com/watch?v=rmmYKV4aO74&feature=youtu.be
ternary form; most of the B section sits over a Dominant pedal w/ six-fourhttps://www.upress.state.ms.us/Books/R/Racial-Uplift-and-American-Music-1878-1943
13
Julia PerryHow Beautiful are the Feet1954mm. 33–36African-American, Womanhttps://hcommons.org/groups/julia-perry-working-group/documents/?page=1https://www.youtube.com/watch?v=HO6En6TGjEY
14
Minor DominantWill Marion Cook"Exhortation: A Negro Sermon" (from Three Negro Songs)1912m. 3African Americanhttps://imslp.org/wiki/3_Negro_Songs_(Cook%2C_Will_Marion)https://youtu.be/kXD-YcfQI70
15
Julia Perry"I'm a Poor Little Orphan" (spiritual arrangement)1952throughoutAfrican American, Womanin Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylorhttps://www.youtube.com/watch?v=D6fQctPhHwQmix of strict Aeolian and minor Pentatonic
16
Irlando Maky LópezAdios Guapi2006throughouthttps://www.youtube.com/watch?v=RozQEJGpDIo&ab_channel=SonidosPac%C3%ADficosalternating between tonic and minor dominant in cyclic ostinato for entire duration of the piece
17
IVFrancis JohnsonA Collection of New Cotillons, I. The Cymbals1818mm. 5–16African Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632702/hfinhttps://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
18
PD FunctionFrancis JohnsonA Collection of New Cotillons1818throughoutAfrican Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632702/hfinhttps://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
19
Francis JohnsonVictoria Gallopca. 1839mm. 21-28 / 0:24-0:31African Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632405/hfin
https://www.youtube.com/watch?v=nD7_y0ucv9U
Clear T, P, and D functions in this phrase.
20
Scott JoplinCombination March1896throughoutAfrican-Americanhttps://imslp.org/wiki/Combination_March_(Joplin%2C_Scott)https://www.youtube.com/watch?v=SXYMyBJwzz0good exercsize for hearing and/or analyzing T, PD, and D functions; class discussion might include changing distribution of harmonies between each section, changing harmonic rhythm, etc., rhetorical effect of departing from the straightforward harmonies at the beginning of each section to the more complex ones later on
21
Scott JoplinAugustan Club Waltz1901throughoutAfrican-Americanhttps://imslp.org/wiki/Augustan_Club_Waltz_(Joplin%2C_Scott)https://www.youtube.com/watch?v=haQLEMN3WX8good for listening to and analyzing T, PD, and D; also the possibility of a more subtle discussion of ii6 vs. IV (mm. 37ff.)
22
Lin-Manuel Miranda and Opetiaia Foa'iWe Know the Way (from Moana)2016throughoutPuerto Rican American / Pacific Islanderhttps://www.youtube.com/watch?v=ubZrAmRxy_Mgreat listening exercise for introducing T, PD, D functions. Also a good example to discuss colonialism since these functions are being used to represent the voices of Pacific islanders who clearly would not have used Western harmonic functions given the context depicted in the film. Rich potential for discussion of ideology, power, and musical structure.
23
"V-IV"Francis JohnsonA Collection of New Cotillons, II. Maria Caroline1818throughoutAfrican Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632702/hfinhttps://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
24
Plagal ProgressionsUndine Smith MooreWatch and Pray1972throughoutAfrican American, Womanin Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor
https://www.youtube.com/watch?v=BKyL8xyYIYk
the iv chords are often colored with mixture notes and extensions, but there's plagal motion all over the place (e.g. mm. 29–30), see also iv9 as neighbor note within cadential six-four resolution (e.g. m. 27)
25
Cadence TypesPACEugène DédéBuenas Noches!1893mm. 25-26, 43-44, 60-61Creole, manhttps://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)PACs with embellished 64
26
Florence PriceSong to the Dark Virgin1941mm. 5–6African American, Womanin Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylorhttps://www.youtube.com/watch?v=u9qTZUN520caccessible opening phrase ending with a very clear PAC, with some rich but approachable harmonies here (alternates I/V over dominant pedal, uses I added sixth chord, overall progression is I-vi-ii-V-I)
27
IACEugène DédéDouleur et Gaîté1886mm. 1–8Creolehttps://imslp.org/wiki/Douleur_et_ga%C3%AEt%C3%A9_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)parallel period with IAC--PAC pair; see also similar period in mazurka A section
28
HCEugène DédéBuenas Noches!1893Trio, mm. 85-85Creole, manhttps://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)HC with 6/4 chord (could be heard as PAC if modulated but then repeats/returns to original key)
29
Plagal CadenceSamuel Coleridge-Taylor"A Song," Hiawathan Sketches, Op. 16, no. 21896mm. 8–10, 16–18Afro-Europeanhttps://imslp.org/wiki/Hiawathan_Sketches%2C_Op.16_(Coleridge-Taylor%2C_Samuel)https://open.spotify.com/track/4qDohQxvTqJsdxLxBnPaWA?si=3cc7c7b2fc24480aactual plagal cadences; the first in one key, the second modulates to CM
30
Coleridge-Taylor PerkinsonString Quartet no. 1 ("Calvary"), mvt. i1956enitre pieceAfrican-Americannon PD: http://www.worldcat.org/oclc/969455183https://youtu.be/5BnlqUu_x1U?t=140plagal and other non-CP cadences; in dialogue with use of ragtime and spiritual topics
31
Tonicized HCJoseph BoulogneString Quartet Op. 1 no. 4, mvt. i1773mm. 28–29Afro-European, Caribbean heritagehttps://imslp.org/wiki/6_String_Quartets%2C_Op.1_(Saint-Georges%2C_Joseph_Bologne)https://www.youtube.com/watch?v=2nYDZ39qo7U
32
Eugène DédéBuenas Noches!1893Trio, mm. 85-85Creole, manhttps://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)HC with 6/4 chord (could be heard as PAC if modulated but then repeats/returns to original key)
33
Eugène DédéBuenas Noches!1893mm. 52-53, 68-69Creole, manhttps://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)
34
Samuel Coleridge-Taylor"Merry-Making" Op. 9, no. 21896m. 8, m. 12Afro-Europeanhttps://imslp.org/wiki/2_Romantic_Pieces%2C_Op.9_(Coleridge-Taylor%2C_Samuel)clear tonicized HC in F#m and AM respectively
35
Florence PriceFirst Sonata for Organ, mvt. iii (Finale)1927m. 113African-American, Womanhttp://www.worldcat.org/oclc/1099526351https://youtu.be/ha0RIFZdxMgcentral cadence of a large contrasting periodsee annotated score at https://composersofcolor.hcommons.org/
36
Evaded CadenceJoseph BoulogneString Quartet Op. 1 no. 5, mvt. i1773mm. 19–33, m.45Afro-European, Caribbean heritagehttp://www.worldcat.org/oclc/775411657
https://open.spotify.com/track/1bkAfIf6H1E97DIJvrczs2?si=TT3l5QGHS_-ChrsyoFIxBw
nice examples of evaded cadences in S (mm. 19–33), and prominent/thematized evaded cadence in m. 45
37
Harry T. BurleighMy Lord, What a Mornin'1918m. 10 (1st page, last system, 2nd m.)African American manhttps://imslp.org/wiki/My_Lord%2C_what_a_Mornin'_(Burleigh%2C_Harry_Thacker)https://youtu.be/mJoDR704-BA ; Jessye Norman: https://www.youtube.com/watch?v=642dCC0nkRQAlso a nice example of a period with expanded consequent as a result of this evaded cadence.
38
Elided ResolutionScott JoplinAntoinette1906mm. 19, 50, 86African Americanhttps://ks.imslp.net/files/imglnks/usimg/1/1a/IMSLP05493-Joplin_-_Antoinette.pdf
https://www.youtube.com/watch?v=-XBAgZzYURY
39
Tonic ExpansionI6Scott JoplinThe Sacred Tree, from Treemonisha1910throughoutAfrican Americanhttps://ks4.imslp.net/files/imglnks/usimg/f/ff/IMSLP12696-Joplin_Treemonisha_No.06_The_Sacred_Tree.PDF
https://www.youtube.com/watch?v=HAEDQJBbTu0
opening harmony and many subsequent structural tonics are i6; much of the harmony is too complicated for early in the semester but could still prompt a rich discussion about the relative feeling of stability, textual motivation for this harmony, etc.see annotated score at https://composersofcolor.hcommons.org/
40
Isaac HazzardElisabeth, from Terpsichore1836mm. 17–24African-Americanat the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.htmlC section (mm. 17-24) is another I6-ending parallel period, this time in the subdominant. Typo in m. 17, where the first beat should parallel m. 20. The bass line drops out in m. 20, a good opportunity for students to discuss what bass note is implied (perhaps a Cad 64). Good phrases for working with I6, V42, and cadential patterns.
41
Isaac HazzardSusana, from Terpsichore1836throughoutAfrican-Americanat the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.htmlA section: almost all of the chords are inverted (likely that a bass instrument was also used?); opening period pairs an "inverted" version and a "root-position" version, so nice opportunity to compare the different effects of inversions; mostly I and V7 inversions so accessible early in the curriculum; see also B section (I-V43-V65-I)
42
IV6/4 (Ped)Isaac HazzardHenrietta, from Terpsichore1836m. 1African-Americanat the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html
43
Samuel Coleridge-Taylor"A Song," Hiawathan Sketches, Op. 16, no. 21896m. 39Afro-Europeanhttps://imslp.org/wiki/Hiawathan_Sketches%2C_Op.16_(Coleridge-Taylor%2C_Samuel)very clear example; also lovely mode mixture variant in mm. 49–51 (starts as major version, then followed by mixture version)
44
Samuel Coleridge-TaylorSweet evenings come and go, love1899m. 3Afro-European, manhttps://ks.imslp.net/files/imglnks/usimg/3/3d/IMSLP23610-PMLP53834-Sweet_Evenings_Come_and_Go,_Love.pdfhttps://www.youtube.com/watch?v=vj7vR1Tt1Zoopportunity to point out arpeggiating six-four in mm. 1–2 as well; see also more extensive example at final cadencesee annotated score at https://composersofcolor.hcommons.org/
45
Scott JoplinThe Sacred Tree, from Treemonisha1910p. 5African Americanhttps://ks4.imslp.net/files/imglnks/usimg/f/ff/IMSLP12696-Joplin_Treemonisha_No.06_The_Sacred_Tree.PDF
https://www.youtube.com/watch?v=HAEDQJBbTu0
ped 6/4 with modal mixturesee annotated score at https://composersofcolor.hcommons.org/
46
Margaret BondsHe's Got the Whole World in his Hand1963mm.5-6African American, womanin Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylormm.5-6 ped 6/4
m. 8 pass 6/4
47
Betty Jackson KingIt’s Me, O Lord (spiritual)1988mm. 3-6African American, womanin Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor
48
V6Francis JohnsonVictoria Gallopca. 1839mm. 1–8African Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632405/hfinhttps://imslp.org/wiki/Victoria_Gallop_(Johnson%2C_Francis)https://www.youtube.com/watch?v=nD7_y0ucv9U
49
Eugène DédéBuenas Noches!1893mm. 50, 65Creole, manhttps://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)mm. 56
50
Samuel Coleridge-Taylor"A Song," Hiawathan Sketches, Op. 16, no. 21896mm. 37–48 (B section)Afro-Europeanhttps://imslp.org/wiki/Hiawathan_Sketches%2C_Op.16_(Coleridge-Taylor%2C_Samuel)super clear example of V6-I
51
VII6 (PT)
52
VII6 (NT)
53
Passing 6/4Isaac HazzardWashington, from Terpsichore1836mm. 26–27African-Americanat the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.htmlnice example of passing six-four over stationary bass
54
V6/5Francis JohnsonVictoria Gallopca. 1839mm. 3–4African Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632405/hfin
https://www.youtube.com/watch?v=nD7_y0ucv9U
excellent example: V65 as LN in m. 1, then V65-->V7 in m. 7
55
Samuel Coleridge-TaylorRomance in G for Violin and Orchestra, Op. 391899m. 8Afro-Europeanhttps://imslp.org/wiki/Romance_for_Violin,_Op.39_(Coleridge-Taylor,_Samuel)
https://www.youtube.com/watch?v=n2nYhQjNpp0
56
V4/3Margaret BondsHe's Got the Whole World in his Hand1963first page, second system; second page second systemAfrican American, womanin Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylorhttps://www.youtube.com/watch?v=tnumq5RkGY4I6 - V43 - I with voice exchange; see also V-V42-I6 on first page, second system
57
V4/2Margaret BondsHe's Got the Whole World in his Hand1963first page, second systemAfrican American, womanin Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylorhttps://www.youtube.com/watch?v=tnumq5RkGY4see also I6 - V43 - I with voice exchange
58
Combinations of V7 inversionsJoseph BoulogneString Quartet Op. 1, no. 6, mvt. i1773mm. 17ffAfro-European, Caribbean heritagehttps://www.youtube.com/watch?v=m_a0gpuy510until the modulation this is an excellent analysis passage for inversions of V7 and I (lots of V65-I-V43-I6), plus IV; good for discussing pedal tones as well; recap adds V4/2, and entire development is full of inversions of V7 alternating with I
59
Joseph BoulogneSymphony no. 1 in G Major, mvt. i1779mm. 50–53Afro-European, Caribbean heritagehttps://imslp.org/wiki/2_Symphonies%2C_Op.11_(Saint-Georges%2C_Joseph_Bologne)https://www.youtube.com/watch?v=KGvYgTlsLesnice teaching example: double neighbor progression in the antecedent, then the consequent adds lower strings to produce root position harmonies
60
Isaac HazzardSusana, from Terpsichore1836A sectionAfrican-Americanat the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.htmlalmost all of the chords are inverted (likely that a bass instrument was also used?); opening period pairs an "inverted" version and a "root-position" version, so nice opportunity to compare the different effects of inversions; mostly I and V7 inversions so accessible early in the curriculum
61
Harry T. Burleigh"Till I Wake" from Five Songs of Laurence Hope1915mm. 7–17Blackhttps://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)https://musescore.com/user/27638568/sets/5104071
https://www.youtube.com/watch?v=qVNmSQm3BGM
most of this song is far too difficult for beginning students, but the first phrase uses all three inversions of V7 in a clear arpeggiated texture and would be very accessible (a discussion topic could involve comparing the "vanilla" harmonization of this melody with the more complex/jazzier versions)
62
I–IV–IFrancis JohnsonA Collection of New Cotillons, II. Maria Caroline1818m. 13African Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632702/hfinhttps://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
63
Francis JohnsonA Collection of New Cotillons, IV. Caroline1818mm. 13–16African Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632702/hfinhttps://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
64
R. Nathaniel DettThe Deserted Cabin, from Magnolia Suite, no. 21912mm. 1–2African American, manhttps://ks.imslp.info/files/imglnks/usimg/0/09/IMSLP202683-SIBLEY1802.20065.b102-39087012665628vol._1_score.pdf
https://www.youtube.com/watch?v=K-WBWWB8UkI
i-iv7-i, with interesting suspensions in returning i chord; leads straight to V64-53-i; interesting to compare with the second phrase, which starts out the same but then leads i-VI-ii-Vsee annotated score: https://hcommons.org/app/uploads/sites/1001896/2021/04/Dett-The-deserted-cabin-annotated.pdf
65
Predominant Harmonyii(6) vs. IVScott JoplinAugustan Club Waltz1901mm. 37–67African-Americanhttps://imslp.org/wiki/Augustan_Club_Waltz_(Joplin%2C_Scott)https://www.youtube.com/watch?v=haQLEMN3WX8good opportunity to discuss why choose ii6 vs. IV (much of the piece uses root position IV-V-I progressions; this passage chooses ii6); discussion might explore the way ii6 (cm) prepares the iv in gm that comes later (m.73 and similar places), and even iiø6/5 in m. 102
66
II6(5)-V or V7Francis JohnsonA Collection of New Cotillons, II. Maria Caroline1818mm. 1–8African Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632702/hfinhttps://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
67
Francis JohnsonA Collection of New Cotillons, III. Augustus1818mm. 1–8African Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632702/hfinhttps://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
68
Francis JohnsonA Collection of New Cotillons, IV. Caroline1818mm. 9–12African Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632702/hfinhttps://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
69
II-V or V7Eugène DédéBuenas Noches!1893mm. 47, 59-60, 63, 75-76Creole, manhttps://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)
70
Florence PriceFirst Sonata for Organ, mvt. iii (Finale)1927mm. 106–109African-American, Womanhttp://www.worldcat.org/oclc/1099526351https://youtu.be/ha0RIFZdxMgblock chord harmonies (in three staves) all accessible early in MT 1 (inversions of I, V, and V7, plus a single ii chord leading to IAC)see annotated score at https://composersofcolor.hcommons.org/
71
Undine Smith MooreLove Let the Wind Cry --- How I Adore Thee1961m. 36-endWoman, African-Americannon-PD, available in Anthology of Art Songs by Black American Composershttps://www.youtube.com/watch?v=jbhvq59P744
72
Tritone Substitution (for ii-V)Betty Jackson KingIn the Springtime1976m. 26African American, Womanin Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylorhttps://www.youtube.com/watch?v=7tXwnhS5djMclear example, with V in the parallel position in the second verse
73
Rising Bass Paradigm (IV6-V6-I) (see also PD seventh chords, below)Isaac HazzardWashington, from Terpsichore1836C section (mm. 17–24)African-Americanat the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html
74
Expanding PDII-II6
75
II6-IIFrancis JohnsonA Collection of New Cotillons, II. Maria Caroline1818m. 13–16African Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632702/hfinhttps://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
76
IV-II6
77
IV-II43Eugène DédéBuenas Noches!1893mm. 86Creole, manhttps://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)
78
IV-II
79
Predominant Seventh ChordsGeneral or MixedJulia PerryHow Beautiful are the Feet1954throughoutAfrican-American, Womanhttps://hcommons.org/groups/julia-perry-working-group/documents/?page=1https://www.youtube.com/watch?v=HO6En6TGjEYesp vi43 in m. 7, iiø43 in m. 18; see also iv9 in m. 23; parallel fifths in resolution from IV7–V
80
II6/5
81
II7
82
II4/3Eugène DédéBuenas Noches!1893mm. 4-5, 80-81, 86-87, 107-108Creole, manhttps://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)
83
II4/2-V6/5Samuel Coleridge-TaylorRomance in G for Violin and Orchestra, Op. 391899mm. 5–9Afro-Europeanhttps://imslp.org/wiki/Romance_for_Violin,_Op.39_(Coleridge-Taylor,_Samuel)
https://www.youtube.com/watch?v=n2nYhQjNpp0
nice embellished example of I-ii42-V65-I paradigm (gorgeous!); potential discussion questions: where is the line between the tonic pedal and the inverted ii7 chord?
84
IV7
85
IV6/5-V6/5
86
CAD 6/46/4-5/3Francis JohnsonA Collection of New Cotillons, II. Maria Caroline1818m. 12African Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632702/hfinhttps://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
87
Francis JohnsonA Collection of New Cotillons, III. Augustus1818mm. 13–16African Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632702/hfinhttps://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
88
Francis JohnsonA Collection of New Cotillons, IV. Caroline1818mm. 9–12African Americanhttps://imslp.org/wiki/Special:ImagefromIndex/632702/hfinhttps://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
89
Chiquinha GonzagaSospiroca. 1881mm. 17–18Brazilian, Womanhttps://imslp.org/wiki/Sospiro_(Gonzaga%2C_Chiquinha)https://imslp.org/wiki/Sospiro_(Gonzaga%2C_Chiquinha)compare with unresolved V6/4 in m. 11; easy to hear but also tonicized, so a bit tricky to use early on
90
Joseph Boulogne, Chevalier de Saint GeorgesSymphony no. 2 in D Major, Op. 11, mvt. iii (Presto)1779mm. 48–67Afro-European, caribbean heritagehttps://imslp.org/wiki/2_Symphonies%2C_Op.11_(Saint-Georges%2C_Joseph_Bologne)https://www.youtube.com/watch?v=4pfSI-g6dcg&list=RD4pfSI-g6dcg&start_radio=1&t=13nice parallel period with HC-PAC structure and cadential six-four in both spots; good teaching example
91
Joseph Bologne, Chevalier de Saint-GeorgesViolin Sonata Op. 1a No. 2: I. Allegro Moderatoc. 1770mm. 43, 44, 53Afro-European, caribbean heritage, manhttps://imslp.org/wiki/3_Violin_Sonatas%2C_Op.1a_(Saint-Georges%2C_Joseph_Bologne)
92
8/6/4-7/5/3Joseph Bologne, Chevalier de Saint-GeorgesViolin Sonata Op. 1a No. 2: I. Allegro Moderatoc. 1770mm. 65Afro-European, caribbean heritage, manhttps://imslp.org/wiki/3_Violin_Sonatas%2C_Op.1a_(Saint-Georges%2C_Joseph_Bologne)
93
Eugène DédéBuenas Noches!1893mm. 24-25, 41-42, 60-61, 76-77, 84-85Creole, manhttps://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)Most of these actually have the voices meandering around so that they look more like 6 resolves to 7, or some chromatic descents
94
6/4-4/2 (evaded)Joseph BoulogneString Quartet Op. 1, no. 6, mvt. ii1773mm. 1–8Afro-European, Caribbean heritageterrific teaching example; basic idea uses V6/4-V4/2-I6, then consequent closes with PAC via cadential six-four
95
Harry T. BurleighMy Lord, What a Mornin'1918m. 10 (1st page, last system, 2nd m.)African American manhttps://imslp.org/wiki/My_Lord%2C_what_a_Mornin'_(Burleigh%2C_Harry_Thacker)https://youtu.be/mJoDR704-BA ; Jessye Norman: https://www.youtube.com/watch?v=642dCC0nkRQAlso a nice example of a period with expanded consequent as a result of this evaded cadence.
96
Embellished 6/4Will Marion Cook"Exhortation: A Negro Sermon" (from Three Negro Songs)1912mm. 34–endAfrican Americanhttps://imslp.org/wiki/3_Negro_Songs_(Cook%2C_Will_Marion)https://youtu.be/kXD-YcfQI70prolonged cadential six-four revisits several keys from the verse
97
Chiquinha GonzagaFado das Tricanas de Coimbra?? (Gonzaga's dates are 1847–1935)mm. 15–17Brazilian, Womanhttps://imslp.org/wiki/Fado_das_tricanas_de_Coimbra_(Gonzaga%2C_Chiquinha)https://www.youtube.com/watch?v=TmxS6YA0bMcV6/4 - V65/V - V5/3 (cf. simpler examples elsewhere in the piece)see annotated score: https://hcommons.org/app/uploads/sites/1001896/2020/10/Gonzaga-Fado.pdf
98
Chiquinha GonzagaGrata Esperançaca. 1886mm. 37–40Brazilian, Womanhttps://imslp.org/wiki/Grata_esperan%C3%A7a_(Gonzaga%2C_Chiquinha)https://www.youtube.com/watch?v=SonEJhPIAqsV6/4 - V43/V - V6/4 - V5/3 (see also more complicated example on p. 4: V6/4 - (I6 - IV6) - V5/3)see annotated score: https://hcommons.org/app/uploads/sites/1001896/2020/10/Gonzaga-Grata.pdf
99
Margaret BondsHe's Got the Whole World in his Hand1963final cadenceAfrican American, womanin Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylorhttps://www.youtube.com/watch?v=tnumq5RkGY4arrival of a cadential 6-4 at the beginning of the last system, then it's decorated by IV before resolving at the end of the bar
100
Undine Smith MooreWatch and Pray1972mm. 64–67, 25–28African American, Womanin Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor
https://www.youtube.com/watch?v=BKyL8xyYIYk
huge final cadential six-four (high C in soprano!) w/ iv9 LN before resolution to V9