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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) | 329 examples so far! | |||||||||||||||||||||||||
2 | Unit | Topic | Subtopic | Composer (include bio link) | Title | Date | Example Measure/Timing | Identity (gender, race, LGBTQ+, disability, etc.) | Score Link | Engraving Link | Recording Link | Notes | Related scholarship (whether including analysis or otherwise) | ||||||||||||||
3 | Diatonic Harmony | Triad Identification | Vincente Lusitano | Heu me domine | 1551 | throughout | Portuguese, of African descent, man | https://ks.imslp.net/files/imglnks/usimg/4/4d/IMSLP625287-PMLP328104-Lusitano_Heu_me_Domine_4_-_Score.pdf | https://www.youtube.com/watch?v=Q5ApDUYxRGc | nearly every verticality is triadic; good fundamentals exercise for identifying root, inversion, and quality of triads | |||||||||||||||||
4 | Primary chords and Tonal Functions | I, V, and V7 | Joseph Boulogne | String Quartet Op. 1, no. 6, mvt. ii | 1773 | mm. 79–86 | Afro-European, Caribbean heritage | https://open.spotify.com/track/3UvjsAt8Rg3l6x8HL3wjCZ?si=O3OWK5ADS1ivNxAJ_SvJvw | all root-position I, V, and V7 | ||||||||||||||||||
5 | Joseph Boulogne, Chevalier de Saint Georges | Symphony no. 2 in D Major, Op. 11, mvt. iii (Presto) | 1779 | mm. 1–47, mm. 48–67 | Afro-European, caribbean heritage | https://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=13 | DM 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 Johnson | Victoria Gallop | ca. 1839 | m. 17 | African American | https://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) | 1897 | throughout | Afro-Cuban | https://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 Cole | The Katy-did, the Cricket and the Frog | 1903 | throughout | African American | https://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 Moore | Come Down Angels | 1978 | throughout | African American, Woman | in 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 Functions | Francis Johnson | Victoria Gallop | ca. 1839 | mm. 1–8, 21–28 | African American | https://imslp.org/wiki/Special:ImagefromIndex/632405/hfin | https://www.youtube.com/watch?v=nD7_y0ucv9U | |||||||||||||||||||
11 | Isaac Hazzard | Martha, from Terpsichore | 1836 | entire piece | African-American | at 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 | melody 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 Lock | R. Nathaniel Dett | Mammy (no. 4 from Magnolia Suite) | 1912 | B section | Black 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-four | https://www.upress.state.ms.us/Books/R/Racial-Uplift-and-American-Music-1878-1943 | |||||||||||||||||
13 | Julia Perry | How Beautiful are the Feet | 1954 | mm. 33–36 | African-American, Woman | https://hcommons.org/groups/julia-perry-working-group/documents/?page=1 | https://www.youtube.com/watch?v=HO6En6TGjEY | ||||||||||||||||||||
14 | Minor Dominant | Will Marion Cook | "Exhortation: A Negro Sermon" (from Three Negro Songs) | 1912 | m. 3 | African American | https://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) | 1952 | throughout | African American, Woman | in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor | https://www.youtube.com/watch?v=D6fQctPhHwQ | mix of strict Aeolian and minor Pentatonic | |||||||||||||||||||
16 | Irlando Maky López | Adios Guapi | 2006 | throughout | https://www.youtube.com/watch?v=RozQEJGpDIo&ab_channel=SonidosPac%C3%ADficos | alternating between tonic and minor dominant in cyclic ostinato for entire duration of the piece | |||||||||||||||||||||
17 | IV | Francis Johnson | A Collection of New Cotillons, I. The Cymbals | 1818 | mm. 5–16 | African American | https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin | https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis) | |||||||||||||||||||
18 | PD Function | Francis Johnson | A Collection of New Cotillons | 1818 | throughout | African American | https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin | https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis) | |||||||||||||||||||
19 | Francis Johnson | Victoria Gallop | ca. 1839 | mm. 21-28 / 0:24-0:31 | African American | https://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 Joplin | Combination March | 1896 | throughout | African-American | https://imslp.org/wiki/Combination_March_(Joplin%2C_Scott) | https://www.youtube.com/watch?v=SXYMyBJwzz0 | good 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 Joplin | Augustan Club Waltz | 1901 | throughout | African-American | https://imslp.org/wiki/Augustan_Club_Waltz_(Joplin%2C_Scott) | https://www.youtube.com/watch?v=haQLEMN3WX8 | good 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'i | We Know the Way (from Moana) | 2016 | throughout | Puerto Rican American / Pacific Islander | https://www.youtube.com/watch?v=ubZrAmRxy_M | great 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 Johnson | A Collection of New Cotillons, II. Maria Caroline | 1818 | throughout | African American | https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin | https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis) | |||||||||||||||||||
24 | Plagal Progressions | Undine Smith Moore | Watch and Pray | 1972 | throughout | African American, Woman | in 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 Types | PAC | Eugène Dédé | Buenas Noches! | 1893 | mm. 25-26, 43-44, 60-61 | Creole, man | https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne) | PACs with embellished 64 | ||||||||||||||||||
26 | Florence Price | Song to the Dark Virgin | 1941 | mm. 5–6 | African American, Woman | in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor | https://www.youtube.com/watch?v=u9qTZUN520c | accessible 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 | IAC | Eugène Dédé | Douleur et Gaîté | 1886 | mm. 1–8 | Creole | https://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 | HC | Eugène Dédé | Buenas Noches! | 1893 | Trio, mm. 85-85 | Creole, man | https://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 Cadence | Samuel Coleridge-Taylor | "A Song," Hiawathan Sketches, Op. 16, no. 2 | 1896 | mm. 8–10, 16–18 | Afro-European | https://imslp.org/wiki/Hiawathan_Sketches%2C_Op.16_(Coleridge-Taylor%2C_Samuel) | https://open.spotify.com/track/4qDohQxvTqJsdxLxBnPaWA?si=3cc7c7b2fc24480a | actual plagal cadences; the first in one key, the second modulates to CM | ||||||||||||||||||
30 | Coleridge-Taylor Perkinson | String Quartet no. 1 ("Calvary"), mvt. i | 1956 | enitre piece | African-American | non PD: http://www.worldcat.org/oclc/969455183 | https://youtu.be/5BnlqUu_x1U?t=140 | plagal and other non-CP cadences; in dialogue with use of ragtime and spiritual topics | |||||||||||||||||||
31 | Tonicized HC | Joseph Boulogne | String Quartet Op. 1 no. 4, mvt. i | 1773 | mm. 28–29 | Afro-European, Caribbean heritage | https://imslp.org/wiki/6_String_Quartets%2C_Op.1_(Saint-Georges%2C_Joseph_Bologne) | https://www.youtube.com/watch?v=2nYDZ39qo7U | |||||||||||||||||||
32 | Eugène Dédé | Buenas Noches! | 1893 | Trio, mm. 85-85 | Creole, man | https://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 Dédé | Buenas Noches! | 1893 | mm. 52-53, 68-69 | Creole, man | https://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. 2 | 1896 | m. 8, m. 12 | Afro-European | https://imslp.org/wiki/2_Romantic_Pieces%2C_Op.9_(Coleridge-Taylor%2C_Samuel) | clear tonicized HC in F#m and AM respectively | ||||||||||||||||||||
35 | Florence Price | First Sonata for Organ, mvt. iii (Finale) | 1927 | m. 113 | African-American, Woman | http://www.worldcat.org/oclc/1099526351 | https://youtu.be/ha0RIFZdxMg | central cadence of a large contrasting period | see annotated score at https://composersofcolor.hcommons.org/ | ||||||||||||||||||
36 | Evaded Cadence | Joseph Boulogne | String Quartet Op. 1 no. 5, mvt. i | 1773 | mm. 19–33, m.45 | Afro-European, Caribbean heritage | http://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. Burleigh | My Lord, What a Mornin' | 1918 | m. 10 (1st page, last system, 2nd m.) | African American man | https://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=642dCC0nkRQ | Also a nice example of a period with expanded consequent as a result of this evaded cadence. | |||||||||||||||||||
38 | Elided Resolution | Scott Joplin | Antoinette | 1906 | mm. 19, 50, 86 | African American | https://ks.imslp.net/files/imglnks/usimg/1/1a/IMSLP05493-Joplin_-_Antoinette.pdf | https://www.youtube.com/watch?v=-XBAgZzYURY | |||||||||||||||||||
39 | Tonic Expansion | I6 | Scott Joplin | The Sacred Tree, from Treemonisha | 1910 | throughout | African American | https://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 Hazzard | Elisabeth, from Terpsichore | 1836 | mm. 17–24 | African-American | at 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 | C 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 Hazzard | Susana, from Terpsichore | 1836 | throughout | African-American | at 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 | A 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 Hazzard | Henrietta, from Terpsichore | 1836 | m. 1 | African-American | at 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. 2 | 1896 | m. 39 | Afro-European | https://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-Taylor | Sweet evenings come and go, love | 1899 | m. 3 | Afro-European, man | https://ks.imslp.net/files/imglnks/usimg/3/3d/IMSLP23610-PMLP53834-Sweet_Evenings_Come_and_Go,_Love.pdf | https://www.youtube.com/watch?v=vj7vR1Tt1Zo | opportunity to point out arpeggiating six-four in mm. 1–2 as well; see also more extensive example at final cadence | see annotated score at https://composersofcolor.hcommons.org/ | ||||||||||||||||||
45 | Scott Joplin | The Sacred Tree, from Treemonisha | 1910 | p. 5 | African American | https://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 mixture | see annotated score at https://composersofcolor.hcommons.org/ | ||||||||||||||||||
46 | Margaret Bonds | He's Got the Whole World in his Hand | 1963 | mm.5-6 | African American, woman | in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor | mm.5-6 ped 6/4 m. 8 pass 6/4 | ||||||||||||||||||||
47 | Betty Jackson King | It’s Me, O Lord (spiritual) | 1988 | mm. 3-6 | African American, woman | in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor | |||||||||||||||||||||
48 | V6 | Francis Johnson | Victoria Gallop | ca. 1839 | mm. 1–8 | African American | https://imslp.org/wiki/Special:ImagefromIndex/632405/hfin | https://imslp.org/wiki/Victoria_Gallop_(Johnson%2C_Francis) | https://www.youtube.com/watch?v=nD7_y0ucv9U | ||||||||||||||||||
49 | Eugène Dédé | Buenas Noches! | 1893 | mm. 50, 65 | Creole, man | https://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. 2 | 1896 | mm. 37–48 (B section) | Afro-European | https://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 6/4 | Isaac Hazzard | Washington, from Terpsichore | 1836 | mm. 26–27 | African-American | at 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 | nice example of passing six-four over stationary bass | |||||||||||||||||||
54 | V6/5 | Francis Johnson | Victoria Gallop | ca. 1839 | mm. 3–4 | African American | https://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-Taylor | Romance in G for Violin and Orchestra, Op. 39 | 1899 | m. 8 | Afro-European | https://imslp.org/wiki/Romance_for_Violin,_Op.39_(Coleridge-Taylor,_Samuel) | https://www.youtube.com/watch?v=n2nYhQjNpp0 | ||||||||||||||||||||
56 | V4/3 | Margaret Bonds | He's Got the Whole World in his Hand | 1963 | first page, second system; second page second system | African American, woman | in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor | https://www.youtube.com/watch?v=tnumq5RkGY4 | I6 - V43 - I with voice exchange; see also V-V42-I6 on first page, second system | ||||||||||||||||||
57 | V4/2 | Margaret Bonds | He's Got the Whole World in his Hand | 1963 | first page, second system | African American, woman | in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor | https://www.youtube.com/watch?v=tnumq5RkGY4 | see also I6 - V43 - I with voice exchange | ||||||||||||||||||
58 | Combinations of V7 inversions | Joseph Boulogne | String Quartet Op. 1, no. 6, mvt. i | 1773 | mm. 17ff | Afro-European, Caribbean heritage | https://www.youtube.com/watch?v=m_a0gpuy510 | until 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 Boulogne | Symphony no. 1 in G Major, mvt. i | 1779 | mm. 50–53 | Afro-European, Caribbean heritage | https://imslp.org/wiki/2_Symphonies%2C_Op.11_(Saint-Georges%2C_Joseph_Bologne) | https://www.youtube.com/watch?v=KGvYgTlsLes | nice teaching example: double neighbor progression in the antecedent, then the consequent adds lower strings to produce root position harmonies | |||||||||||||||||||
60 | Isaac Hazzard | Susana, from Terpsichore | 1836 | A section | African-American | at 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 | 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 | ||||||||||||||||||||
61 | Harry T. Burleigh | "Till I Wake" from Five Songs of Laurence Hope | 1915 | mm. 7–17 | Black | https://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–I | Francis Johnson | A Collection of New Cotillons, II. Maria Caroline | 1818 | m. 13 | African American | https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin | https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis) | |||||||||||||||||||
63 | Francis Johnson | A Collection of New Cotillons, IV. Caroline | 1818 | mm. 13–16 | African American | https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin | https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis) | ||||||||||||||||||||
64 | R. Nathaniel Dett | The Deserted Cabin, from Magnolia Suite, no. 2 | 1912 | mm. 1–2 | African American, man | https://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-V | see annotated score: https://hcommons.org/app/uploads/sites/1001896/2021/04/Dett-The-deserted-cabin-annotated.pdf | ||||||||||||||||||
65 | Predominant Harmony | ii(6) vs. IV | Scott Joplin | Augustan Club Waltz | 1901 | mm. 37–67 | African-American | https://imslp.org/wiki/Augustan_Club_Waltz_(Joplin%2C_Scott) | https://www.youtube.com/watch?v=haQLEMN3WX8 | good 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 V7 | Francis Johnson | A Collection of New Cotillons, II. Maria Caroline | 1818 | mm. 1–8 | African American | https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin | https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis) | |||||||||||||||||||
67 | Francis Johnson | A Collection of New Cotillons, III. Augustus | 1818 | mm. 1�–8 | African American | https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin | https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis) | ||||||||||||||||||||
68 | Francis Johnson | A Collection of New Cotillons, IV. Caroline | 1818 | mm. 9–12 | African American | https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin | https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis) | ||||||||||||||||||||
69 | II-V or V7 | Eugène Dédé | Buenas Noches! | 1893 | mm. 47, 59-60, 63, 75-76 | Creole, man | https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne) | ||||||||||||||||||||
70 | Florence Price | First Sonata for Organ, mvt. iii (Finale) | 1927 | mm. 106–109 | African-American, Woman | http://www.worldcat.org/oclc/1099526351 | https://youtu.be/ha0RIFZdxMg | block 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 Moore | Love Let the Wind Cry --- How I Adore Thee | 1961 | m. 36-end | Woman, African-American | non-PD, available in Anthology of Art Songs by Black American Composers | https://www.youtube.com/watch?v=jbhvq59P744 | ||||||||||||||||||||
72 | Tritone Substitution (for ii-V) | Betty Jackson King | In the Springtime | 1976 | m. 26 | African American, Woman | in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor | https://www.youtube.com/watch?v=7tXwnhS5djM | clear 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 Hazzard | Washington, from Terpsichore | 1836 | C section (mm. 17–24) | African-American | at 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 PD | II-II6 | |||||||||||||||||||||||||
75 | II6-II | Francis Johnson | A Collection of New Cotillons, II. Maria Caroline | 1818 | m. 13–16 | African American | https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin | https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis) | |||||||||||||||||||
76 | IV-II6 | ||||||||||||||||||||||||||
77 | IV-II43 | Eugène Dédé | Buenas Noches! | 1893 | mm. 86 | Creole, man | https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne) | ||||||||||||||||||||
78 | IV-II | ||||||||||||||||||||||||||
79 | Predominant Seventh Chords | General or Mixed | Julia Perry | How Beautiful are the Feet | 1954 | throughout | African-American, Woman | https://hcommons.org/groups/julia-perry-working-group/documents/?page=1 | https://www.youtube.com/watch?v=HO6En6TGjEY | esp 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 | II4/3 | Eugène Dédé | Buenas Noches! | 1893 | mm. 4-5, 80-81, 86-87, 107-108 | Creole, man | https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne) | ||||||||||||||||||||
83 | II4/2-V6/5 | Samuel Coleridge-Taylor | Romance in G for Violin and Orchestra, Op. 39 | 1899 | mm. 5–9 | Afro-European | https://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 6/4 | 6/4-5/3 | Francis Johnson | A Collection of New Cotillons, II. Maria Caroline | 1818 | m. 12 | African American | https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin | https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis) | ||||||||||||||||||
87 | Francis Johnson | A Collection of New Cotillons, III. Augustus | 1818 | mm. 13–16 | African American | https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin | https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis) | ||||||||||||||||||||
88 | Francis Johnson | A Collection of New Cotillons, IV. Caroline | 1818 | mm. 9–12 | African American | https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin | https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis) | ||||||||||||||||||||
89 | Chiquinha Gonzaga | Sospiro | ca. 1881 | mm. 17–18 | Brazilian, Woman | https://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 Georges | Symphony no. 2 in D Major, Op. 11, mvt. iii (Presto) | 1779 | mm. 48–67 | Afro-European, caribbean heritage | https://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=13 | nice parallel period with HC-PAC structure and cadential six-four in both spots; good teaching example | |||||||||||||||||||
91 | Joseph Bologne, Chevalier de Saint-Georges | Violin Sonata Op. 1a No. 2: I. Allegro Moderato | c. 1770 | mm. 43, 44, 53 | Afro-European, caribbean heritage, man | https://imslp.org/wiki/3_Violin_Sonatas%2C_Op.1a_(Saint-Georges%2C_Joseph_Bologne) | |||||||||||||||||||||
92 | 8/6/4-7/5/3 | Joseph Bologne, Chevalier de Saint-Georges | Violin Sonata Op. 1a No. 2: I. Allegro Moderato | c. 1770 | mm. 65 | Afro-European, caribbean heritage, man | https://imslp.org/wiki/3_Violin_Sonatas%2C_Op.1a_(Saint-Georges%2C_Joseph_Bologne) | ||||||||||||||||||||
93 | Eugène Dédé | Buenas Noches! | 1893 | mm. 24-25, 41-42, 60-61, 76-77, 84-85 | Creole, man | https://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 Boulogne | String Quartet Op. 1, no. 6, mvt. ii | 1773 | mm. 1–8 | Afro-European, Caribbean heritage | terrific teaching example; basic idea uses V6/4-V4/2-I6, then consequent closes with PAC via cadential six-four | ||||||||||||||||||||
95 | Harry T. Burleigh | My Lord, What a Mornin' | 1918 | m. 10 (1st page, last system, 2nd m.) | African American man | https://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=642dCC0nkRQ | Also a nice example of a period with expanded consequent as a result of this evaded cadence. | |||||||||||||||||||
96 | Embellished 6/4 | Will Marion Cook | "Exhortation: A Negro Sermon" (from Three Negro Songs) | 1912 | mm. 34–end | African American | https://imslp.org/wiki/3_Negro_Songs_(Cook%2C_Will_Marion) | https://youtu.be/kXD-YcfQI70 | prolonged cadential six-four revisits several keys from the verse | ||||||||||||||||||
97 | Chiquinha Gonzaga | Fado das Tricanas de Coimbra | ?? (Gonzaga's dates are 1847–1935) | mm. 15–17 | Brazilian, Woman | https://imslp.org/wiki/Fado_das_tricanas_de_Coimbra_(Gonzaga%2C_Chiquinha) | https://www.youtube.com/watch?v=TmxS6YA0bMc | V6/4 - 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 Gonzaga | Grata Esperança | ca. 1886 | mm. 37–40 | Brazilian, Woman | https://imslp.org/wiki/Grata_esperan%C3%A7a_(Gonzaga%2C_Chiquinha) | https://www.youtube.com/watch?v=SonEJhPIAqs | V6/4 - 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 Bonds | He's Got the Whole World in his Hand | 1963 | final cadence | African American, woman | in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor | https://www.youtube.com/watch?v=tnumq5RkGY4 | arrival 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 Moore | Watch and Pray | 1972 | mm. 64–67, 25–28 | African American, Woman | in 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 | |||||||||||||||||||