2.5 - La quarte et sixte de cadence
Unité consacrée aux accords de quartes et sixtes :
présentation de l'accord ;
2:30, observation et repérage des quartes et sixtes ;
7:30, les trois types de quarte et sixte: cadence , passage, broderie ;
8:30, la quarte et sixte de cadence, la notion de note étrangère, le chiffrage d'accord ou d'intervalle, chiffrage harmonique ou mélodique, l'appoggiature ;
21:00, la doublure de la basse, les positions de l'accord ;
24:20, aspect métrique dans l 'emploi de l'accord de quarte et sixte, la résolution avec la septième de dominante.
Un exemple de quarte et sixte de cadence, une fin de phrase extraite du menuet de la sonate en La majeur, Hoboken XVI, 12 de Joseph Haydn.
Q:1/1=40
"_6""_4""C/G"[Gce] | "_6""_4""G/D"[DGB] | "_6""_4""A/E"[EA^c] | "_6""_4""E/B"[B,E^G] | "_♮6""_4""Em/B"[B,E=G] |]
6
4
C/G
6
4
G/D
6
4
A/E
6
4
E/B
♮6
4
Em/B
Q:1/1=40
"_5""E"[E^GB] | "_6""C/E"[EGc] | "_6""_4""A/E"[EA^c] || "_5""C"[CEG] | "_6""Ab/C"[C_E_A] | "_6""_4""F/C"[CFA] |]
5
E
6
C/E
6
4
A/E
5
C
6
A♭/C
6
4
F/C
La quarte et sixte de cadence
L'enchaînement IV - V - I :
Q:1/1=40
%%piano3+1CDN
[V:C] "F"x | "G"x | "C"x |]
[V:D] "IV"x | "V"x | "I"x |]
[V:S] c | !red!!r>(!B | !blue!!r>)!c |]
[V:A] A | !blue!G | G |]
[V:T] !blue!F | D | E |]
[V:B] !blue!F, | !blue!G, | !blue!C, |]
[V:N] "_5"x | "_5"x | "_5"x |]
IV
F
V
G
I
C
5
5
5
Ajout d'un appoggiature sur l'accord de dominante
Q:1/1=40
%%piano3+1CDN
[V:C] "F"x | "G"x | "C"x |]
[V:D] "IV"x | "V"x | "I"x |]
[V:S] c | !green!c/ !red!!r>(!B/ | !blue!!r>)!c |]
[V:A] A | !blue!G | G |]
[V:T] !blue!F | D | E |]
[V:B] !blue!F, | !blue!G, | !blue!C, |]
[V:N] "_6"x | "_4"x/"_3"x/ | "_5"x |]
IV
F
V
G
I
C
6
4
3
5
Ajout de deux appoggiatures sur l'accord de dominante :
Q:1/1=40
%%piano3+1CDN
[V:C] "F"x | "G"x | "C"x |]
[V:D] "IV"x | "V"x | "I"x |]
[V:S] c | !green!c/ !red!!r>(!B/ | !blue!!r>)!c |]
[V:A] A | !blue!G | G |]
[V:T] !blue!F | !green!E/ D/ | E |]
[V:B] !blue!F, | !blue!G, | !blue!C, |]
[V:N] "_6"x | "_6""_4"x/"_5""_3"x/ | "_5"x |]
IV
F
V
G
I
C
6
6
4
5
3
5
L'accord au second renversement est similaire aux positions à l'état fondamental :
Q:1/1=40
%%player_no_voice
%%piano2+2NC
[V:C] x | "C"x | x || x | "C/G"x | x |]
[V:S] E | G | !blue!c || E | !blue!G | c |]
[V:A] !blue!C | E | G || C | E | !blue!G |]
[V:T] G, | !blue!C | E || !blue!G, | C | E |]
[V:B] !blue!C, | !blue!C, |!blue!C, || !blue!G,, | !blue!G,, | !blue!G, |]
[V:N] "_5"x | "_5"x | "_5"x || "_6""_4"x | "_6""_4"x | "_6""_4"x |]
C
C/G
5
5
5
6
4
6
4
6
4
Q:1/1=40
%%piano3+1CDN
[V:C] "F"x | "G"x | "C"x |]
[V:D] "IV"x | "V"x | "I"x |]
[V:S] c | !green!c/ !red!!r>(!B/ | !blue!!r>)!c |]
[V:A] A | !blue!G | G |]
[V:T] !blue!F | D/-D// !orange!!o>(!F// | !o>)!E |]
[V:B] !blue!F, | !blue!G, | !blue!C, |]
[V:N] "_6"x | "_4"x/"_ ""_+"x//"_7""_-"x// | "_5"x |]
IV
F
V
G
I
C
6
4
+
7
-
5
Q:1/1=40
%%piano3+1CDN
[V:C] "F"x | "G"x | "C"x |]
[V:D] "IV"x | "V"x | "I"x |]
[V:S] c | !green!c/ !red!!r>(!B/ | !blue!!r>)!c |]
[V:A] A | !blue!G | G |]
[V:T] !blue!F | D/-D// !orange!F// | !orange!!o>(!F/ !o>)!E/ |]
[V:B] !blue!F, | !blue!G, | !blue!C, |]
[V:N] "_6"x | "_4"x/"_ ""_+"x//"_7""_-"x// | "_4"x/"_3"x/ |]
IV
F
V
G
I
C
6
4
+
7
-
4
3
En mineur, on a la tierce Picarde :
Q:1/1=40
%%piano3+1CDN
[V:C] "Fm"x | "G"x | "C"x |]
[V:D] "IV"x | "V"x | "I"x |]
[V:S] c | !green!c/ !red!!r>(!=B/ | !blue!!r>)!c |]
[V:A] _A | !blue!G | G |]
[V:T] !blue!F | D/-D// F// | !orange!!o>(!F/ !o>)!!green!=E/ |]
[V:B] !blue!F, | !blue!G, | !blue!C, |]
[V:N] "_6"x | "_4"x/"_ ""_+"x//"_7""_-"x// | "_4"x/"_3"x/ |]
IV
Fm
V
G
I
C
6
4
+
7
-
4
3
Q:1/1=40
%%piano3+1CDN
[V:C] "Fm"x | "G"x | "C"x |]
[V:D] "IV"x | "V"x | "I"x |]
[V:S] c | !green!c/ !red!!r>(!=B/ | !blue!!r>)!c |]
[V:A] _A | !blue!G | G |]
[V:T] !blue!F | D/ F/ | !orange!!o>(!F/ !o>)!!green!=E/ |]
[V:B] !blue!F, | !blue!G, | !blue!C, |]
[V:N] "_6"x | "_4"x/"_7""_+"x/ | "_4"x/"_3"x/ |]
IV
Fm
V
G
I
C
6
4
7
+
4
3
Q:1/1=40
%%piano3+1DN
[V:D] "IV"x | "V"x | "I"x || "IV"x | "V"x | "I"x |]
[V:S] c | !green!c/!red!!r>(!B/ | !blue!!r>)!c || c | !green!c/ !red!!r>(!B/ | !blue!!r>)!c |]
[V:A] A | !blue!G | G || A | !blue!G | G |]
[V:T] !blue!F | !green!E/ D/ | E || !blue!F | !green!E/ !orange!!o>(!F/ | !o>)!E |]
[V:B] !blue!F, | !blue!G, | !blue!C, || !blue!F, | !blue!G, | !blue!C, |]
[V:N] "_6"x | "_6""_4"x/"_5"x/ | "_5"x || "_6"x | "_6""_4"x/"_7""_+"x/ | "_5"x |]
IV
V
I
IV
V
I
6
6
4
5
5
6
6
4
7
+
5
En résumé on ajoute une ou deux appoggiatures sur l'accord de dominante :
Q:1/1=40
%%piano3+1CDN
[V:C] "G"x | "C"x || "G"x | "C"x |]
[V:D] "V"x | "I"x || "V"x | "I"x |]
[V:S] !green!c/ !red!!r>(!B/ | !blue!!r>)!c || !green!c/!red!!r>(! B/ | !blue!!r>)!c |]
[V:A] !blue!G | G || !blue!G | G |]
[V:T] D | E || !green!E/ D/ | E |]
[V:B] !blue!G, | !blue!C, || !blue!G, | !blue!C, |]
[V:N] "_4"x/"_3"x/ | "_5"x || "_6""_4"x/"_5"x/ | "_5"x |]
V
G
I
C
V
G
I
C
4
3
5
6
4
5
5
Pourquoi n'y a-t-il pas d'appoggiature simple mi-ré ?
Q:1/1=40
%%piano3+1CD
[V:C] "G"x | "C"x |]
[V:D] "V"x | "I"x |]
[V:S] !red!!r>(!B | !blue!!r>)!c |]
[V:A] !blue!G | G |]
[V:T] !green!E/ D/ | E |]
[V:B] !blue!G, | !blue!C, |]
Car l'harmonie est très faible.
V
G
I
C
Q:1/1=40
%%piano3+1CD
[V:C] "G7"x | "Cm"x |]
[V:D] "V7"x | "I"x |]
[V:S] !green!_e/ d/ | c |]
[V:A] !blue!F | _E |]
[V:T] !red!!r>(!B, | !blue!!r>)!C |]
[V:B] !blue!G, | !blue!C, |]
Chez Chopin (on utilise la tension b13 en jazz).
V7
G7
I
Cm
En pratique
Fin du menuet de la sonate en La majeur, Hoboken XVI, 12 de Joseph Haydn
Q:1/1=40
M:3/4
L:1/4
K:A
%%piano
[V:KG] ^d//c//B//A// G F | E2 z |]
[V:KF] A, B, B,, | E, B,, E,, |]
Réductions harmoniques :
Q:1/1=40
M:3/4
L:1/4
K:A
%%pianoDC
[V:C] "A"x "B"x2 | "E"x3 |]
[V:D] "IV"x "V"x2 | "I"x3 |]
[V:KG] ^c/A/ G F | E2 z |]
[V:KF] A, B, B,, | E,3 |]
IV
A
V
B
I
E
Q:1/1=40
M:3/4
L:1/4
K:A
%%pianoD
[V:D] "IV"x "V"x2 | "I"x || "IV"x "V"x2 | "I"x |]
[V:KG] ^c/A/ G F | E || ^c/A/ F2 | E |]
[V:KF] A, B,2 | E, || A, B,2 | E, |]
IV
V
I
IV
V
I
Q:1/1=40
M:3/4
L:1/4
K:A
%%score {(S A)|(T B)}
V:S clef=treble
V:A clef=treble
V:T clef=bass
V:B clef=bass
[V:D] "IV"x "V"x2 | "I"x |]
[V:S] ^c/A/ G F | E |]
[V:A] z E ^D | B, |]
[V:T] z B,2 | G, |]
[V:B] A, B, B,, | E, |]
