Chord Progressions

Question 1

When 7th chords are all in root position, 7ths and 3rd tones should continuously ___

Answer 1

Alternate

Question 2

stepwise bass in I64 =

Answer 2

passing function

Question 3

When IV progresses to I or I6 it must be in __ position

Answer 3

Root position

Question 4

In I - IV - I progressions, scale degree 1 is usually __ in one of the upper voices

Answer 4

Sustained

Question 5

If a I-IV-I is not sustaining scale degree one, it may be___ SDs 3-4-3 or 5-6-5

Answer 5

harmonizing

Question 6

When IV progresses to I, the melody usually moves __ a step or stays on the ___

Answer 6

Down, tonic

Question 7

IV - I progressions usually appear at the ___ of a phrase, but may also appear after a ___, resulting in a ___, confirming the previous cadence

Answer 7

Beginning, PAC, plagal cadence

Question 8

In minor keys, ii diminished should be in ___ position

Answer 8

iio6

Question 9

Most common ii chord inversion which leads to a V

Answer 9

Ii65

Question 10

In I-ii7 and I-IV7 progressions, you have to omit the ___ and double the ___ to avoid parallel 5ths

Answer 10

5th, root

Question 11

Moving btw IV-ii or ii-IV is most common?

Answer 11

IV-ii

Question 12

7th chords (ie. ii7 and IV7), cannot lead to a ___

Answer 12

Triad

Question 13

A phyrgian cadence ends with ___-___ in minor keys

Answer 13

Iv6-V

Question 14

An alternative from going directly from I - IV is going from I -__ - IV

Answer 14

vi

Question 15

I can go from I - vi - I6 with __ motion in the bass

Answer 15

Descending 3rd

Question 16

Vi can go to ii or___

Answer 16

IV6

Question 17

In vi - ii, ii should be in ___ position

Answer 17

Root

Question 18

In vi-IV6 the bass ____

Answer 18

Remains stationary

Question 19

Vi USUALLY leads to a ___ harmony, but may also move to a ___, though less common

Answer 19

Subdominant, dominant

Question 20

V or V7__ can also lead to

Answer 20

Vi

Question 21

When V or V7 moves to vi it is a ___ cadence

Answer 21

Deceptive

Question 22

6/4 types are largely determined by what is happening in the __

Answer 22

Bass line

Question 23

A 6/4 w/ a stepwise bass line

Answer 23

Passing 6/4

Question 24

A 6/4 w/ a stationary bass line

Answer 24

Pedal 6/4

Question 25

A 6/4 - cycling through inversions of a single chord

Answer 25

Arpeggiated

Question 26

• Cadential 6/4 - 16/4 to V package; cannot be preceded by a ___ chord

Answer 26

another dominant-functioning

Question 27

Ii64 is __ changeable with ii and ii6

Answer 27

NOT

Question 28

The ___th between the bass and the upper voice in a CAD 64 creates __

Answer 28

4th, Dissonance

Question 29

A __ position triad comes before and after a pedal 64

Answer 29

Root

Question 30

Double the ___ of a pedal 64

Answer 30

Bass

Question 31

Pedal 64 usually embellishes __ & ___ harmonies

Answer 31

I & V

Question 32

Pedal 64 is a __ chord

Answer 32

IV 64

Question 33

Cadential 64 comes ___ V, is accented, and usually the ___ is doubled

Answer 33

Before, bass

Question 34

Pedal 64 can come ___ a V chord, is unaccounted, and __ is usually doubled

Answer 34

Before or after, bass

Question 35

When you frustrate a leading tone it always does down to the __ of the chord

Answer 35

5th

Question 36

Frustrating a LT moves it down to the___ note in the scale

Answer 36

closest

Question 37

Keep chromatic motion in the same ___

Answer 37

Voice

Question 38

3rd of a 5 chord goes __, 7th goes

Answer 38

Up, Down

Question 39

To find what a secondary dominant is:

Answer 39

1) Find what root is in that key
2) Then find what your note is in that key

Question 40

All 64 chords are

Answer 40

Dissonant

Question 41

When a route position, cord is decorated with embellishing tones in the upper voice; forming a second inversion triad, but the bass remain stationary

Answer 41

Pedal 64 chord

Question 42

a passing tone in the bass under a second inversion triad

Answer 42

Passing 64 chord

Question 43

In four part harmony the __ is usually double in all types of 64 chords

Answer 43

Bass

Question 44

In a V/V chord, the ___ of a secondary dominant triad must be raised

Answer 44

3rd

Question 45

In a V/V in minor keys, you raise the ______

Answer 45

3rd and fifth

Question 46

An applied dominant (V/V) can come ____ a CAD 64

Answer 46

Before

Question 47

An applied dominant chord functions as a dominant but leads to a harmony other than

Answer 47

I