Chord Theory

Question 1

It+6

Answer 1

b6 - tonic - #4 goes to the V chord

Question 2

Fr+6

Answer 2

b6-1-2-#4, super tonic, works with the whole tone scale

Question 3

Gr+6 and Sw+6

Answer 3

Same sound different notes.
Gr: b6-1-b3-#4 (lowered mediant)
Sw: b6-1-#2-#4 (raised supertonic)
To avoid parallel 5ths it goes to a cadential I6/4 and then V.

Question 4

Neapolitan 6th

Answer 4

N or N6 is a bII chord. Used with a cadential I6/4 to V7 or secondary dominant V/N6 - N6 - V7

Question 5

Secondary Dominants inversion rules

Answer 5

Any inversion except a few cannot be in 2nd inversion

Question 6

Which secondary dominant chords cannot be in 2nd inversion

Answer 6

V/ii,iii, minor V, VI, VII

Question 7

Voice leading of Secondary Dominant chords

Answer 7

Leading tones resolve up and the 7ths will resolve down. But if a secondary dominant 7th chord is resolving to another 7th chord, the leading tone may move down chromatically

Question 8

Tritone Substitution

Answer 8

Dominant chord constructed from the root that is a tritone away from the V chord in the key.

Labeled as: subV7

Question 9

Secondary leading tone chords

Answer 9

In minor it’s the fully dim 7th, in major it’s either half or full dim 7th, do not double the 7th

There is no half dim secondary leading tone chord from the V chord

Question 10

Borrowed chords

Answer 10

Borrowing chords from a parallel keys
ie. replacing major IV with minor iv

Question 11

Common tone Diminished 7th chords

Answer 11

Chromatic/ nonfunctional chords

Can be mistaken for a secondary leading tone or Gr+6 chord.