Elements of Harmony

Question 1

Structure of a dominant seventh chord

Answer 1

Marked with a 7

Major triad with a minor seventh

Question 2

Structure of a major seventh chord

Answer 2

Major triad, major seventh

Labeled M7

Question 3

Structure of a minor seventh chord

Answer 3

Minor triad with a minor seventh

Labeled m7

Question 4

Structure of a half diminished seventh chord

Answer 4

Diminished triad with a minor seventh

Labeled zero with a slash and 7

Question 5

Diminished seventh chord

Answer 5

Diminished triad with a diminished seventh

Labeled open circle 7

Question 6

Perfect Cadence

Answer 6

V or vii(diminished) going to a I chord.

Question 7

Half (Imperfect) cadence

Answer 7

Anything to a WV

Question 8

Authentic Cadence

Answer 8

Classified as either perfect or imperfect.

Three things have to happen to be considered an authentic cadence:

1. must be a V-I progression not a vii(diminished)
2. Both chords must be in root position
3. The highest note of the I chord must be the tonic of the scale.

If it does not meet these three requirements it is considered an imperfect cadence.

Question 9

Plagal cadence

Answer 9

IV-I

Question 10

Deceptive cadence

Answer 10

Phrase ends with a V chord going to something other than a I.

Question 11

What is a nonharmonic tone

Answer 11

Notes that do not belong in a chord.

Question 12

Passing tone

Answer 12

approached by step and continues in the same directions by step.

Question 13

Accented passing tone

Answer 13

a note that does not belong to any chord and occurs with the second chord.

Question 14

Neighboring tone

Answer 14

approached by step and then returns by step to the original note. If it occurs with the second chord it is called an accented neighboring tone.

Question 15

Anticipation

Answer 15

Approached by step and remains the same. Basically a note of the second chord played early.

Question 16

Escape Tone

Answer 16

Approached by step and skips in the opposite direction.

Question 17

Appoggiatura

Answer 17

Approached by skip and then steps in the opposite direction.

Accented and occur with the second chord.

Question 18

Suspension

Answer 18

Keeps a note the same and then steps down

Accented

Question 19

Retardation

Answer 19

Keeps a note the same and then steps downward

Accented

Question 20

Changing Tones

Answer 20

Two nonharmonic tones in succession. The first is approached by step and then skips in the opposite directions to the second harmonic tone which then resolves by step. Sometimes called double neighboring tones or a neighboring group.

Question 21

Invert

Answer 21

move the lowest note in a group an octave higher.

Perfect intervals will always invert to another perfect interval.

A perfect fourth will invert to a perfect fifth and a perfect fifth will invert to a perfect fourth.

Minor intervals and major intervals invert to each other.

Thirds and sixths invert to each other.

Seconds and sevenths invert to each other

Diminished and augmented invert to each other.

(knowing these will help with quick inversions)

Question 22

Triad inversions

Answer 22

Move the lowest note of the triad up an octave.

The lowest note determines the name of inversions. It is called the bass note. When the lowest note is the root of the chord, the chord is in root position.

When the bass note is the third of the chord it is considered to be in first inversion.

When the fifth is the lowest note of the chord it is in second inversion.

In seventh chords, when he seventh is the lowest note of the chord it is considered to be in third inversion.

Question 23

Parallel Motion

Answer 23

Both voices move in the same direction by the same interval.

In order to achieve a level of independence of line for all four parts, parallel motion of Perfect Octaves, Perfect Fifths, and Unisons should be avoided. Since these are the lowest intervals on the overtone series, when two or more voices move in parallel motion in these intervals, they can blur together and sound like only one voice (in the case of unisons, they actually become one voice). Parallel motion by thirds, fourths and sixths is acceptable and often desirable, however, two voices should not move in parallel motion for several beats in succession

Question 24

Similar Motion

Answer 24

when both voices move in the same direction, but by different intervals

Question 25

contrary Motion

Answer 25

the voices move by any interval in the opposite direction

Question 26

Oblique Motion

Answer 26

one voice moves in any direction by any interval while the other remains on the same pitch, not moving at all.

Question 27

Explain doubling

Answer 27

When writing triads, there are only three pitch classes but four voices. This means that two or more voices will have the same pitch class. This is called doubling

Question 28

Counterpoint

Answer 28

In music, counterpoint is the relationship between voices that are interdependent harmonically (polyphony) and yet are independent in rhythm and contour.[citation needed] It has been most commonly identified in classical music, strongly developing during the Renaissance and in much of the common practice period, especially in Baroque music

Question 29

Principle of proximity

Answer 29

The principle of proximity refers to moving each voice as little as possible.
Closed Position
Closed position results when the top three voices are found in one octave.
Open Position
Open position results when the top three voices are found outside of one octave.

Question 30

When was the common practice period for voice-leading.

Answer 30

Baroque, the Classical and the Romantic era (1650 - 1900)

Question 31

Voice Leading rules

Answer 31

The art of voice leading was based on the four part chorales of Johan Sebastian Bach (the most important Baroque composer). Here are the ‘rules’ we learned from his music:
1. Each of the four voices should move no more than necessary. They obey what Anton Bruckner called ‘the law of the shortest way’, and take the smallest possible step or leap. If two chords have a tone in common it should, if possible, be held over in the same voice.
2. No leaps larger than a fifth should be made, with the exception of the octave leap, whose effect is almost the same as that of repeating the note.
3. In the distribution of three chord notes among four voices it becomes necessary to double one of them. In the primary chords (I, IV and V) preferably the root is doubled. Sometimes the fifth can be doubled, but the third should not be doubled.
4. Also in II, III and VI the root is preferred; but in the first inversion of these chord the third should be doubled.
5. In VII the third should always be doubled.
6. Resolution of leading notes. In the classical period leading notes always resolved in the right manner: B - C, F - E, Ab - G.
7. Special precautions are necessary to avoid open or hidden parallel octaves or fifths. In the common practise it was understood that parallels just sound bad. However, popular and jazz music often contains voices moving in parallel octaves or fifths. They don’t care about parallels; they break the rules of classical part leading on purpose because the sound they are looking for is related to the much older folk music. We will discuss this in the next lesson. A hidden parallel occurs when two voices begin at different chord notes and move in the same direction to a fifth or octave. Hidden parallels often occur, they cannot be avoided. But they are least objectionable when the upper voice is the one that moves by step.
8. Chromatic lines should lay in one part.
These ‘rules’, by the way, only concern chord connection within a musical phrase. They don’t apply between the last chord of a phrase and the first of the next phrase, where there is no harmonic dynamics.

Question 32

Steps in analysis

Answer 32

1. determine the key, look at key signature and the first chord.
2. determine the notes of the chord
3. determine the type of chord
4. what note is on the bottom tells you the position of the chord.