Harmony

Question 1

Group 3 chord (third classification)

Answer 1

Submediant Chord. It may have a tonic function.

Question 2

leading tone triad

Answer 2

This chord is often called a dominant 7th with root omitted. The 3rd is normally doubled to avoid doubling a note of the tritone. The root and fifth of the chord ascend to the root and fifth of the tonic chord often producing unequal fifths. Used exclusively in first inversion.

Question 3

supertonic triad

Answer 3

Occurs primarily in first inversion with doubled third (tonal note). The chord may appear in root position with doubled root (modal note) or doubled third (tonal note). In major keys it may be used in second inversion as a passing 6/4 (?)

Question 4

III + 6/3 (?)

Answer 4

In minor, often has a dominant function because it is similar to the dominant chord.

Question 5

passing 6/4 chord

Answer 5

Second inversion chord appears between root position and first inversion of another chord.

Question 6

figured bass non - harmonic tones

Answer 6

Non-harmonic tones are figured like chord tones.

Question 7

tritone resolution in dominant chord

Answer 7

Tritone appears between 3rd and 7th at dominant chord. A regular resolution occurs when the 3rd (leading tone) resolves up to root of tonic and the 7th (subdominant) resolves down to the 3rd of the tonic.

Question 8

double passing tone

Answer 8

Fill the interval of a perfect fourth between 2 chord tones and occur in a weak rhythmic position.

Question 9

chromatic passing tone

Answer 9

Fills the interval between 2 chord tones a major 2nd apart and occurs in a weak rhythmic position.

Question 10

normal chord progression

Answer 10

Occurs after an established tonic chord. When chords progress from left to right through each successive group.

Question 11

cadential 6/4 chords

Answer 11

a second inversion tonic chord which moves to the dominant chord at a cadence.

Question 12

group 4 chord (fourth classification)

Answer 12

Mediant Chord. May have a tonic or dominant function.

Question 13

figured bass for Dom 7 chord

Answer 13

Complete 7 5 3 When a complete root pos. down 7 chord resolves to a root pos. tonic chord, the tonic will be incomplete. Incomplete 8 7 3 When an incomplete root pos. down 7 resolves to a root pos. tonic chord, the tonic will be complete.

Question 14

group 2 chords (second classification)

Answer 14

Subdominant and super tonic chords. They have a subdominant function.

Question 15

auxiliary 6/4 chord

Answer 15

Occurs between two root positions of the same chord where the fifth of the auxiliary 6/4 is the same as the root of the root position chord.

Question 16

dominant relationship

Answer 16

The association of two chords, whose roots are a perfect fifth apart. Dominant relationship prevails when the chord groups are assembled from group 4 - group 1 and then the tonic.

Question 17

lower auxiliary

Answer 17

A non-harmonic tone a step below 2 chord tones of the same pitch and appears in a weak rhythmic position.

Question 18

perfect plagal cadence

Answer 18

IV → I Both chords in root position. Tonic scale degree is in soprano voice of both chords.

Question 19

dominant 7th chord

Answer 19

Specifically as the diatonic chord which appears on the dominant scale degree.

Question 20

irregular resolution of tritone in dom 7 (?)

Answer 20

When the 7th appears in an upper voice and progresses to a first inversion tonic chord.

Question 21

diatonic passing tone

Answer 21

Fills the interval between 2 chord tones and third apart and occurs in a weak rhythmic position.

Question 22

changing tones

Answer 22

Two non-harmonic tones approaching a chord tone, one above and one below. The first must occur in a weak rhythmic position, the second may be in a weak or strong rhythmic position.

Question 23

imperfect plagal cadence

Answer 23

IV - I Either chord is inverted. Root is not in the soprano on the tonic chord.

Question 24

retrogression

Answer 24

Occurs when chords move from right to left on the chord chart. Usually followed by normal movement.

Question 25

picardy third

Answer 25

In a minor key, borrowing the major tonic chord at an authentic cadence.

Question 26

figured bass

Answer 26

Arabic numerals. Indicates notes above the root.

Question 27

elision

Answer 27

Occurs when one chord group is skipped in left to right movement. Must be followed by normal chord progression.

Question 28

chord succession

Answer 28

I may progress to IV or V IV may progress to V or I V may progress to I V may go to IV if IV goes immediately back to V

Question 29

doubling

Answer 29

In general double tonal notes.

Question 30

common function succession

Answer 30

The vii°6 chord may follow a dominant triad within a progression. A vii°6 can be followed only by the dominant 7th.

Question 31

established tonic chord

Answer 31

Occurs whenever a dominant function chord progresses to the tonic chord.

Question 32

group 1 chords (first classification)

Answer 32

Major dominant and diminished leading tone chords. They have a dominant function.

Question 33

neutral tonic chord

Answer 33

Occurs when a tonic chord appears between any 2 chords in a progression or between tow positions of the sam chord. Usually occurs with normal progression.

Question 34

accented passing tones

Answer 34

Fills the interval between two chord tones a third apart and occurs in a strong rhythmic position.

Question 35

chromatically altered passing tone

Answer 35

Fills the interval of a 3rd between 2 chord tones and uses an accidental.

Question 36

secondary triads

Answer 36

Reinforce modality. Used in harmonic progressions to create variety.

Question 37

non-harmonic tones

Answer 37

Non-chord tones. Occurs with chords but are not chord members.

Question 38

arpeggiated 6/4 chord

Answer 38

Occurs when the second inversion of a chord is immediately preceded or followed by the same chord in root position and /or first inversion.

Question 39

connecting primary triads

Answer 39

Place roots of triads in bass voice. Keep common tone in same voice, move remaining 2 voices to nearest chord tones by step. When conjunct root position movement, there is no common tone, move all upper voices contrary to the bass, to the nearest chord tones.

Question 40

close position

Answer 40

The harmonic interval between the soprano and tenor voices is a simple interval.

Question 41

plagal half cadence

Answer 41

Any chord, regardless of inversion, progresses to IV chord at cadence point.

Question 42

open position

Answer 42

The harmonic interval between soprano and tenor voices is a compound interval.

Question 43

upper auxiliary

Answer 43

In a non-harmonic tone a step above 2 chord tones of the same pitch and appears in a weak rhythmic position.