Harmony

Question 1

Chorale Style

Answer 1

This is the style in which the soprano and alto parts are written in the treble clef staff and the tenor and bass are written in the bass staff. Soprano and tenor parts will have upper stems and the alto and bass will have lower stems

Question 2

Voice Leading

Answer 2

When moving between chords, try to move the notes as little as possible. If two chords share a note, carry it over. Otherwise move in stepwise motion (CONTRARY TO THE BASS NOTE) ie if bass note goes down, go up elsewhere

Question 3

Doubling

Answer 3

Rule of thumb when writing triads is to double the bass note, be sure not to double the 7th degree of a scale. As well, be sure not to move both of those notes to the same notes in the next chord over creating parallel octaves.

Question 4

Authentic Cadence

Answer 4

A progression from dominant to tonic that occurs at the end of a phrase and provides a strong sense of arrival on the tonic

Question 5

Cadence

Answer 5

A musical punctuation point that conveys a sense of harmonic arrival, such as an authentic cadence, a half cadence, or a plagal cadence

Question 6

Consequent Phrase

Answer 6

The second phrase in a parallel period, ending with an authentic cadence on the tonic harmony

Question 7

Consonance

Answer 7

The quality of intervals and chords as relatively harmonious, blended and stable

Question 8

Dissonance

Answer 8

The quality of intervals and chords as relatively inharmonious, un blended, and unstable

Question 9

Dominant preparation chord

Answer 9

A chord that preceded and leads to the dominant (also called predominant chord)

Question 10

Embellishing tones

Answer 10

Tones (including passing tones and neighbouring tones) used to decorate tones that belong to a stable harmony. Also called nonharmonic tones

Question 11

Figured Bass

Answer 11

Numbers that identify the intervals formed above a bass note

Question 12

Half Cadence

Answer 12

An arrival on the dominant at the end of a phrase

Question 13

Keyboard Style Harmony

Answer 13

An arrangement of harmonies on the great staff three voices (soprano, alto and tenor) in the treble clef and one (bass) in the bass clef

Question 14

Neighbouring chord

Answer 14

A chord used to embellish a more stable chord by harmonizing a neighbouring note in the bass or soprano

Question 15

Neighbouring tone

Answer 15

An embellishing tone that moves by step away from and back to a harmony tone

Question 16

Parallel period

Answer 16

A combination of antecedent and consequent phrases

Question 17

Passing chord

Answer 17

A chord used to connect two more stable chords by harmonizing a passing tone in the bass

Question 18

Consequent Phrase

Answer 18

The second phrase in a parallel period, ending with an authentic cadence on the tonic harmony

Question 19

Passing tone

Answer 19

An embellishing tone that fills in the space between two harmony tones that lie the interval of a third apart

Question 20

Phrase

Answer 20

A self- contained group of measures that ends with a cadence

Question 21

Plagal Cadence

Answer 21

A progression from subdominant to tonic at the end of a phrase, usually occurring after an authentic Cadence as an extra confirmation

Question 22

Progression

Answer 22

A succession of harmonies in which each leads purposefully to the next

Question 23

Prolongation

Answer 23

The extension in time of a harmony through the use of embellishing tones (including passing tones and neighbouring tones)

Question 24

Tritone

Answer 24

Name sometimes given to the interval of the augmented fourth, because it spans three whole tones

Question 25

Voices

Answer 25

The distinct registral lines that move through a progression of harmonies: soprano, alto, tenor, and bass

Question 26

Harmonic progression

Answer 26

a succession of harmonies in which each leads purposefully to the next. Each harmony has its own distinct character and its own role to play

Question 27

Tonic Harmony

Answer 27

Generally conveys a feeling of stability and repose. This progression starts on the tonic and ends on it. Tonal motion is directed towards the tonic as the goal.

Question 28

What is the standard, conventional harmony progression?

Answer 28

I - V- I

Question 29

How can the conventional harmony be intensified? Why is this?

Answer 29

With the addition of the the seventh, the dissonant harmony makes it more eager to resolve to the tonic

Question 30

Which note is never double in a V or V7 chord?

Answer 30

The seventh

Question 31

What are some examples of embellishing tones? (passing and neighbouring tones)

Answer 31

Passing (V4/3 , viio6) (I - I6)
Neighbouring chords (V6, V6/5), V4/2 and IV)
Cadential 6/4

Question 32

What chords are present in the cadential 6/4

Answer 32

I6/4 and V

Question 33

What are chords commonly used in dominant preparation?

Answer 33

ii and IV (ii not in minor keys)
ii6 moves in step wise motion
eg. I - IV - V7 - I

Question 34

What is the name for when the harmonic progression is I - IV - I?

Answer 34

plagal