Harmony and Voice Leading

Question 1

Tonic

Answer 1

“I” in a given key, home base (gravitational center). Chord built on scale degree 1 in a given key

Question 2

Dominant

Answer 2

V7 in a given key, tension. Chord built on scale degree 5. In a major key such as A, dominant would be an E major chord with a dominant 7th (E, G#, B, D)

Question 3

Subdominant

Answer 3

Chord based on scale degree IV of a scale.

Question 4

Mediant

Answer 4

Based on III of a scale

Question 5

Submediant

Answer 5

Based on VI of a scale

Question 6

Leading tone

Answer 6

Scale degree VII, which leads to the tonic.

Question 7

Subtonic

Answer 7

Lowered 7

Question 8

Secondary dominant

Answer 8

V7 of V, or an applied chord (temporary dominant

Question 9

Secondary function

Answer 9

Chord functioning in another key than the main key of the passage

Question 10

Tonicization

Answer 10

Briefly experiencing a key other than the tonic (using applied dominant chords)

Question 11

Modulation

Answer 11

Changing of keys away from main tonal center

Question 12

Mixture

Answer 12

The use of tones from one mode (major/minor) that is predominantly in the other mode. Typically during pre-dominant function, substituting a new mode within the primary key to function as a pre=dominant

Question 13

6/4 chord types

Answer 13

1. Neighboring 6/4 (N 6/4)- IV 6/4 Silent night (weak beat)
2. Passing 6/4 (P 6/4) - Connect 5/3 to 6/3 inversion (V with the 5th in the bass)
3. Pedal 6/4 - I-IV6/4 - I, or V - I6/4 - V. Acts like suspension.
4. Cadential 6/4 - Accented 6/4 (early classical). Dominant harmony, 5th and 3rd postponed by a dissonant 4th and 6th.

Question 14

Neapolitan 6th

Answer 14

Predominant chromatic harmony. Built on flat 2in 1st inversion. Typically found in the minor mode.

Question 15

Augmented 6th chords

Answer 15

Bass scale degree b6, upper voice # scale degree 4. Predominant chord, outer voices resolve to scale degree 5 in octaves. (Mostly in minor)
• Italian - (It+6) - Scaled degrees b6, #4, 1 (figured bass 6 with slash through it over 3)
• German - (Ger +6/5) - b6, #4, 1, b3
• French - (Fr+4/3) - b6, #4, 1, 2

Question 16

9th chord

Answer 16

Adds scale degree 2 to major or minor chord

Question 17

pivot chord

Answer 17

1) Allows for smooth transition from minor to major (ex: iv in minor acts like ii in relative major),
2) also used between related keys to modulate to a new related key

Question 18

Enharmonically equivalent

Answer 18

Sometimes avoids excess accidentals modulating to a particular scale degree/key.

Question 19

Parallel keys

Answer 19

Emaj to Emi (for example

Question 20

Relative keys

Answer 20

Emaj to C# mi

Question 21

Closely related keys

Answer 21

A difference of no more than one sharp or flat when comparing two key signatures.
To figure out closely related keys, the keys (and relative minors) based on Subdominant and Dominant chords, plus relative minor.
Example: Related to C - G, Em, Am, Dm, F

Question 22

Chromatic mediants

Answer 22

Related to tonic by maj/minor third, share the same major or minor quality (G major - Bb major) (G major-B major).(G major-E major) (G major-Eb major)

Question 23

distantly related keys

Answer 23

Ex: E min to Bb maj. Not enharmonic, parallel, relative or closely related

Question 24

Circle of fifths

Answer 24

A clock-face diagram that displays the relationships between different keys. When moving clockwise, each key adds one sharp. Counterclockwise, adds one flat.
Composers utilize circle of fifths within sequences.

Question 25

Parallel fifths and octaves

Answer 25

5ths of 8ths moving in scalar, stepwise motion together

Question 26

Polyphony

Answer 26

Two or more voices moving independently. No voice is identified as the melody

Question 27

Homophony

Answer 27

Two or more voices moving together, top one is the melody

Question 28

Set class

Answer 28

A family of pitch class sets related by Transposition (Tn) or Inversion (TnI). There are usually 24 members in a set class (12 transpositions and 12 inversions for all chromatic possibilities)
Prime form - begins with 0, and numbers most packed to the left.

Question 29

Twelve tone row

Answer 29

A Specific precompositional ordering of 12 pitch classes determined by the composer. No pitch class may be used again until all other pitch classes have been sounded. Series of notes may be used in transposition, retrograde or retrograde inversion.