Harmony Ch. 7-8 Flashcards
what is a regular resolution of dom7 chords?
This refers to the tritone that is built into the chord.
7th resolves down(to 3rd)
3rd resolves up(to tonic)
What is an irregular tritone resolution when resolving dom7 chords?
When you are resolving V7 to I6. Bass goes to the 3rd and the 7th goes up to the 5th. This causes “unequal 5ths”(dim5->P5) in the 7th and 3rd of the dom7 chord and is okay in this circumstance.
Melodically, how should you NOT approach the 7th in a dom7 chord?
disjunct motion from above
What happens when you resolve a COMPLETE root position dom7 chord to a root position tonic chord?
Tonic is incomplete(5th omitted). 1-3-8-8.
-If the dom7 is incomplete(1-3-7-8), you may resolve to a complete tonic chord.
What can be omitted in the dom7 chord?
5th
T/F: When a dom7 chord appears in inversion a complete spelling will be used.
True.
Identify the figured bass for 1st, 2nd, and 3rd inversion dom7 chords and their proper resolutions.
1st: 653/65. Resolves to I
2nd: 643/#643/43. It MUST pass between I and I6 or I6 and I. If the former, irregular resolution is required, if the latter, regular resolution is required.
3rd: 642/6#2/42/#42. Resolves to I6 but is a regular resolution because the 7th in the bass resolves to the 3rd.
What is the rule for progressing a dom7 to a IV chord?
It must go back to dom7 and the subdominant scale degree(7th in dom7) must be maintained as a common tone for all 3 chords. It will then resolves to the 3rd in the tonic chord.
occur with chords but are not chord members
non harmonic tones
fills the interval between two chord tones a third apart and occurs in a weak rhythmic beat
diatonic passing tone
fills the interval between two chord tones a third apart and occurs in a strong rhythmic beat
accented passing tone
fills the interval between two chord tones a major second apart and occurs in a weak rhythmic position
chromatic passing tone
when a chromatically altered note in one voice is next to the same diatonic scale degree in a different voice
cross relation
-it should be avoided except when using the upper tetrachord of the melodic minor scale
fill the interval of a P4 between two chord tones and occur in a weak rhythmic beat
double passing tone
-in minor, use melodic minor scale when over the tonic chord
fills the interval of a 3rd between two chord tones and uses an accidental. strong or weak rhythmic position.
chromatically altered passing tone
- most often used in the ascending melodic minor over the dominant chord
- in major, use b7—>6 if moving a 7
non-harmonic tone a step above two chord tones of the same pitch and appears in a weak rhythmic position
upper auxiliary
non-harmonic tone a step below two chord tones of the same pitch and appears in a weak rhythmic position
lower auxiliary
-may be chromatically altered to create a semitone when one does not appear diatonically
two non-harmonic tones approaching a chord tone, one above and one below
changing tones
-first must be in weak rhythm, second can be weak or strong
when changing tones are preceded by the note a 3rd above the ending chord tone(B-A-F-G)
nota cambiata
non-harmonic tone approached by disjunct motion in one direction and resolved by conjunct motion in the opposite direction
cambiata
- occurs in a weak rhythmic position
- if it resolves upward, may use a semitone
non-harmonic tone approached by conjunct motion and left by disjunct motion in the opposite direction
echappee(escape)
-occurs in a weak rhythmic position
non-harmonic tone occurring when a note’s natural progression is delayed
suspension
identify the 3 parts of a suspension
preparation, suspension, resolution
when a suspension has an upward resolution
retardation
non-harmonic tone a step above or below a chord tone of a single chord. Like a suspension but with no preparation
appoggiatura
-usually moves similar to cambiata
Unrelated note: This and cambiata are Navy specific definitions that you can’t find in the real world.
non-harmonic tone which becomes a chord tone in the following chord
anticipation
- occurs in a weak rhythmic position, frequently at the subdivided beat level
- this is different than a suspension because it is rhythmic in nature and there is no preparation
non-harmonic tone of long duration normally occurring in three or more chords
pedal
- begins and ends as a chord tone and must be non-harmonic in at least one chord in between
- usually occurs in bass, tenor is used for figured bass/analysis
- pedal in soprano is INVERTED, pedal in t/a is INTERNAL, pedal in two voices is DOUBLE PEDAL
