Harmony & Voice Leading Flashcards

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1
Q

Tonic

A

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

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2
Q

Dominant

A

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)

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3
Q

Subdominant

A

Chord based on scale degree IV of a scale.

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4
Q

Mediant

A

Based on III of a scale

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5
Q

Submediant

A

Based on VI of a scale

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6
Q

Leading tone

A

Scale degree VII, which leads to the tonic.

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7
Q

Subtonic

A

Lowered 7

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8
Q

Secondary dominant

A

V7 of V, or an applied chord (temporary dominant

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9
Q

Secondary function

A

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

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10
Q

Tonicization

A

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

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11
Q

Modulation

A

Changing of keys away from main tonal center

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12
Q

Mixture

A

Typically during pre-dominant function, substituting a new mode within the primary key to function as a pre=dominant

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13
Q

6/4 chord types

A
  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. Arpeggiating 6/4 (Arp 6/4) - Arpeggiated bass, other voices stay the same
  4. Cadential 6/4 - Accented 6/4 (early classical). Dominant harmony, 5th and 3rd postponed by a dissonant 4th and 6th.
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14
Q

Neapolitan 6th

A

Predominant chromatic harmony. Built on flat 2in 1st inversion

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15
Q

Augmented 6th chords

A

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

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16
Q

9th chord

A

Adds scale degree 2 to major or minor chord

17
Q

pivot chord

A

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

18
Q

Enharmonically equivalent

A

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

19
Q

Parallel keys

A

Emaj to Emi (for example

20
Q

Relative keys

A

Emaj to C# mi

21
Q

Closely related keys

A

ii, iii, IV, V, and vi closely related to major; III, iv, v, VI, and VII related to minor

22
Q

Chromatic mediants

A

Related to tonic by maj/minor third, share the same major or minor quality

23
Q

distantly related keys

A

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

24
Q

Circle of fifths

A

Yeah.

25
Q

Parallel fifths and octaves

A

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

26
Q

Polyphony

A

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

27
Q

Homophony

A

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

28
Q

Set class

A

Set of notes in set theory. Can be transposed or inverted and still be in same set class

29
Q

Twelve tone row

A

Specific ordering of 12 notes of the chromatic scale without repetition