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RCM Level 9, Harmony to review at piano > Level 9 Harmony, play at piano > Flashcards

Level 9 Harmony, play at piano Flashcards

1
Q

basic 7th chords

A

C7 = dom7 or major-minor 7th (maj3, p5, min 7)
C o7 = dim7
C ma7 = maj tria plus major 7
ADD half-dim

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2
Q

half-diminished 7th chord (what, plus symbol)

A

o/ 7

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3
Q

5

3

A

triad in root position common abbreviation: no number

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4
Q

triad in root position common abbreviation: no number

A

5

3

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5
Q

6

3

A

triad in 1st inversion

common abbreviation: 6

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6
Q

triad in 1st inversion

common abbreviation: 6

A

6

3

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7
Q

6

4

A

triad in 2nd inversion
common abbreviation:
6
4

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8
Q

triad in 2nd inversion
common abbreviation:
6
4

A

6

4

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9
Q

7
5
3

A

Figured bass, 7th in root position

common abbreviation: 7

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10
Q

Figured bass, 7th in root position

common abbreviation: 7

A

7
5
3

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11
Q

6
5
3

A

7th in first inversion
common abbreviation
6
5

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12
Q

7th in first inversion
common abbreviation
6
5

A

6
5
3

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13
Q

6
4
3

A

7th in 2nd inversion
common abbreviation:
4
3

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14
Q

7th in 2nd inversion
common abbreviation:
4
3

A

6
4
3

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15
Q

6
4
2

A

7th in 3rd inversion
common abbrevation
4
2

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16
Q

7th in 3rd inversion
common abbrevation
4
2

A

6
4
2

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17
Q

half-cadence

A

I-V or IV-V
also vi6-V (Phrygian)
also ii-V

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18
Q

I-V or IV-V
also vi6-V (Phrygian)
also ii-V

A

half-cadence

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19
Q

authentic cadence

A

V-I or V7-I

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20
Q

V-I or V7-I

A

authentic cadence

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21
Q

deceptive cadence

A

V-vi or V7-vi

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22
Q

plagal cadence

A

IV-I

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23
Q

IV-I

A

plagal cadence

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24
Q

musical period

A

2-phrase structure (4 + 4 measures)

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25
Q

2-phrase structure (4 + 4 measures)

A

musical period

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26
Q

parallel period

A

same melodic line in both antecedant and consequent phrases,
changed near end to accommodate different cadence (aa or aa1)
(e.g., first phrase ends with half-cadence or IAC, 2nd phrase ends with PAC)

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27
Q

same melodic line in both antecedant and consequent phrases, changed near end to accommodate different cadence (aa or aa1)
(e.g., first phrase ends with half-cadence or IAC, 2nd phrase ends with PAC)

A

parallel period

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28
Q

contrasting period

A

consequent phrase is notably different from the antecedent phrase (ab)

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29
Q

consequent phrase is notably different from the antecedent phrase (ab)

A

contrasting period

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30
Q

types of meter

A

duple, triple, quadruple

How many beats per measure

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31
Q

duple, triple, quadruple

How many beats per measure

A

types of meter

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32
Q

types of time

A

simple: each beat divided in 2 (2/4, 3/4, 4/4 compound: each beat divided in 3 (3/8, 6/8, 9/8)

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33
Q

simple: each beat divided in 2 (2/4, 3/4, 4/4 compound: each beat divided in 3 (3/8, 6/8, 9/8)

A

types of time

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34
Q

SATB vocal ranges

A 
all ranges 8ve plus 5th 
S: middle C to G
A: G to D 
T: C to G 
B: F to mid C
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35
Q 
all ranges 8ve plus 5th 
S: middle C to G 
A: G to D 
T: C to G 
B: F to mid C
A

SATB vocal ranges

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36
Q

what is doubled in root position chords?

A

double the root in this position (inversion)

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37
Q

double the root in this position (inversion)

A

what is doubled in root position chords?

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38
Q

what is doubled in I, IV, V chords?

A

the root is doubled in these 3 chords in root position. R or 5 is doubled in first inversion.

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39
Q

the root is doubled in these 3 chords in root position. R or 5 is doubled in first inversion.

A

what is doubled in I, IV, V chords?

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40
Q

Distance between S/A and A/T

A

Distance between these voices should not exceed 8ve

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41
Q

Distance between these voices should not exceed 8ve

A

Distance between S/A and A/T

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42
Q

Distance between T/B

A

Distance between these voices should not exceed 12th

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43
Q

Distance between these voices should not exceed 12th

A

Distance between T/B

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44
Q

Close position

A

when S/T are 8ve or less apart (regardless of A)

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45
Q

when S/T are 8ve or less apart (regardless of A)

A

Close position

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46
Q

open position

A

when S/T are 9th or more apart (regardless of A)

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47
Q

when S/T are 9th or more apart (regardless of A)

A

open position

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48
Q

Passing tones (pt)

A
    • non-chord tones
    • approached and resolved by step
    • usually unaccented (weak metrically)
    • fill in the gap between 2 chord tones
    • (might take several pt’s to fill the gap)
    • can be diatonic or chromatic
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49
Q
    • non-chord tones
    • approached and resolved by step
    • usually unaccented (weak metrically)
    • fill in the gap between 2 chord tones
    • (might take several pt’s to fill the gap)
    • can be diatonic or chromatic
A

Passing tones (pt)

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50
Q

neighbor tones (nt)

A

NAME?

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51
Q

leave a repeated note and return

A

neighbor tones (nt)

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52
Q

4 types of triads

A

Major: maj3, p5

minor: min3, p5
aug: maj3, aug5
dim: min3, dim5

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53
Q

Major: maj3, p5

minor: min3, p5
aug: maj3, aug5
dim: min3, dim5

A

4 types of triads

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54
Q

V-vi or V7-vi

A

deceptive cadence

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55
Q

common types of cadence

A

Half cadence: I-V
Perfect authentic cadence: V(7)-I, melody ends on ^1, R-R
Imperfect authentic cadence: V(7)-I, melody ends on ^3 or ^5, or inversion
Plagal cadence: IV-I
Deceptive cadence: V(7)-vi

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56
Q

Half cadence: I-V
Perfect authentic cadence: V(7)-I, melody ends on ^1, R-R
Imperfect authentic cadence: V(7)-I, melody ends on ^3 or ^5, or inversion
Plagal cadence: IV-I
Deceptive cadence: V(7)-vi

A

common types of cadence

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57
Q

ap an

A

accented passing tone accented neighbor tone appear on strong part of the beat

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58
Q

accented passing tone accented neighbor tone appear on strong part of the beat

A

ap an

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59
Q

when the melody leaps vs steps/remains motionless

A

leaps–usually harmony stays the same

steps or motionless–change harmony

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60
Q

harmonizing the leading tone

A

The LT is an important tendency tone (strong pull to the tonic). Almost always harmonize V-I.

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61
Q

The LT is an important tendency tone (strong pull to the tonic). Almost always harmonize V-I.

A

harmonizing the leading tone

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62
Q

why V7 calls for resolution

A

contains a dim5 (3/7) and min7 (R/7)
the 5th is consonant, so can be omitted.
Would be a ^2-^1 authentic cadence, but less strong than the ^7-^8 (LT) cadence of the 3rd.

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63
Q

contains a dim5 (3/7) and min7 (R/7)
the 5th is consonant, so can be omitted.
Would be a ^2-^1 authentic cadence, but less strong than the ^7-^8 (LT) cadence of the 3rd.

A

why V7 calls for resolution

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64
Q

resolving min7 dissonance (e.g., in V7)

A

min7 requires resolution, done by 7 falling one step ^3-^7 is a tritone, requires resolution in V7, min7 falls ^4-^3 can be introduced as a passing tone for interest

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65
Q

min7 requires resolution, done by 7 falling one step ^3-^7 is a tritone, requires resolution in V7, min7 falls ^4-^3 can be introduced as a passing tone for interest

A

resolving min7 dissonance (e.g., in V7)

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66
Q

strong voice leading to resolve full V 7

A 
^7-^1 
^4-^3 
^2-^1 
^5-^1 
results in I being RRR3
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67
Q 
^7-^1 
^4-^3 
^2-^1 
^5-^1 
results in I being RRR3
A

strong voice leading to resolve full V 7

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68
Q

why spell V7 as RR37

A
  • -doesn’t change basic sound
  • -allows a common tone
  • -resolves to I as RR35 (doubled ^1)
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69
Q
  • -doesn’t change basic sound
  • -allows a common tone
  • -resolves to I as RR35 (doubled ^1)
A

why spell V7 as RR37

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70
Q

decorative use of 7 in V7

A 
V-I can be RR35 --> RR35, 
with ^5 as a common tone 
^2 is 5 in the V and can be omitted. 
So, can ^2 (5 of V) can rise to ^4 which is 7 of V, 
and resolve down to ^3 which is 3 of I.
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71
Q

V-I can be RR35 –> RR35, with ^5 as a common tone ^2 is 5 in the V and can be omitted.
So, can rise to ^4 which is 7 of V, and resolve down to ^3 which is 3 of I.

A

decorative use of 7 in V7

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72
Q

V7 and half-cadence

A

V7 rarely used here

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73
Q

V7 rarely used here

A

V7 and half-cadence

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74
Q

4-part writing of V7

A
  • -R357 or RR37
  • -never double 3 or 7. Strong tendency tones, so would create voice leading problems such as parallel octaves.
  • -complete V7 (R357) often goes to incomplete tonic (RRR3)
  • -incomplete V7 (RR37) always goes to complete tonic (RR35)
  • -resolutions 7th falls ^4-^3, while 3rd is LT so rises ^7-^8
  • -once introduce 7, V7 must remain a V7 (and not plain V)
  • -can use passing tones to introduce 7 decoratively, e.g. V5-6-7
  • -if LT in inner voice, doesn’t have to resolve to ^1. Can drop ^7-^5, allowing complete V (R357) and complete I (RR35).
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75
Q
  • -R357 or RR37
  • -never double 3 or 7. Strong tendency tones, so would create voice leading problems such as parallel octaves.
  • -complete V7 (R357) often goes to incomplete tonic (RRR3)
  • -incomplete V7 (RR37) always goes to complete tonic (RR35)
  • -resolutions 7th falls ^4-^3, while 3rd is LT so rises ^7-^8
  • -once introduce 7, V7 must remain a V7 (and not plain V)
  • -can use passing tones to introduce 7 decoratively, e.g. V5-6-7
  • -if LT in inner voice, doesn’t have to resolve to ^1. Can drop ^7-^5, allowing complete V (R357) and complete I (RR35).
A

4-part writing of V7

76
Q

appogiatura (app)

A
  • -accented non-chord tones that clash with the prevailing chord
  • -can be approached: by step, by leap, or prepared like an untied suspension
  • -ap and an are variants of app and can be labeled as app
  • -resolve to adjancent chord tone by whole or half-step
  • -take 1/2 or 2/3 of the embellished tone
  • -may occur simultaneously in 2+ parts, resulting in parallel 3rds or 6ths.
77
Q
  • -accented non-chord tones that clash with the prevailing chord
  • -can be approached: by step, by leap, or prepared like an untied suspension
  • -ap and an are variants of app and can be labeled as app
  • -resolve to adjancent chord tone by whole or half-step
  • -take 1/2 or 2/3 of the embellished tone
  • -may occur simultaneously in 2+ parts, resulting in parallel 3rds or 6ths.
A

appogiatura (app)

78
Q

tierce de Picardie / Picardy third

A

end minor key composition on I (major tonic chord)

79
Q

end minor key composition on I (major tonic chord)

A

tierce de Picardie / Picardy third

80
Q

cadential 64 chord

A

also called appoggiatura 64-53 V chord,
metrically stressed embellishments of 3 and 5 above

R in root position can be cadence (^3-^2-^1) or half cadence (^1-^7)

81
Q

also called appoggiatura 64-53 V chord,
metrically stressed embellishments of 3 and 5 above R in root position
can be cadence (^3-^2-^1) or half cadence (^1-^7)

A

cadential 64 chord

82
Q

harmonic function of cadential 64

A

looks like inverted tonic, but functions as dominant. Therefore, the tones of the embellishment MUST resolve to V triad.
Embellishment tones are unstable and do not affect the chord’s dominant quality.
Cadential 64 is not independent. Cannot exist separately from the V or V7 to which it resolves.

83
Q

looks like inverted tonic, but functions as dominant. Therefore, the tones of the embellishment MUST resolve to V triad.
Embellishment tones are unstable and do not affect the chord’s dominant quality.
Cadential 64 is not independent. Cannot exist separately from the V or V7 to which it resolves.

A

harmonic function of cadential 64

84
Q

4-part writing of cadential 64

A

double the root (because a prolongation of V, doubling is the same)
bass often drops an octave to reinforce the sound smooth voice leading (8-7, 6-5, 4-3).
This isn’t parallel fifths because 84-73 is p5 to dim5

use voice exchange in A or T if S moves from one chord tone to another. Passing tones can smooth this.

85
Q

double the root (because a prolongation of V, doubling is the same)
bass often drops an octave to reinforce the sound smooth voice leading (8-7, 6-5, 4-3).
This isn’t parallel fifths because 84-73 is p5 to dim5

use voice exchange in A or T if S moves from one chord tone to another. Passing tones can smooth this.

A

4-part writing of cadential 64

86
Q

timing of cadential 64 resolution

A

timing of resolution to 7, 5, and 3 can be staggered (in any order) to increase rhythmic interest and contrapuntal movement

87
Q

timing of resolution to 7, 5, and 3 can be staggered (in any order) to increase rhythmic interest and contrapuntal movement

A

timing of cadential 64 resolution

88
Q

finding cadential 64 in melodies

A 
look for stepwise motion from strong beat to weak beat: 
authentic cadence: 
   ^3-^2-^1 
   ^1-^7-^1 
   ^4-^3 
half-cadence 
   ^3-^2 
   ^1-^
89
Q 
look for stepwise motion from strong beat to weak beat: 
authentic cadence: 
   ^3-^2-^1 
   ^1-^7-^1 
   ^4-^3 
half-cadence 
   ^3-^2 
   ^1-^7
A

finding cadential 64 in melodies

90
Q

cadential 64 in triple time

A

can be introduced on beat 1 or delayed to 2 both usually resolve on 3

91
Q

can be introduced on beat 1 or delayed to 2 both usually resolve on 3

A

cadential 64 in triple time

92
Q

V and cadential 64

A

V has to come second.

Avoid 53- 64- 53 (The initial consonant V dilutes the effect of the dissonance that follows)

93
Q

V has to come second.

Avoid 53- 64- 53 (The initial consonant V dilutes the effect of the dissonance that follows)

A

V and cadential 64

94
Q

anticipation

A

ant

  • -unaccented chord tone that arrives early
  • -usually approached by step
  • -most effective in S, especially at cadences
95
Q

ant

  • -unaccented chord tone that arrives early
  • -usually approached by step
  • -most effective in S, especially at cadences
A

anticipation

96
Q

most common predominant chords, and their function

A

IV and ii predom to dom affirms the tonic.

97
Q

IV and ii predom to dom affirms the tonic.

A

most common predominant chords, and their function

98
Q

similarities ii and IV

A

share 2 chord tones (^4 and ^6)

99
Q

share 2 chord tones (^4 and ^6)

A

similarities ii and IV

100
Q

ii-IV or IV-ii?

A

descend IV to ii creates new bass tone.

R of ii is not in IV, but R of IV is in ii, so IV-ii sounds like a new chord but ii-IV does not.

101
Q

descend IV to ii creates new bass tone.

R of ii is not in IV, but R of IV is in ii, so IV-ii sounds like a new chord but ii-IV does not.

A

ii-IV or IV-ii?

102
Q

supertonic (ii) chord in minor

A
  • -diminished (iio)

- -diminished triad in root position is unstable because dim5 wants to contract, so usually used in 1st inversion (iio6)

103
Q
  • -diminished (iio)

- -diminished triad in root position is unstable because dim5 wants to contract, so usually used in 1st inversion (iio6)

A

supertonic (ii) chord in minor

104
Q

effect of melodic minor on subdominant chords

A

^6 is raised to avoid aug2 between ^6 and ^7 of harmonic minor

  • -iv becomes IV
  • -iio becomes ii
105
Q

^6 is raised to avoid aug2 between ^6 and ^7 of harmonic minor

  • -iv becomes IV
  • -iio becomes ii
A

effect of melodic minor on subdominant chords

106
Q

doubling in predominant chords

A

IV – double R
ii – double R or 3, determined by voice leading before and after usual voice leading

  • -if possible for SAT, maintain common tone and move the other two to nearest chord tone
  • -if no common tone, use contrary motion
107
Q

IV – double R
ii – double R or 3, determined by voice leading before and after usual voice leading

  • -if possible for SAT, maintain common tone and move the other two to nearest chord tone
  • -if no common tone, use contrary motion
A

doubling in predominant chords

108
Q

voice leading for consecutive Roman numerals (IV-V, I-ii, etc.)

A

contrary motion required for these progressions

109
Q

contrary motion required for these progressions

A

voice leading for consecutive Roman numerals (IV-V, I-ii, etc.)

110
Q

échappée

A

échappée attempts to “break away” from a descending melodic line note
unaccented
step up, skip down a 3rd to next note

111
Q

Échappée attempts to “break away” from a descending melodic line note unaccented step up skip down a 3rd to next note

A

échappée

112
Q

échappée details

A
  • -unaccented -
  • approached by step, then skips a 3rd in opposite direction (which is the actual melodic direction)
  • -interrupts melodic movement by trying to escape in the opposite direction
113
Q
  • -unaccented
  • -approached by step, then skips a 3rd in opposite direction (which is the actual melodic direction)
  • -interrupts melodic movement by trying to escape in the opposite direction
A

échappée details

114
Q

6

A

Triad in first inversion

115
Q

Triad in first inversion

A

6

116
Q

period

A 
symmetrical structure with 
2 phrases (antecedent and consequent), 
usually 4 measures each
117
Q 
symmetrical structure with 
2 phrases (antecedent and consequent), 
usually 4 measures each
A

period

118
Q

antecedent, consequent

A

Opening phrase (“question”), weak cadence (half or IAC), starts the period.

Following phrase (“answer”), strong cadence (PAC), completes the period.

119
Q

Opening phrase (“question”), weak cadence (half or IAC), starts the period.

Following phrase (“answer”), strong cadence (PAC), completes the period.

A

antecedent, consequent

120
Q

perfect authentic cadence

A

requires both V and I in root position

requires melody arrives on ^1

121
Q

requires both V and I in root position

requires melody arrives on ^1

A

perfect authentic cadence

122
Q

simple binary

A

||: A :||: B :||:

A usually ends in either

  • -HC in home key
  • -PAC in dom or rel major
  • -(occasionally PAC in home key) B –NO

RESTATEMENT of A material

  • -opening key is variable
  • -ALWAYS ends with PAC in home key
123
Q

||: A :||: B :||:

A usually ends in either

  • -HC in home key
  • -PAC in dom or rel major
  • -(occasionally PAC in home key)

B –NO RESTATEMENT of A material

  • -opening key is variable
  • -ALWAYS ends with PAC in home key
A

simple binary

124
Q

rounded binary

A 
||: A :||: B A :|| 
A same as simple binary, e.g. ends 
--HC in home key 
--PAC in dom or rel major 
--(occasionally, PAC in home key)

B –contains a return of the BEGINNING of A (usually just a bar or two, but could be up to 8 extra bars)

  • -opening key is variable, but often arrives at dominant before return of A material
  • -ends with PAC in home key
125
Q 
||: A :||: B A :|| 
A same as simple binary, e.g. ends 
--HC in home key 
--PAC in dom or rel major 
--(occasionally, PAC in home key)

B –contains a return of the BEGINNING of A (usually just a bar or two, but could be up to 8 extra bars)

  • -opening key is variable, but often arrives at dominant before return of A material
  • -ends with PAC in home key
A

rounded binary

126
Q

balanced binary

A

||: A * :||: B * :||
A similar to other binaries (ends with PAC in dom or rel major, occasionally PAC in home key)

B

  • -contains brief return of LAST portion of A
  • -ends with PAC in home key
127
Q

||: A * :||: B * :||
A similar to other binaries (ends with PAC in dom or rel major, occasionally PAC in home key)

B

  • -contains brief return of LAST portion of A
  • -ends with PAC in home key
A

balanced binary

128
Q

difference rounded binary and balanced binary

A

B has return of beginning or end of A

129
Q

B has return of beginning or end of A

A

difference rounded binary and balanced binary

130
Q

rounded binary vs ternary

A

initial A ends with half-cadence, returns at end with tonic PAC

initial A ends with tonic PAC, returns at end with tonic PAC

131
Q

initial A ends with half-cadence, returns at end with tonic PAC

initial A ends with tonic PAC, returns at end with tonic PAC

A

rounded binary vs ternary

132
Q

cadences for antecedent and consequent

A

leads to weak cadence (HC or IAC)

leads to strong cadence (PAC)

133
Q

leads to weak cadence (HC or IAC)

leads to strong cadence (PAC)

A

cadences for antecedent and consequent

134
Q

uses of 1st inversion

A

NAME?

135
Q

NAME?

A

uses of 1st inversion

136
Q

inversions at cadences

A

authentic cadence–both chords usually root position (V & I MUST be root position for PAC)

half-cadence–V usually root position, while preceding chord might be inverted triad or 7th

137
Q

authentic cadence–both chords usually root position (V & I MUST be root position for PAC)

half-cadence–V usually root position, while preceding chord might be inverted triad or 7th

A

inversions at cadences

138
Q

doubling and inversions of I, IV, V

A

double R or 5
rarely, double 3 for I6 and IV6
NEVER double 3 of V6 = the LT

139
Q

double R or 5
rarely, double 3 for I6 and IV6
NEVER double 3 of V6 = the LT

A

doubling and inversions of I, IV, V

140
Q

tonic prolongation with inversions

A 
I-I6-I 
i-V6-i 
i-iv6-i 
i6-iv-i6 
i6-V-i6 etc.

if using voice exchange (e.g. I-I6-I), often combined with passing tones

141
Q 
I-I6-I 
i-V6-i 
i-iv6-i 
i6-iv-i6 
i6-V-i6 etc.

if using voice exchange (e.g. I-I6-I), often combined with passing tones

A

tonic prolongation with inversions

142
Q

dominant prolongation

A

with V6 and IV6
V - V6 - V8-7 - I
V- IV6 - V
V- IV6 - V6 - I (^5-^6-^7-^1)

143
Q

with V6 and IV6
V - V6 - V8-7 - I
V- IV6 - V
V- IV6 - V6 - I (^5-^6-^7-^1)

A

dominant prolongation

144
Q

pre-dom function of IV6

A

same function, but bass moves down (^6 - ^5) instead of up (^4 - ^5)

145
Q

same function, but bass moves down (^6 - ^5) instead of up (^4 - ^5)

A

pre-dom function of IV6

146
Q

Phrygian cadence

A

Minor only.
Harmonic: iv, but V descending B half-step ^6 - ^5
iv6 - V

147
Q

Minor only.
Harmonic: iv, but V descending B half-step ^6 - ^5
iv6 - V

A

Phrygian cadence

148
Q

preferred doubling of ii6

A

R335 (doubling ^4 emphasizes predom function)

149
Q

R335 (doubling ^4 emphasizes predom function)

A

preferred doubling of ii6

150
Q

common use of ii6

A

to replace IV as predom

151
Q

to replace IV as predom

A

common use of ii6

152
Q

pre-dom prolongation with ii

A

most common: IV-ii6 (or iv-ii06)

153
Q

most common: IV-ii6 (or iv-ii06)

A

pre-dom prolongation with ii

154
Q

double neighbor tones

A

dn start one direction, skip a 3rd the other, return to original tone
e.g., ^1 - ^7 - ^2 - ^1
may be in parallel 3rds or 6ths

155
Q

dn start one direction, skip a 3rd the other, return to original tone
e.g., ^1 - ^7 - ^2 - ^1
may be in parallel 3rds or 6ths

A

double neighbor tones

156
Q

ascending melodic minor (in S or B) harmony requirement

A

major IV

157
Q

major IV

A

ascending melodic minor (in S or B) harmony requirement

158
Q

V7 inversions

A

can prolong the tonic by connecting I and I6

impart sense of forward motion without the stop of a cadence

159
Q

can prolong the tonic by connecting I and I6

impart sense of forward motion without the stop of a cadence

A

V7 inversions

160
Q

rising resolution

A

V43 - I6

7th RISES to resolve ^4 - ^5, in parallel 3rds with B rising ^2 - ^3

161
Q

V43 - I6

7th RISES to resolve ^4 - ^5, in parallel 3rds with B rising ^2 - ^3

A

rising resolution

162
Q

resolving V7 inversions

A

tritone (^4 - ^7) wants resolution

usually, LT rises ^7 -^1
7th of chord falls ^4 - ^3

163
Q

tritone (^4 - ^7) wants resolution
usually, LT rises ^7 -^1
7th of chord falls ^4 - ^3

A

resolving V7 inversions

164
Q

voice exchange subtleties

A

usually between 3 and 5, in the outer voices
inner voices remain static
never exchange R and 7

165
Q

usually between 3 and 5, in the outer voices
inner voices remain static
never exchange R and 7

A

voice exchange subtleties

166
Q

avoiding direct/exposed 5ths and 8ths

A

use inversions

167
Q

use inversions

A

avoiding direct/exposed 5ths and 8ths

168
Q

incomplete neighbor tone

A

in only 1 stepwise connection with chord tone (instead of 2)
approached by skip,
resolved by step (usually in the opposite direction from the skip)

169
Q

in only 1 stepwise connection with chord tone (instead of 2)
approached by skip,
resolved by step (usually in the opposite direction from the skip)

A

incomplete neighbor tone

170
Q

common tone in V-I

A

maintain R of V as 5 of I (^5 - ^5)

171
Q

maintain R of V as 5 of I (^5 - ^5)

A

common tone in V-I

172
Q

pedal point

A

sustained or repeated tone, typically tonic or dominant

usually in the bass, with changing harmonies above it

173
Q

sustained or repeated tone, typically tonic or dominant

usually in the bass, with changing harmonies above it

A

pedal point

174
Q

writing chords over pedal point

A

pedal bracket, labeled “tonic pedal” or “dominant pedal”

chords over a pedal are perceived by color, not inversion, so functional chord symbols are always written in root position

175
Q

pedal bracket, labeled “tonic pedal” or “dominant pedal”

chords over a pedal are perceived by color, not inversion, so functional chord symbols are always written in root position

A

writing chords over pedal point

176
Q

use of 2nd inversion chords (64)

A
  • -not used independently
  • -dissonant 4th against bass requires resolution
  • -3 specific decorative functions:

NEIGHBOR (pedal) 64 prolongs the T or D harmony B and 1 upper part hold the R. The other 2 upper parts move up a step and back
i53 - 64 - 53 could also be considered i53 - iv64 - i

ARPEGGIO 64 – simply the bass arpeggiating the triad for rhythmic drive
Instrumental music. Rarely used in choral
Most commonly I, IV, V

PASSING 64
– fills gap between root and first inversion of a chord. Usually unstressed
ALWAYS double the 5 in a passing 64
I - V64 - I6 (B: ^1-^2-^3) and vice versa
IV - I64 - IV6 (B: ^4-^5-^6) and vice versa

CADENTIAL 64

177
Q
  • -not used independently
  • -dissonant 4th against bass requires resolution
  • -3 specific decorative functions:

neighbor (pedal) 64 prolongs the T or D harmony
B and 1 upper part hold the R. The other 2 upper parts move up a step and back
i53 - 64 - 53 could also be considered i53 - iv64 - i

arpeggio 64
– simply the bass arpeggiating the triad for rhythmic drive
Instrumental music. Rarely used in choral
Most commonly I, IV, V

passing 64
– fills gap between root and first inversion of a chord.
Usually unstressed
ALWAYS double the 5 in a passing
64 I - V64 - I6 (B: ^1-^2-^3) and vice versa
IV - I64 - IV6 (B: ^4-^5-^6) and vice versa

cadential 64

A

use of 2nd inversion chords (64)

178
Q

viio6

A

rarely used in R position because of dim5
viio6 (1st inversion) is most often used as passing chord between I - I6 and vice versa
I - vii06 - I6 (B: ^1 - ^2 - ^3)
I6 - vii06 - I (B: ^3 -^2 - ^1)
I - ii - viio6 - I6 (B: ^1 - ^2 - ^2 - ^3)
I6 - viio6 - ii - I (B: ^3 - ^2 - ^2 - ^1)

Also 1st inversion used as neighbor chord for I or I6 to prolong tonic
In 1st inversion, double 3.
NEVER double R (bc is LT)
Technically viio6 is a dominant functioning chord (bc of LT) without ^5. Can be used in AC vii06 - I but not at the final cadence (bc no tonic-affirming ^5 - ^1)

179
Q

rarely used in R position because of dim5
viio6 (1st inversion) is most often used as passing chord between I - I6 and vice versa
I - vii06 - I6 (B: ^1 - ^2 - ^3)
I6 - vii06 - I (B: ^3 -^2 - ^1)
I - ii - viio6 - I6 (B: ^1 - ^2 - ^2 - ^3)
I6 - viio6 - ii - I (B: ^3 - ^2 - ^2 - ^1)
Also 1st inversion used as neighbor chord for I or I6 to prolong tonic
In 1st inversion, double 3.
NEVER double R (bc is LT)
Technically viio6 is a dominant functioning chord (bc of LT) without ^5. Can be used in AC vii06 - I but not at the final cadence (bc no tonic-affirming ^5 - ^1)

A

viio6

180
Q

connecting I and I6

A

use inversions of dominant-functioning chords
viio6
V64 (inverted V, no 7th)
V43 (inverted V7)

181
Q

use inversions of dominant-functioning chords
viio6
V64 (inverted V, no 7th)
V43 (inverted V7)

A

connecting I and I6

182
Q

V43 to I or I6

A

V43 - I is regular resolution,
7th (^4) resolves down

V43 - I6 is rising resolution,
7th resolves up (^4-^5) in parallel 3rds with bass ^2 - ^3

183
Q

V43 - I is regular resolution,
7th (^4) resolves down

V43 - I6 is rising resolution,
7th resolves up (^4-^5) in parallel 3rds with bass ^2 - ^3

A

V43 to I or I6

184
Q

suspension

A 
sus 
accented non-chord tone held or repeated from previous chord 
--prepared on a weak beat 
--becomes dissonant on strong beat 
--resolves by step on a weak beat 
4-3 is the most common
185
Q 
sus 
accented non-chord tone held or repeated from previous chord 
--prepared on a weak beat 
--becomes dissonant on strong beat 
--resolves by step on a weak beat 
4-3 is the most common
A

suspension

RCM Level 9, Harmony to review at piano (1 decks)

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