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Music 213 Diatonic Harmony > Test 2 > Flashcards

Test 2 Flashcards

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1
Q

Cadence of V or V7 moving to I (or i)

A

authentic cadence (AC)

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2
Q

A cadence that ends on a V

A

Half Cadence

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3
Q

Half cadences are made up of

A

A triad

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4
Q

An authentic cadence that ends with a 1 in the melody is a

A

Perfect Authentic Cadence (PAC)

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5
Q

^ ^
An authentic cadence that ends with a 3 or 5 in the melody

A

Imperfect Authentic Cadence

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6
Q

In Tonic-Dominant-Tonic progressions, a triad can be in root or __ position

A

1st inversion (6)

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7
Q

T-D-T progressions can not be in 2nd inversion (6/4) because I 6/4 is an __

A

Unstable harmony

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8
Q

Subdominant chords

A

IV and ii6

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9
Q

The two most common chord progressions

A

TDT, TSDT

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10
Q

Chords can be arpeggiated with

A

Chord skips

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11
Q

Chord skips

A

Leaps from one chord to another

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12
Q

The appearance of the same chord tone in 1+ octaves in 2 different voices

A

Doubling

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13
Q

Chord tones decorated by notes which are not in the harmony

A

Embellishing tones

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14
Q

A non-chord tone (NCT) approached by step and left by step in the same direction

A

Passing Tone (PT)

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15
Q

A NCT approached by step and left by step in the opposite direction

A

Neighbour tone NT

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16
Q

A non-chord tone (NCT) approached by step or leap and left with the opposing step or leap

A

Incomplete neighbour (IN)

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17
Q

A non-chord tone (NCT) approached by step and left by a leap

A

Escape (IN)

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18
Q

A non-chord tone (NCT) approached by a leap and left by a step

A

Appoggiatura (IN)

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19
Q

A non-chord tone (NCT) approached by step and left by step

A

Double neighbour

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20
Q

A non-chord tone (NCT) approached by the same tone and left by a step down

A

Suspension

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21
Q

A non-chord tone (NCT) approached by same tone and left by step up

A

Retardation

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22
Q

A non-chord tone (NCT) approached by step or leap and left by same tone or a leap

A

Anticipation

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23
Q

A non-chord tone (NCT) approached by same tone and left by same tone

A

Pedal point

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24
Q

A ___ embellishing tone appears after the arrival of the chord, on a weaker beat or part of the beat

A

Unaccented

25
Q

A ___ embellishing tone occurs at the very start of the chord

A

Accented

26
Q

A ___ embellishing tone occurs at the very start of the chord

A

Accented

27
Q

A ___ is an accented embellishing tone approached by common tone from the note of a previous chord and resolves down by step

A

Suspension

28
Q

In V7 - I progressions where scale degree 7 is the top voice, the___ must be omitted and the __ must be doubled or tripled.

A

5th, root

29
Q

In V7 - I progressions, when the 5th is omitted from I, you should

A

Triple the root of the chord

30
Q

A half cadence should arrive on a (V or V7)?

A

V

31
Q

Which tone can be doubled for I6?

A

Any

32
Q

Which tone can be doubled for I64?

A

ONLY the bass

33
Q

Which V chords can V6 go to?

A

V or V7

34
Q

V6 cannot follow V..

A

V7

35
Q

Which tones of V6 can be doubled?

A

Any tones other than the LT (3rd)

36
Q

V65 leads to

A

I

37
Q

V42 leads to

A

I6

38
Q

V65 can follow V___

A

V or V6

39
Q

V65 can go to V__ but not V __

A

V7, but not V or V6

40
Q

V42 can NOT come before __ V

A

Root position V

41
Q

V42 should always resolve to

A

I6

42
Q

V65 and V42 are may also

A

Embellish tonic harmony

43
Q

No notes in a V65 or V42 are usually__

A

omitted

44
Q

V43 and viio6 often lead between I and I6 with passion motion in ___

A

The bass

45
Q

The root of the viio6 triad is the ___ and may not be ___

A

Leading tone, doubled

46
Q

When V43 moves to I6 the chordal 7th may go

A

Up a step

47
Q

V64 embellishes

A

I

48
Q

V42 embellishes

A

I6

49
Q

Subdominant harmonies within a minor key, which scale degree is not usually doubled?

A

6

50
Q

Root position dominant chords are often embellished by intervals of a 6th and a 4th above scale degree __ in the bass

A

5

51
Q

Cadential 6/4 embellishes the ___ harmony

A
52
Q

Scale degrees of a cadential 6/4

A

^ ^ ^
5, 1, 3

53
Q

Cadential 6/4’s delay the arrive of the dominant V chords __

A

3rd and fifth

54
Q

Cadential 6/4 should be followed by

A

A root position V or V7

55
Q

In I64-V or V7, the bass can be

A

Sustained, repeated, or leap an octave

56
Q

To write a VCAD64 in F major.

A

1) Find 5 this note should be in the bass and be doubled (in the key of F, = C)
2) find the intervals of a 6th and a 4th above : (6th above = A; 4th above = F)
3) 6 and 4 above the bass should move down to 5 and 3 above the bass, while the bass remains on : A and F should move to G and E, respectively, while the bass remains on C.

57
Q

A cad6/4 can follow any chord except

A

Dominant harmonies

58
Q

A cad has the same notes as a tonic in

A

2nd inversion

Music 213 Diatonic Harmony (7 decks)

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