VI and IV6

Question 1

using vi in an arpeggiated bass

Answer 1

I-vi-IV or I-vi-ii6

descent in thirds in the bass

Question 2

circle-of-fifths progression (4 chords)

Answer 2

vi-ii-V-I

best when all chords are in root position

Question 3

1-2-3 in soprano

Answer 3

vi-V-I

parallel 10ths are common between b and s

Question 4

normal doubling of VI when moving to V

Answer 4

double the third (or the root if you are in a major key)

Question 5

inversions of VI

Answer 5

are rare - use root position!

Question 6

How do vi and IV6 approach V

Answer 6

by step from above in the bass

Question 7

VI -IV6

Answer 7

VI moves to IV6 by moving the 5th above the bass to the 6th above the bass and retaining the common tones in the other voices

Question 8

Phrygian Cadence

Answer 8

iv6-V at a half-cadence in minor
one of these chords support scale degrees 5 and 5 in the soprano
normally double the third above the bass (chord 5th) in the iv6 chord here

Question 9

bass that ascends 6-7-8 in major

Answer 9

vi (or IV6) - V6 - I

Question 10

bass that ascends 6-7-8 in minor

Answer 10

IV6 - V6 - I

IV is major because you must be in melodic minor for this to work

Question 11

IV6 expanding tonic

Answer 11

I-IV6-I6

when the bass is moving down
soprano 3-4-5

NOT REVERSABLE

Question 12

IV6 expanding dominant

Answer 12

V-IV6-V6 (or V6/5)

be careful in minor to use the melodic form!

Question 13

vi expanding dominant

Answer 13

ONLY IN MAJOR

I-vi-V6 (or V6/5)

Question 14

soprano V-vi at non-cadential points

Answer 14

usually harmonizes 4-3 in the soprano

Question 15

soprano V-vi at cadential points

Answer 15

DECEPTIVE CADENCE

harmonizes 2-1 or 7-1 in the soprano

Question 16

normal doubling when moving from V-vi

Answer 16

double the 3rd in the vi chord

Question 17

Harmonizing ascending scale in soprano in major

Answer 17

I-V6-I-IV6-I6-IV-viiº6-I

Question 18

Harmonizing ascending scale in soprano in minor

Answer 18

i-V6-i-IV6-I6-IVnatural-viiraised 6-i