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19 Cards in this Set
- Front
- Back
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Applied chord spelling shortcuts |
V7/IV -> I7 V7/V -> II7 V7/vi ->III7 V7/ii ->VI7 V7/iii -> VII7 |
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Lament bass: common harmonic pattern |
i v6 iv6 V i |
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Back-relating dominant |
Tonic expanded by V, then moves to PD (the V relates back to the opening tonic area) |
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Mediant |
In tonic expansions: bridge between I and IV Sometimes used as a bridge to PD or substitutes for PD |
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Submediant |
T -> PD "bridge function," may function as predominant Watch for parallels when ascending by step Doubling third in deceptive motion is fine (V to vi) |
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Nondominant seventh chords |
Often function as predominant or expand predominant areas |
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Common tonic expansion paradigms |
I---vi I---viio7---I i---V/III---III I---V4 3---I6 I---ii4 2---V6 5---I I---IV6---I6 I---I6---I6 4 |
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Common predominant functions and expansion paradigms |
ii (not root position) IV---iv6 ii---(vi6 4)---ii6 IV---ii IV---(I6 4)---IV6 |
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Common dominant functions |
V (or V7, or any inversion of V7) viio (or viio7) |
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First inversion (chordal third in bass) |
x6 or x6 5 |
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Second inversion (chordal fifth in bass) |
x6 4 or x4 3 |
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Third inversion (chordal seventh in bass) |
x4 2 |
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Tendency tones |
Leading tone resolves up to tonic or temporary tonic
Chordal seventh resolves down
SD-4 normally resolves to mediant |
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Things to avoid while part-writing |
Parallel perfect intervals, except 4ths. Voice crossing Cross-relations |
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Cross relation |
A chromatic progression across two voices (ex: tenor sings a B, which resolves to a C in the soprano)
AVOID WHERE POSSIBLE. If unavoidable, revoice so it ends up in an inner voice |
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Where are parallel 5ths kind of okay? |
P5 to d5, but still avoid it. |
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Where is a root position diminished seventh chord okay? |
In a sequence, and avoid it elsewhere. |
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When is a d5 to P5 motion acceptable? |
Hardly anywhere, but you can get away with it if there are parallel 10ths in the outer voices. |
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How to read figured bass: |
/ means "sharp." # means "sharped SD-3."
The numbers are the same as the inversions on the Roman numerals (usually)
If there is no 4, 9, or 7, assume that any unmarked voices are on the chordal 3rd, 5th and octave.
The number at the end of a suspension is the inversion of the next chord. |
