Harmony Chapters 5-8

Front 1

Describe the 3 guidelines for connecting primary triads (triads in root position)

Back 1

(1) Place all roots in the Bass voice
(2) Keep the common tone in the same voice; move remaining 2 voices by step to nearest chord tones
(3) If conjunct root position movement (no common tone) move all upper voices contrary to the Bass to the nearest chord tones.

Front 2

DOUBLING (triads in 4 four parts)
1. What kinds of notes to double?
2. Is tripling the root and omitting the 5th desirable?

Back 2

(1) Tonal notes
(2) Yes

Front 3

Name the primary means of establishing key (tonality)?

Back 3

Moving from the major dominant triad to the tonic triad

Front 4

_____ numerals are used for analysis and to indicate chord roots.

Back 4

Roman

Front 5

1. _____ case Roman numerals (unless qualified) indicate major triads.
2. _____ case Roman numerals (unless qualified) indicate minor triads.

Back 5

(1) Upper
(2) Lower

Front 6

1. A "+" indicates triad _____.
2. A "º" indicates triad _____.
3. Other alterations/additions are indicated with _____ signs and _____ numerals.

Back 6

(1) augmentation (5th scale degree)
(2) diminution (5th scale degree)
(3) chromatic, Arabic

Front 7

_____ numerals are used for figured bass and indicate _____ _____ above the Bass voice.

Back 7

Arabic, simple intervals

Front 8

When no Arabic numerals appear, a _____ position triad is intended.

Back 8

Root

Front 9

Describe double-root figuring.

Back 9

8 5
5 or 3 or (no Arabic numeral)
3

Front 10

Describe double-fifth figuring.

Back 10

5
5
3

Front 11

Describe double-third figuring.

Back 11

5
3
3

Front 12

Describe root tripled, fifth omitted figuring.

Back 12

8
8
3

Front 13

Accidentals are written to the _____ of the Arabic numeral in the figured bass.

Back 13

Left

Front 14

If there is no Arabic numeral with an accidental, the _____ above the Bass is intended to be altered.

Back 14

Third

Front 15

A slash through a numeral indicates the corresponding note is _____ a half step.

Back 15

Raised

Front 16

Name the 3 types of harmonic cadences for primary triads in root position.

Back 16

Authentic, Plagal, Half

Front 17

The AUTHENTIC cadence occurs when the _____ chord progresses to the _____ chord at a cadence point.

Back 17

Dominant, Tonic

Front 18

A PERFECT AUTHENTIC cadence results when both chords are in _____ position and the tonic scale degree appears in the _____ voice over the tonic chord.

Back 18

Root, Soprano

Front 19

An IMPERFECT AUTHENTIC cadence results when either chord is _____ and/or the _____ is not in the _____ voice on the tonic chord.

Back 19

Inverted, Root, Soprano

Front 20

A PLAGAL cadence occurs when a _____ chord progresses to the _____ chord at a cadence point.

Back 20

Subdominant, Tonic

Front 21

In a PERFECT PLAGAL cadence, both chords are in _____ position and the _____ scale degree appears in the _____ voice over both chords.

Back 21

Root, Tonic, Soprano

Front 22

In an IMPERFECT PLAGAL cadence, either chord is _____ and/or the _____ is not in the _____ on the tonic chord.

Back 22

Inverted, Root, Soprano

Front 23

A HALF cadence (semi-cadence) occurs when any chord (regardless of inversion) progresses to the _____ at a cadence point.

Back 23

Dominant

Front 24

A PLAGAL HALF cadence occurs when any chord, regardless of inversion, progresses to the _____ at a cadence point.

Back 24

Subdominant

Front 25

Can half-cadences be used as final cadences?

Back 25

No

Front 26

Describe the PICARDY THIRD

Back 26

Use of the parallel major tonic triad in place of the expected minor triad; usually occurs at final cadences; raised third must be indicated with a "#" in the figured bass.

Front 27

Describe the 5 general rules of Chord Succession for primary triads in root position

Back 27

(1) I may progress to IV or V.
(2) IV may progress to V or I.
(3) V may progress to I.
(4) V may go to IV if it goes back to V.
(5) Any chord may follow itself.

Front 28

Inversions are used to give the _____ voice line smoothness & variety.

Back 28

Bass

Front 29

How is first-inversion doubling of the root indicated?

Back 29

6
6 6
3 or 3 or 6

Front 30

How is first-inversion doubling of the 5th indicated?

Back 30

6
3
3

Front 31

How is first-inversion doubling of the 3rd indicated?

Back 31

8
6
3

Front 32

How is a PHRYGIAN cadence created?

Back 32

With the use of inversions in a minor key; it is a form of HALF cadence created by prog. iv6 to V# with subdom. to dom. voice leading in the Soprano.

Front 33

Double the _____ of all second inversion chords.

Back 33

Fifth

Front 34

How are second-inversion chords figured?

Back 34

8
6 6
4 or 4 (commonly called six-four chords)

Front 35

Name the most commonly used second inversion and where it is used.

Back 35

The CADENTIAL SIX-FOUR is a 2nd inv. tonic which moves to the dominant chord at a cadence.

Front 36

Where does a PASSING SIX-FOUR appear?

Back 36

Between root position and first inversion of another chord.

Front 37

The AUXILIARY SIX-FOUR is also called ____ and occurs between two _____ positions of the same chord where the __th of the AUX 6/4 is the same note as the _____ of the root position chord.

Back 37

PEDAL SIX-FOUR, Root, 5th, root

Front 38

An ______ SIX-FOUR occurs when the second inversion of a chord is immediately preceded or followed by the same chord in root position and/or first inversion.

Back 38

ARPEGGIATED

Front 39

Describe the REGULAR tritone resolution

Back 39

3rd (leading tone) resolves up to the root of the tonic chord and the 7th (subdom.) resolves down to the 3rd of the tonic chord.

Front 40

When must an IRREGULAR tritone resolution be used?

Back 40

(1) When the 7th of a dom.7th chord appears in an upper voice and the next chord is a 1st inversion tonic chord.

Front 41

Describe the IRREGULAR tritone resolution

Back 41

The Bass takes the note of resolution (3rd of the tonic chord) and the 7th in the upper voice will rise to the 5th of the tonic chord.

Front 42

How should the 7th of a dominant 7th chord be approached?

Back 42

By disjunct motion from above

Front 43

How are dominant 7th chords figured?

Back 43

7 7
5 5 7
3 or #3 or # or 7

Front 44

When an complete root position dom.7th resolves to a root position tonic chord, the tonic chord will be _____.

Back 44

Incomplete (5th omitted)

Front 45

When an incomplete root position dom.7th resolves to a tonic chord in root position, the tonic chord will be _____.

Back 45

Complete