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34 Cards in this Set
- Front
- Back
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short hand notation for triads
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root = 5/3
1st inversion = 6/3 2nd inversion = 6/4 |
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short hand notation for 7th chords
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root = 7
1st inversion = 6/5 2nd inversion = 4/3 3rd inversion = 4/2 |
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rules for part writing Dominant 7th Chords
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4 - 3 always
7 - 1 when in soprano 7 - 5 when inner voice - allowed to omit 5 for an incomplete chord - in an inversion, 7 does not have to go to 1 - avoid doubling tritones (4 and 7) |
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V6 - I
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7 must go to 1
use voice exchange soprano = 3 - 1 bass = 1 - 3 |
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10 - 10 - 10 Progression
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intervals of outer voices are 10ths
fa does not resolve to mi soprano = mi fa sol bass = do re mi chords = I V4/3 I6 |
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Predominant Chords
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ii, IV, vi
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IV (subdominant)
ii (super tonic) (usually ii6) |
fa - sol
le - sol (in minor) - double fa (not a tritone anymore) - when bass ascends by step, all other notes must descend to avoid "Charlie Brown" problem |
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Passing Harmonies
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vii dim6
V6/4 - a chord that harmonizes a passing tone - use in voice exchange soprano = 321 or 123 bass = 123 or 321 chords: i vii dim 6 i6 or i V6/4 i6 |
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Harmonize an Ascending Scale using vii dim6
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soprano = sol la ti do
bass = mi fa re do chords = I6 IV vii dim6 I |
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Rules in writing vii dim6 and V6/4
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vii dim 6
- must resolve 7 - 1 - you have a choice with fa (4-3 or 4-5) - always avoid doubling ti V6/4 - only use in a tonic voice exchange to harmonize re |
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Authentic Cadences
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V - I
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PAC
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Perfect Authentic Cadence
V(7) - I, both in root position soprano = 7 - 1 bass = 2 - 1 or 5 - 1 |
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IAC
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Imperfect Authentic Cadence
V(7) - 1, both in root position soprano = 3 - 5 |
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CC
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Contrapuntal Cadence
V6/5 - I, vii°6 - I, V4/3 - I, V4/2 - I6 bass = moves by step |
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Half Cadence
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ends on V(7)
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Deceptive Cadence
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iv6 - V
- in minor only soprano = 7-1 or 2-1 bass - 5-6 |
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Phrygian Cadence
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iv6 - V
- in minor only soprano = 4 - 5 bass = 6 - 5 "Christmas Carol Cadence" |
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Plagal Cadence
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IV - I
- usually after an AC and at the end "Amen" bass = 4 - 1 - usually in root position |
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Suspensions
- name three parts - name kinds - rules |
- preparation, suspension, resolution
9-8, 2-1, 4-3, 7-6, 2-3 (only in bass) - measure intervals from bass note in 4-3 and 2-3, never double the resolution or 3 |
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Cadential 6/4
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- labeled as a V chord because it acts as a dominant
- double 5 so it sounds like a dominant - 1 and 3 usually go down - in melody look for (1,7,1) (3,2,3) (5, 5, 5) 6 - 5 4 - 3 |
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vii°7
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dominant
- all voices resolve by step bass = 4,7,1 or 1,7,1 chords = iv, vii°7, i or i vii°7 i le - sol (always) fa - me or mi re - mi or do ti - do (always) |
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ii6/5 and iiø6/5
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ii6/5 (M) iiø6/5 (m)
predominant - all voices resolve by step bass = do fa fol chords = i iiø6/5 V re - re do - ti le - sol fa - sol |
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iii
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- contains mi and ti (tonic and dominan function)
- used to harmonize - always followed by a IV soprano = 1, 7, 6, 5 bass = 1, 3, 4, 1 chords = I iii IV I |
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Similarities in Progressions Using vi and IV6
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both chords have 6 in the bass
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Deceptive Cadence
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soprano = 7, 1 or 2, 1
chords = V vi |
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Phrygian Cadence
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minor only
soprano = fa sol chords = iv6 V |
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Descending Thirds
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roots go down by thirds
soprano = 1,1,2,7,1 or 3,3,4,2 or 5,6,6,5 chords = I, vi, IV, V |
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Descending Fifths
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soprano = 1,1,2,7,1 or 3,3,4,4,3
chords = I vi ii(6) V(7) I |
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"Zarathustra" Progression
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major only
soprano = 6, 7, 1 or 1,2,3 chords = vi, V, I |
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Stepwise Bass
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soprano = 4,4,3
bass = 6, 7, 1 chords = IV6, V6/5, I - in minor, use melodic minor |
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alternate Mi, Fa, Sol
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Soprano = mi, fa, sol
Chords = I IV6, I6 |
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Descending 5th Sequence
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- chord roots go down by 5ths
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Ascending 5th Sequence
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Chord roots go up by 5ths
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Ascending 5-6 Sequence
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- bass goes up slowly by step
- chords alternate from root to first inversion upper voices always have intervals of 5 and 6 above the bass |
