Theory 1 Final

Front 1

I

Back 1

tonic duh

Front 2

I6

Back 2

expands the tonic harmony, outline triad with I-I6-V

Front 3

V

Back 3

establish tonic, contrapuntal connection ot I- 2-1, 7-1, DON'T DOUBLE THE LEADING TONE

Front 4

V6

Back 4

expand dominant and tonic harmony, lower neighbor to I6, moves to I!!! not I6

Front 5

V7

Back 5

Intensifies motion to tonic (adds 4-3) Leading tone moves up to tonic when in soprano

Front 6

V65

Back 6

Lower neighbor to I, use complete chord, don't use if leading tone is in soprano, moves to I!!!! Not I6

Front 7

V43

Back 7

passing between I and I6, upper neighbor to I, lower to I6, 4-5 possible if in parallel 10ths in bass in a I-V43-I6

Front 8

V42

Back 8

Upper neighbor to I6, double neighbor and double incomplete neighbor patterns, use complete chord, not if 4 is in soprano, always moves to I6!!!!

Front 9

vii6

Back 9

passes between I and I6, double the bass or 4

Front 10

ii

Back 10

leads to V, avoid parallels by using contrary motion

Front 11

ii6

Back 11

leads to V- avoid parallels by using contrary motion

Front 12

IV

Back 12

leads to V or ii(s)

Front 13

vi

Back 13

usually leads to ii or IV, can lead to V, can be used instead of I in a deceptive cadence

Front 14

IV6

Back 14

can take the place of vi in deceptive cadence, also used in phrygian cadence

Front 15

Ideal chord progressions

Back 15

Tonic-(Tonic expansion)-intermediate harmony-dominant-tonic

Front 16

How should intermediate harmonies proceed?

Back 16

roots should descend- usually in either 5ths or thirds

Front 17

Monophonic

Back 17

1 line of music

Front 18

Polyphonic

Back 18

2 or more largely independent lines
contrapuntal

Front 19

homophonic

Back 19

chordal texture

melody and accompaniment