Harmony 5 Flashcards Preview

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Flashcards in Harmony 5 Deck (26):
1

Primary triads in root position connection guidelines

1. Place roots in bass

2. Keep common tone in the same voice, move the rest by step

3. When there is conjunct root movement there is no common tone, move all upper voices contrary to bass

2

Is it better to double modal or tonal notes?

Tonal

3

What is the primary way the key is established

Moving from the dominant triad to the tonic triad

4

How is harmonic minor made

In natural minor you borrow the 5 chord from the parallel major. This raises the the seventh of the scale

5

What is figured bass

Indicated the notes above the bass as simple intervals

6

Figured bass for root position triads with the root doubled

8
5
3

7

In figured bass, when no numbers appear

Root position triad

8

5
5
3

Root position w fifth doubled

9

5
3
3

Root position w third doubled

10

5
3
3

Root position w third doubled

11

8
8
3

Root tripledand fifth omitted

12

What does a slash thru a figured bass number mean

Flat

13

If there is an accidental on the chord, what happens with the figured bass

The figured bass gets a corresponding accidental

14

What are the 3 cadence's for primary triads in root position

Authentic
Plagal
Half

15

What is an authentic cadence

When a dominant chord moves to a tonic chord at a cadence point

16

What is perfect authentic

Both chords are in root position and the soprano voice has has the root on the tonic

17

Where does perfect authentic usually occur

The final cadence

18

What is imperfect authentic cadence

Either chord is inverted or the soprano doesn't play the root on the tonic

19

Plagal cadence

Subdominant to tonic at a cadence point

20

Perfect plagal

Both chords in root positions soprano has the root on the tonic chord

21

Imperfect plagal cadence

Either chord not in root position or soprano doesn't have root on tonic chord

22

Half cadence

Any chord in any inversion moves to dominant chord at cadence point

23

Plagal half

Any chord in any inversion moves to a subdominant chord

24

Are half cadences used as final cadences

No

25

Picardy third

In an authentic cadence in a minor key the tonic chord is borrowed from the parallel major making the final chord major instead if minor

ie gm D7 G

26

Chord movements in root positions

1 to 4 or 5
4 to 5 or 1
5 to 1 or 4 ( if to 4 it must go back to 5)
Any chord may follow itself