Harmony 9 Flashcards
(140 cards)
1
Q
Common practice period
A
1600-1900. Often tonal
2
Q
Tonal
A
Grounded on Major and minor keys. Practiced heavily in common practice period
3
Q
Opposite of dissonant
A
Consonant
4
Q
Order of roman numerals for chords built on scale degrees
A
Major: I, ii, iii, IV, V, vi, vii°
Minor harmonic: i, ii°, III+, iv, V, VI, vii°
5
Q
Figured bass
A
Old way of notating harmony, arabic numerals dictate interval
6
Q
Period
A
2 phrases
7
Q
Parallel period
A
Same melodic material with different cadence
8
Q
Contrasting period
A
Different melodic material
9
Q
Simple time
A
2 part subdivision of beat
10
Q
Compound time
A
3 part subdivision of beat
11
Q
4 parts of writing
A
SATB
12
Q
Doubling
A
In 4 part writing, where any chord must have at least one chord tone in 2 voices
13
Q
Close and Open position
A
Close is where tenor and soprano does not exceed and octave while open does
14
Q
Voice crossing
A
A common mistake where any voice intrudes another’s vocal range
15
Q
Passing tones
A
Non-triad tones that are “passed by”. May be used to form parallel thirds or sixths
16
Q
Neighbor tones
A
Non-triad tones that are “reached to quickly”
17
Q
Text setting
A
Setting text to music
18
Q
Authentic cadence
A
Cadence that ends with V, I
19
Q
Half cadence
A
Cadence that ends with I, V
20
Q
Imperfect authentic cadence
A
Authentic cadence but not perfect
21
Q
Perfect authentic cadence
A
Both V and I chords in root position, soprano contains the tonic
22
Q
Keyboard style
A
3 notes in treble clef played by right hand accompanied by a single note in bass clef played by left hand
23
Q
Plagal Cadence
A
IV to I cadence that is used to extend and confirm the tonic. Not as final sounding as an authentic cadence
24
Q
Chord progression
A
A succession of chords
25
Techniques in writing for keyboard style
Composers often strive to create a seamless progression, by:
a) Correct Doubling
b) Moving the remaining upper voices stepwise (up or down) to the nearest available chord tone
The base will always play the root if it is a root-position chord
26
How does a leading tone in the soprano voice resolve
Upwards to the tonic
27
Which part of a triad is mildly acceptable to remove
5th
28
How do you write in keyboard style without using the common tone?
Contrary motion helps balance out the sound. Use nice-sounding intervals, and RRR3 is sometimes allowed, but never RRR5
29
PARALLEL FIFTHS AND OCTAVES MUST BE AVOIDED
It is when a perfect fifth or a perfect octave between 2 voices moves to become another perfect fifth or octave
30
Consecutive fifths and octaves
Also must be avoided and is when parallel fifths and octaves move in contrary motion
31
Direct/exposed fifths or octaves
When 2 voices jump in the same direction to form a perfect octave or fifth. NEVER
32
Voice overlap
When vocal ranges intrude one another's territory. Even if part of vocal range, should be avoided
33
Accented passing and neighbor tones
Passing and neighbor tones that appear on the strong part of a beat
34
What scale degrees should be harmonized by which chords?
1: I or IV
2: V
3: I
4: IV
5: I or V
6: IV
7: V
35
Should you have a transition from a strong to weak beat with the same harmony?
Sure
36
Should you have a transition from a weak to strong beat with the same harmony?
NONONONONONONONONONONONONONONONO
37
Tendency tone
A tone with a strong pull to the tonic
38
What is a dominant 7th chord?
From the bottom, major third, minor third, minor third
39
Which tone of dominant seventh is least important?
5th
40
What kind of cadences use V7 chords and why?
Authentic, the dissonance contrasts well
41
Which tones of a V7 can be doubled?
Root only
42
If a V7 chord is incomplete (RR37) then the tonic that follows is:
Complete. Vice versa also true (complete then incomplete)
43
How is a V7 chord resolved in an authentic cadence?
Leading tone (third) up a half step to tonic, subdominant(seventh) down a half step to the third due to having strong pull to those chord tones
44
Appoggiatura
Accented non-chord tones
Approached freely
Moves to an adjacent chord tone by whole or half step
Forces chord tone off the beat and clashes with harmony, implying a resolution
Accented passing and neighbor tones are appoggiatura variants
45
What do bar lines mean?
Harmony must be changed
46
What is harmonic rhythm?
The rate at which harmony is changed. Should not be too drastic
47
What is a cadential 64 chord?
V64 is a chord built as an I64, and is a precursor to a dominant or dominant 7th chord to end a cadence. Although it looks tonic, its function is dominant
48
Anticipation
A nonaccented very short non-chord tone that arrives early and anticipates a chord tone to come. Normally in cadences, and usually sung by the soprano
49
Pre dominant chords
Chords that lead to the dominant in a cadence
50
Why is i iv v i so nice?
Contrasts with V while enriching the progression and creating more dissonance for the resolution
51
Why does ii have a strong pull to V?
fifth relationship (V up to ii)
52
Doublings for ii root position
RR35 and R335
53
Why is ii a good pre dominant chord?
New tone
54
2 fundamental principles of voice leading
Keep a tone in a voice when possible and if not, use contrary motion
55
echappee
Unaccented, approached by step, then skips a third in the opposite direction
56
Why are first inversion chords used?
Lighter sound, and more flexibility leading to more smoothness. They do not change function
57
How do you symbolize inverted chords?
Arabic numerals beside the roman ones to symbolize how far away the tones are from the bass. First inversion chords are often symbolized with just a 6 instead of a 63
58
What do you double I6, IV6 and V6?
Root or Fifth
59
Why is voice exchange from bass to soprano so nice?
Resultant thirds and sixths
60
What is tonic/dominant prolongation?
Never swaying too far away from a chord to reinforce its dominance
61
What is a Phrygian cadence?
iv6, V. Only in minor keys
62
What tones do you double on ii6?
Third preferably
63
What intervals should always be avoided?
Any augumented intervals, 7ths and 9ths
64
Double Neighbor tones
Neighbor tone, skips a third in the opposite direction, then neighbor tones again
65
Inverted dominant 7th chord writings
v7 has root in bass, v65 has third in bass, v43 has fifth in bass, and v42 has seventh in bass
66
What do inverted dominant 7th chords do?
Instead of signaling a cadence, they embellish chords
67
Rising resolution
v43-i6, major or minor because all tones rise except one that stays
68
Does V42 resolve to I6?
Yes, but never I due to the 4 in the bass' strong pull downwards to the third, located conveniently in the bass as well
69
Incomplete neighbor tone
Approached by skip, and can only resolve one way as opposed to two
70
Pedal point
Sustained or repeated tone in bass line
71
Which is the weakest inversion of a triad?
Second
72
What are second inversion chords used for?
Not as a chord, but as either a neighbor/pedal, passing or arpeggio chord
73
What is a neighbor 64 chord?
Prolongs tonic or dominant by having the bass and one of the upper parts be stationary and the other two move up by step and back (reaching for neighbor tones)
74
What is an arpeggio 64 chord?
Decorative element
75
What is a passing 64 chord?
It fills in the gap between the root position and first inversion of another chord
76
What is the most common inversion of vii?
vii6, because it is the most stable
77
What is a suspension?
Accented and repeated OR held from previous note, and each has a preparation (note it is holding from) suspension and resolution. The most common one is a 4-3 suspension (preparation and suspension are 4 and the resolution is 3)
78
Half diminished 7th chord
diminished triad + minor 7th
79
Minor 7th chord
minor triad + minor 7th
80
Major 7th chord
major triad + major 7th
81
ii7 chord
In major keys, minor 7th chord. In minor keys, half diminished 7th chord. Normally in half cadences with V or as an ornamental chord
82
Doubling of chord tones for ii7
R357, RR37, R337. Inversions always complete
83
vi chord rules
It is used for tonic prolongation, part of descending fifths, and doubling is RR35 normally, and R335 if preceding or succeeding a dominant chord (acts like a tonic, so double the tonic). First inversion doubling is 335R
84
Deceptive cadence
V or V7 resolves to vi
85
iii chord rules
Not used frequently, but is used for descending fifths, and the first inversion can be used in lieu of the dominant in cadences where the root in the soprano moves down. Doubling is RR35 and R335 in root position and 335R in first inversion
86
Leading tone chords and subtonic chords
Very rare, preferably don't use them
87
Descending fifths
I IV vii vi ii V I. Called this because every time it goes down a fifth
88
4 part writing of descending fifths
up a step down a third up a step down a third until done in the soprano. Same thing in alto. Tenor is repeat a note twice, then go down. Bass is down a fifth up a fourth and repeat
89
Tonicization
When another chord becomes momentarily stable like the tonic
90
Applied/secondary dominant
A chord that acts as a dominant in relation to the chord that comes after. Is a chord of a chord
91
How do you tonicize V?
Use a raised 4, which is the leading tone of the dominant key to "resolve" to the dominant. Needs an accidental
92
How do you tonicize III?
No accidentals, normal
93
What chords do you use to tonicize?
V and V7 and its inversions, and vii6
94
How do you write applied dominants?
first chord "of" second chord or first chord/second chord
95
Should you write applied dominants as their exact same regular chords?
No, different functions
96
Cross-relation
Minor 2nd between different voices on an immediately succeeding chord. NEVER
97
Modulation
Changing keys, confirmed by a cadence
98
Pivot chord
Diatonic chord similar to the home key and the key you are going to modulate to
99
Diatonic vs chromatic chord
Diatonic is built on a key's scale while chromatic isn't
100
Steps to modulation using pivot chord:
1. Establish home key using a progression using at least one dominant-function chord
2. Use the pivot chord and symbolize it
3. Follow the pivot chord using a progression with a dominant-function chord in the new key
101
What is the most common key to modulate to?
Relative major or minor, or a closely related key
102
What is a closely related key?
One which the key signature does not differ by more than 1 accidental
103
What are the 3 harmonic functions?
Tonic, pre-dominant, dominant
104
Tonal hierarchy
2, 3, 5, 7 resolve to 1, 4 resolves to 3, and 6 resolves to 5. Chromatic tones are the least stable.
105
Types of phrase models:
T D, T PD D, T D T, T PD D T. T D T PD D T or T PD D T PD D T are also common
106
Antecedent vs Consequent
Antecedent is ending with a half cadence while consequent ends authentically
107
Harmonic Rhythm
Weak harmonic rhythm can create a slow effect while fast can do the opposite
108
Menuet:
Moderate tempo, triple meter. Can begin on the upbeat/pickup or begin on the downbeat
109
Sarabande
Triple meter, PROLONGED SECOND BEAT
110
Upbeat and downbeat:
Upbeat/pickup is the note before the music starts and downbeat is the start of the first measure
111
Gigue:
Lively, COMPOUND TIME, contrapuntal texture. Upbeat or downbeat
112
Bourrée:
Fast, cut time, QUARTER MEASURE PICKUP
113
Gavotte:
Fast, cut time, HALF MEASURE PICKUP
114
Form:
Overall organization of musical phrases
115
2 main types of formal structures:
Binary form and ternary form
116
Binary form:
AB, with each usually being repeated
117
Simple binary:
Section A ends with half cadence in home key or authentic in relative major or dominant. Section B is completely different from section A, and has an authentic cadence in the home key
118
Rounded binary:
Simple binary but with a return of the BEGINNING of section A at the end
119
Balanced binary:
Simple binary but with a return of the END of section A at the end
120
Ternary form:
ABA, section A having its own authentic cadence in the home key, section B with changing thematic material, and the ENTIRE return of section A at the end. EACH PART MAY BE REPEATED
121
4 principles of melody writing:
1. Well oriented to the cadence
2. Plan harmonic structure before writing melody
3. Strive for a balanced line
4. Embellish while maintaining a good sound
122
How to write a 16 measure baroque dance
PG 197
123
Chorale:
Hymn of Lutheran church, but Bach harmonized them into SATB.
Mostly stepwise motion, syllabic text setting, and complete phrases
124
How often does a chorale's harmony change?
Every quarter note
125
What non-chord tones are not used in chorales?
Echappees and double neighbor tones
126
Most important parts of chorale
Soprano and bass, which move in contrary motion
127
Predominant chords in chorale cadences
ii65 is very common, as well as V65/V. Prolongation is achieved often through IV6 and I64 preceding these chords
128
Tonic prolongation in chorales
I vi IV6 I6 is often used, as well as I vii6 I6
129
Tierce de Picardie
I in a minor key chorale as the ending chord instead of i
130
How do you approach the leading tone from below in a chorale?
IV6 V65 I
131
Why do chorales not have modulations?
TRICK QUESTION THEY DO
132
Counterpoint
Layering melodies on top of each other
133
Invention
A short 2 part contrapuntal work usually written for keyboard
134
Subject
Basic theme of music
135
Countersubject
Melody that consistently accompanies the subject
136
Episode
Segment that does not contain the subject in full
137
Imitation
Recurrence of melodic figure
138
Canon
Very strict imitation
139
Melodic inversion
"flipping" a melody upside down
140
Fragmentation
One voice at a time counterpoint
