Level 9 Harmony, play at piano Flashcards
(185 cards)
1
Q
basic 7th chords
A
C7 = dom7 or major-minor 7th (maj3, p5, min 7)
C o7 = dim7
C ma7 = maj tria plus major 7
ADD half-dim
2
Q
half-diminished 7th chord (what, plus symbol)
A
o/ 7
3
Q
5
3
A
triad in root position common abbreviation: no number
4
Q
triad in root position common abbreviation: no number
A
5
3
5
Q
6
3
A
triad in 1st inversion
common abbreviation: 6
6
Q
triad in 1st inversion
common abbreviation: 6
A
6
3
7
Q
6
4
A
triad in 2nd inversion
common abbreviation:
6
4
8
Q
triad in 2nd inversion
common abbreviation:
6
4
A
6
4
9
Q
7
5
3
A
Figured bass, 7th in root position
common abbreviation: 7
10
Q
Figured bass, 7th in root position
common abbreviation: 7
A
7
5
3
11
Q
6
5
3
A
7th in first inversion
common abbreviation
6
5
12
Q
7th in first inversion
common abbreviation
6
5
A
6
5
3
13
Q
6
4
3
A
7th in 2nd inversion
common abbreviation:
4
3
14
Q
7th in 2nd inversion
common abbreviation:
4
3
A
6
4
3
15
Q
6
4
2
A
7th in 3rd inversion
common abbrevation
4
2
16
Q
7th in 3rd inversion
common abbrevation
4
2
A
6
4
2
17
Q
half-cadence
A
I-V or IV-V
also vi6-V (Phrygian)
also ii-V
18
Q
I-V or IV-V
also vi6-V (Phrygian)
also ii-V
A
half-cadence
19
Q
authentic cadence
A
V-I or V7-I
20
Q
V-I or V7-I
A
authentic cadence
21
Q
deceptive cadence
A
V-vi or V7-vi
22
Q
plagal cadence
A
IV-I
23
Q
IV-I
A
plagal cadence
24
Q
musical period
A
2-phrase structure (4 + 4 measures)
25
2-phrase structure (4 + 4 measures)
musical period
26
parallel period
same melodic line in both antecedant and consequent phrases,
changed near end to accommodate different cadence (aa or aa1)
(e.g., first phrase ends with half-cadence or IAC, 2nd phrase ends with PAC)
27
same melodic line in both antecedant and consequent phrases, changed near end to accommodate different cadence (aa or aa1)
(e.g., first phrase ends with half-cadence or IAC, 2nd phrase ends with PAC)
parallel period
28
contrasting period
consequent phrase is notably different from the antecedent phrase (ab)
29
consequent phrase is notably different from the antecedent phrase (ab)
contrasting period
30
types of meter
duple, triple, quadruple
| How many beats per measure
31
duple, triple, quadruple
| How many beats per measure
types of meter
32
types of time
simple: each beat divided in 2 (2/4, 3/4, 4/4 compound: each beat divided in 3 (3/8, 6/8, 9/8)
33
simple: each beat divided in 2 (2/4, 3/4, 4/4 compound: each beat divided in 3 (3/8, 6/8, 9/8)
types of time
34
SATB vocal ranges
```
all ranges 8ve plus 5th
S: middle C to G
A: G to D
T: C to G
B: F to mid C
```
35
```
all ranges 8ve plus 5th
S: middle C to G
A: G to D
T: C to G
B: F to mid C
```
SATB vocal ranges
36
what is doubled in root position chords?
double the root in this position (inversion)
37
double the root in this position (inversion)
what is doubled in root position chords?
38
what is doubled in I, IV, V chords?
the root is doubled in these 3 chords in root position. R or 5 is doubled in first inversion.
39
the root is doubled in these 3 chords in root position. R or 5 is doubled in first inversion.
what is doubled in I, IV, V chords?
40
Distance between S/A and A/T
Distance between these voices should not exceed 8ve
41
Distance between these voices should not exceed 8ve
Distance between S/A and A/T
42
Distance between T/B
Distance between these voices should not exceed 12th
43
Distance between these voices should not exceed 12th
Distance between T/B
44
Close position
when S/T are 8ve or less apart (regardless of A)
45
when S/T are 8ve or less apart (regardless of A)
Close position
46
open position
when S/T are 9th or more apart (regardless of A)
47
when S/T are 9th or more apart (regardless of A)
open position
48
Passing tones (pt)
- - non-chord tones
- - approached and resolved by step
- - usually unaccented (weak metrically)
- - fill in the gap between 2 chord tones
- - (might take several pt's to fill the gap)
- - can be diatonic or chromatic
49
- - non-chord tones
- - approached and resolved by step
- - usually unaccented (weak metrically)
- - fill in the gap between 2 chord tones
- - (might take several pt's to fill the gap)
- - can be diatonic or chromatic
Passing tones (pt)
50
neighbor tones (nt)
#NAME?
51
leave a repeated note and return
neighbor tones (nt)
52
4 types of triads
Major: maj3, p5
minor: min3, p5
aug: maj3, aug5
dim: min3, dim5
53
Major: maj3, p5
minor: min3, p5
aug: maj3, aug5
dim: min3, dim5
4 types of triads
54
V-vi or V7-vi
deceptive cadence
55
common types of cadence
Half cadence: I-V
Perfect authentic cadence: V(7)-I, melody ends on ^1, R-R
Imperfect authentic cadence: V(7)-I, melody ends on ^3 or ^5, or inversion
Plagal cadence: IV-I
Deceptive cadence: V(7)-vi
56
Half cadence: I-V
Perfect authentic cadence: V(7)-I, melody ends on ^1, R-R
Imperfect authentic cadence: V(7)-I, melody ends on ^3 or ^5, or inversion
Plagal cadence: IV-I
Deceptive cadence: V(7)-vi
common types of cadence
57
ap an
accented passing tone accented neighbor tone appear on strong part of the beat
58
accented passing tone accented neighbor tone appear on strong part of the beat
ap an
59
when the melody leaps vs steps/remains motionless
leaps--usually harmony stays the same
steps or motionless--change harmony
60
harmonizing the leading tone
The LT is an important tendency tone (strong pull to the tonic). Almost always harmonize V-I.
61
The LT is an important tendency tone (strong pull to the tonic). Almost always harmonize V-I.
harmonizing the leading tone
62
why V7 calls for resolution
contains a dim5 (3/7) and min7 (R/7)
the 5th is consonant, so can be omitted.
Would be a ^2-^1 authentic cadence, but less strong than the ^7-^8 (LT) cadence of the 3rd.
63
contains a dim5 (3/7) and min7 (R/7)
the 5th is consonant, so can be omitted.
Would be a ^2-^1 authentic cadence, but less strong than the ^7-^8 (LT) cadence of the 3rd.
why V7 calls for resolution
64
resolving min7 dissonance (e.g., in V7)
min7 requires resolution, done by 7 falling one step ^3-^7 is a tritone, requires resolution in V7, min7 falls ^4-^3 can be introduced as a passing tone for interest
65
min7 requires resolution, done by 7 falling one step ^3-^7 is a tritone, requires resolution in V7, min7 falls ^4-^3 can be introduced as a passing tone for interest
resolving min7 dissonance (e.g., in V7)
66
strong voice leading to resolve full V 7
```
^7-^1
^4-^3
^2-^1
^5-^1
results in I being RRR3
```
67
```
^7-^1
^4-^3
^2-^1
^5-^1
results in I being RRR3
```
strong voice leading to resolve full V 7
68
why spell V7 as RR37
- -doesn't change basic sound
- -allows a common tone
- -resolves to I as RR35 (doubled ^1)
69
- -doesn't change basic sound
- -allows a common tone
- -resolves to I as RR35 (doubled ^1)
why spell V7 as RR37
70
decorative use of 7 in V7
```
V-I can be RR35 --> RR35,
with ^5 as a common tone
^2 is 5 in the V and can be omitted.
So, can ^2 (5 of V) can rise to ^4 which is 7 of V,
and resolve down to ^3 which is 3 of I.
```
71
V-I can be RR35 --> RR35, with ^5 as a common tone ^2 is 5 in the V and can be omitted.
So, can rise to ^4 which is 7 of V, and resolve down to ^3 which is 3 of I.
decorative use of 7 in V7
72
V7 and half-cadence
V7 rarely used here
73
V7 rarely used here
V7 and half-cadence
74
4-part writing of V7
- -R357 or RR37
- -never double 3 or 7. Strong tendency tones, so would create voice leading problems such as parallel octaves.
- -complete V7 (R357) often goes to incomplete tonic (RRR3)
- -incomplete V7 (RR37) always goes to complete tonic (RR35)
- -resolutions 7th falls ^4-^3, while 3rd is LT so rises ^7-^8
- -once introduce 7, V7 must remain a V7 (and not plain V)
- -can use passing tones to introduce 7 decoratively, e.g. V5-6-7
- -if LT in inner voice, doesn't have to resolve to ^1. Can drop ^7-^5, allowing complete V (R357) and complete I (RR35).
75
- -R357 or RR37
- -never double 3 or 7. Strong tendency tones, so would create voice leading problems such as parallel octaves.
- -complete V7 (R357) often goes to incomplete tonic (RRR3)
- -incomplete V7 (RR37) always goes to complete tonic (RR35)
- -resolutions 7th falls ^4-^3, while 3rd is LT so rises ^7-^8
- -once introduce 7, V7 must remain a V7 (and not plain V)
- -can use passing tones to introduce 7 decoratively, e.g. V5-6-7
- -if LT in inner voice, doesn't have to resolve to ^1. Can drop ^7-^5, allowing complete V (R357) and complete I (RR35).
4-part writing of V7
76
appogiatura (app)
- -accented non-chord tones that clash with the prevailing chord
- -can be approached: by step, by leap, or prepared like an untied suspension
- -ap and an are variants of app and can be labeled as app
- -resolve to adjancent chord tone by whole or half-step
- -take 1/2 or 2/3 of the embellished tone
- -may occur simultaneously in 2+ parts, resulting in parallel 3rds or 6ths.
77
- -accented non-chord tones that clash with the prevailing chord
- -can be approached: by step, by leap, or prepared like an untied suspension
- -ap and an are variants of app and can be labeled as app
- -resolve to adjancent chord tone by whole or half-step
- -take 1/2 or 2/3 of the embellished tone
- -may occur simultaneously in 2+ parts, resulting in parallel 3rds or 6ths.
appogiatura (app)
78
tierce de Picardie / Picardy third
end minor key composition on I (major tonic chord)
79
end minor key composition on I (major tonic chord)
tierce de Picardie / Picardy third
80
cadential 64 chord
also called appoggiatura 64-53 V chord,
metrically stressed embellishments of 3 and 5 above
R in root position can be cadence (^3-^2-^1) or half cadence (^1-^7)
81
also called appoggiatura 64-53 V chord,
metrically stressed embellishments of 3 and 5 above R in root position
can be cadence (^3-^2-^1) or half cadence (^1-^7)
cadential 64 chord
82
harmonic function of cadential 64
looks like inverted tonic, but functions as dominant. Therefore, the tones of the embellishment MUST resolve to V triad.
Embellishment tones are unstable and do not affect the chord's dominant quality.
Cadential 64 is not independent. Cannot exist separately from the V or V7 to which it resolves.
83
looks like inverted tonic, but functions as dominant. Therefore, the tones of the embellishment MUST resolve to V triad.
Embellishment tones are unstable and do not affect the chord's dominant quality.
Cadential 64 is not independent. Cannot exist separately from the V or V7 to which it resolves.
harmonic function of cadential 64
84
4-part writing of cadential 64
double the root (because a prolongation of V, doubling is the same)
bass often drops an octave to reinforce the sound smooth voice leading (8-7, 6-5, 4-3).
This isn't parallel fifths because 84-73 is p5 to dim5
use voice exchange in A or T if S moves from one chord tone to another. Passing tones can smooth this.
85
double the root (because a prolongation of V, doubling is the same)
bass often drops an octave to reinforce the sound smooth voice leading (8-7, 6-5, 4-3).
This isn't parallel fifths because 84-73 is p5 to dim5
use voice exchange in A or T if S moves from one chord tone to another. Passing tones can smooth this.
4-part writing of cadential 64
86
timing of cadential 64 resolution
timing of resolution to 7, 5, and 3 can be staggered (in any order) to increase rhythmic interest and contrapuntal movement
87
timing of resolution to 7, 5, and 3 can be staggered (in any order) to increase rhythmic interest and contrapuntal movement
timing of cadential 64 resolution
88
finding cadential 64 in melodies
```
look for stepwise motion from strong beat to weak beat:
authentic cadence:
^3-^2-^1
^1-^7-^1
^4-^3
half-cadence
^3-^2
^1-^
```
89
```
look for stepwise motion from strong beat to weak beat:
authentic cadence:
^3-^2-^1
^1-^7-^1
^4-^3
half-cadence
^3-^2
^1-^7
```
finding cadential 64 in melodies
90
cadential 64 in triple time
can be introduced on beat 1 or delayed to 2 both usually resolve on 3
91
can be introduced on beat 1 or delayed to 2 both usually resolve on 3
cadential 64 in triple time
92
V and cadential 64
V has to come second.
| Avoid 53- 64- 53 (The initial consonant V dilutes the effect of the dissonance that follows)
93
V has to come second.
| Avoid 53- 64- 53 (The initial consonant V dilutes the effect of the dissonance that follows)
V and cadential 64
94
anticipation
ant
- -unaccented chord tone that arrives early
- -usually approached by step
- -most effective in S, especially at cadences
95
ant
- -unaccented chord tone that arrives early
- -usually approached by step
- -most effective in S, especially at cadences
anticipation
96
most common predominant chords, and their function
IV and ii predom to dom affirms the tonic.
97
IV and ii predom to dom affirms the tonic.
most common predominant chords, and their function
98
similarities ii and IV
share 2 chord tones (^4 and ^6)
99
share 2 chord tones (^4 and ^6)
similarities ii and IV
100
ii-IV or IV-ii?
descend IV to ii creates new bass tone.
R of ii is not in IV, but R of IV is in ii, so IV-ii sounds like a new chord but ii-IV does not.
101
descend IV to ii creates new bass tone.
R of ii is not in IV, but R of IV is in ii, so IV-ii sounds like a new chord but ii-IV does not.
ii-IV or IV-ii?
102
supertonic (ii) chord in minor
- -diminished (iio)
| - -diminished triad in root position is unstable because dim5 wants to contract, so usually used in 1st inversion (iio6)
103
- -diminished (iio)
| - -diminished triad in root position is unstable because dim5 wants to contract, so usually used in 1st inversion (iio6)
supertonic (ii) chord in minor
104
effect of melodic minor on subdominant chords
^6 is raised to avoid aug2 between ^6 and ^7 of harmonic minor
- -iv becomes IV
- -iio becomes ii
105
^6 is raised to avoid aug2 between ^6 and ^7 of harmonic minor
- -iv becomes IV
- -iio becomes ii
effect of melodic minor on subdominant chords
106
doubling in predominant chords
IV -- double R
ii -- double R or 3, determined by voice leading before and after usual voice leading
- -if possible for SAT, maintain common tone and move the other two to nearest chord tone
- -if no common tone, use contrary motion
107
IV -- double R
ii -- double R or 3, determined by voice leading before and after usual voice leading
- -if possible for SAT, maintain common tone and move the other two to nearest chord tone
- -if no common tone, use contrary motion
doubling in predominant chords
108
voice leading for consecutive Roman numerals (IV-V, I-ii, etc.)
contrary motion required for these progressions
109
contrary motion required for these progressions
voice leading for consecutive Roman numerals (IV-V, I-ii, etc.)
110
échappée
échappée attempts to "break away" from a descending melodic line note
unaccented
step up, skip down a 3rd to next note
111
Échappée attempts to "break away" from a descending melodic line note unaccented step up skip down a 3rd to next note
échappée
112
échappée details
- -unaccented -
- approached by step, then skips a 3rd in opposite direction (which is the actual melodic direction)
- -interrupts melodic movement by trying to escape in the opposite direction
113
- -unaccented
- -approached by step, then skips a 3rd in opposite direction (which is the actual melodic direction)
- -interrupts melodic movement by trying to escape in the opposite direction
échappée details
114
6
Triad in first inversion
115
Triad in first inversion
6
116
period
```
symmetrical structure with
2 phrases (antecedent and consequent),
usually 4 measures each
```
117
```
symmetrical structure with
2 phrases (antecedent and consequent),
usually 4 measures each
```
period
118
antecedent, consequent
Opening phrase ("question"), weak cadence (half or IAC), starts the period.
Following phrase ("answer"), strong cadence (PAC), completes the period.
119
Opening phrase ("question"), weak cadence (half or IAC), starts the period.
Following phrase ("answer"), strong cadence (PAC), completes the period.
antecedent, consequent
120
perfect authentic cadence
requires both V and I in root position
| requires melody arrives on ^1
121
requires both V and I in root position
| requires melody arrives on ^1
perfect authentic cadence
122
simple binary
||: A :||: B :||:
A usually ends in either
- -HC in home key
- -PAC in dom or rel major
- -(occasionally PAC in home key) B --NO
RESTATEMENT of A material
- -opening key is variable
- -ALWAYS ends with PAC in home key
123
||: A :||: B :||:
A usually ends in either
- -HC in home key
- -PAC in dom or rel major
- -(occasionally PAC in home key)
B --NO RESTATEMENT of A material
- -opening key is variable
- -ALWAYS ends with PAC in home key
simple binary
124
rounded binary
```
||: A :||: B A :||
A same as simple binary, e.g. ends
--HC in home key
--PAC in dom or rel major
--(occasionally, PAC in home key)
```
B --contains a return of the BEGINNING of A (usually just a bar or two, but could be up to 8 extra bars)
- -opening key is variable, but often arrives at dominant before return of A material
- -ends with PAC in home key
125
```
||: A :||: B A :||
A same as simple binary, e.g. ends
--HC in home key
--PAC in dom or rel major
--(occasionally, PAC in home key)
```
B --contains a return of the BEGINNING of A (usually just a bar or two, but could be up to 8 extra bars)
- -opening key is variable, but often arrives at dominant before return of A material
- -ends with PAC in home key
rounded binary
126
balanced binary
||: A * :||: B * :||
A similar to other binaries (ends with PAC in dom or rel major, occasionally PAC in home key)
B
- -contains brief return of LAST portion of A
- -ends with PAC in home key
127
||: A * :||: B * :||
A similar to other binaries (ends with PAC in dom or rel major, occasionally PAC in home key)
B
- -contains brief return of LAST portion of A
- -ends with PAC in home key
balanced binary
128
difference rounded binary and balanced binary
B has return of beginning or end of A
129
B has return of beginning or end of A
difference rounded binary and balanced binary
130
rounded binary vs ternary
initial A ends with half-cadence, returns at end with tonic PAC
initial A ends with tonic PAC, returns at end with tonic PAC
131
initial A ends with half-cadence, returns at end with tonic PAC
initial A ends with tonic PAC, returns at end with tonic PAC
rounded binary vs ternary
132
cadences for antecedent and consequent
leads to weak cadence (HC or IAC)
leads to strong cadence (PAC)
133
leads to weak cadence (HC or IAC)
leads to strong cadence (PAC)
cadences for antecedent and consequent
134
uses of 1st inversion
#NAME?
135
#NAME?
uses of 1st inversion
136
inversions at cadences
authentic cadence--both chords usually root position (V & I MUST be root position for PAC)
half-cadence--V usually root position, while preceding chord might be inverted triad or 7th
137
authentic cadence--both chords usually root position (V & I MUST be root position for PAC)
half-cadence--V usually root position, while preceding chord might be inverted triad or 7th
inversions at cadences
138
doubling and inversions of I, IV, V
double R or 5
rarely, double 3 for I6 and IV6
NEVER double 3 of V6 = the LT
139
double R or 5
rarely, double 3 for I6 and IV6
NEVER double 3 of V6 = the LT
doubling and inversions of I, IV, V
140
tonic prolongation with inversions
```
I-I6-I
i-V6-i
i-iv6-i
i6-iv-i6
i6-V-i6 etc.
```
if using voice exchange (e.g. I-I6-I), often combined with passing tones
141
```
I-I6-I
i-V6-i
i-iv6-i
i6-iv-i6
i6-V-i6 etc.
```
if using voice exchange (e.g. I-I6-I), often combined with passing tones
tonic prolongation with inversions
142
dominant prolongation
with V6 and IV6
V - V6 - V8-7 - I
V- IV6 - V
V- IV6 - V6 - I (^5-^6-^7-^1)
143
with V6 and IV6
V - V6 - V8-7 - I
V- IV6 - V
V- IV6 - V6 - I (^5-^6-^7-^1)
dominant prolongation
144
pre-dom function of IV6
same function, but bass moves down (^6 - ^5) instead of up (^4 - ^5)
145
same function, but bass moves down (^6 - ^5) instead of up (^4 - ^5)
pre-dom function of IV6
146
Phrygian cadence
Minor only.
Harmonic: iv, but V descending B half-step ^6 - ^5
iv6 - V
147
Minor only.
Harmonic: iv, but V descending B half-step ^6 - ^5
iv6 - V
Phrygian cadence
148
preferred doubling of ii6
R335 (doubling ^4 emphasizes predom function)
149
R335 (doubling ^4 emphasizes predom function)
preferred doubling of ii6
150
common use of ii6
to replace IV as predom
151
to replace IV as predom
common use of ii6
152
pre-dom prolongation with ii
most common: IV-ii6 (or iv-ii06)
153
most common: IV-ii6 (or iv-ii06)
pre-dom prolongation with ii
154
double neighbor tones
dn start one direction, skip a 3rd the other, return to original tone
e.g., ^1 - ^7 - ^2 - ^1
may be in parallel 3rds or 6ths
155
dn start one direction, skip a 3rd the other, return to original tone
e.g., ^1 - ^7 - ^2 - ^1
may be in parallel 3rds or 6ths
double neighbor tones
156
ascending melodic minor (in S or B) harmony requirement
major IV
157
major IV
ascending melodic minor (in S or B) harmony requirement
158
V7 inversions
can prolong the tonic by connecting I and I6
impart sense of forward motion without the stop of a cadence
159
can prolong the tonic by connecting I and I6
impart sense of forward motion without the stop of a cadence
V7 inversions
160
rising resolution
V43 - I6
7th RISES to resolve ^4 - ^5, in parallel 3rds with B rising ^2 - ^3
161
V43 - I6
7th RISES to resolve ^4 - ^5, in parallel 3rds with B rising ^2 - ^3
rising resolution
162
resolving V7 inversions
tritone (^4 - ^7) wants resolution
usually, LT rises ^7 -^1
7th of chord falls ^4 - ^3
163
tritone (^4 - ^7) wants resolution
usually, LT rises ^7 -^1
7th of chord falls ^4 - ^3
resolving V7 inversions
164
voice exchange subtleties
usually between 3 and 5, in the outer voices
inner voices remain static
never exchange R and 7
165
usually between 3 and 5, in the outer voices
inner voices remain static
never exchange R and 7
voice exchange subtleties
166
avoiding direct/exposed 5ths and 8ths
use inversions
167
use inversions
avoiding direct/exposed 5ths and 8ths
168
incomplete neighbor tone
in only 1 stepwise connection with chord tone (instead of 2)
approached by skip,
resolved by step (usually in the opposite direction from the skip)
169
in only 1 stepwise connection with chord tone (instead of 2)
approached by skip,
resolved by step (usually in the opposite direction from the skip)
incomplete neighbor tone
170
common tone in V-I
maintain R of V as 5 of I (^5 - ^5)
171
maintain R of V as 5 of I (^5 - ^5)
common tone in V-I
172
pedal point
sustained or repeated tone, typically tonic or dominant
| usually in the bass, with changing harmonies above it
173
sustained or repeated tone, typically tonic or dominant
| usually in the bass, with changing harmonies above it
pedal point
174
writing chords over pedal point
pedal bracket, labeled "tonic pedal" or "dominant pedal"
chords over a pedal are perceived by color, not inversion, so functional chord symbols are always written in root position
175
pedal bracket, labeled "tonic pedal" or "dominant pedal"
chords over a pedal are perceived by color, not inversion, so functional chord symbols are always written in root position
writing chords over pedal point
176
use of 2nd inversion chords (64)
- -not used independently
- -dissonant 4th against bass requires resolution
- -3 specific decorative functions:
NEIGHBOR (pedal) 64 prolongs the T or D harmony B and 1 upper part hold the R. The other 2 upper parts move up a step and back
i53 - 64 - 53 could also be considered i53 - iv64 - i
ARPEGGIO 64 -- simply the bass arpeggiating the triad for rhythmic drive
Instrumental music. Rarely used in choral
Most commonly I, IV, V
PASSING 64
-- fills gap between root and first inversion of a chord. Usually unstressed
ALWAYS double the 5 in a passing 64
I - V64 - I6 (B: ^1-^2-^3) and vice versa
IV - I64 - IV6 (B: ^4-^5-^6) and vice versa
CADENTIAL 64
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- -not used independently
- -dissonant 4th against bass requires resolution
- -3 specific decorative functions:
neighbor (pedal) 64 prolongs the T or D harmony
B and 1 upper part hold the R. The other 2 upper parts move up a step and back
i53 - 64 - 53 could also be considered i53 - iv64 - i
arpeggio 64
-- simply the bass arpeggiating the triad for rhythmic drive
Instrumental music. Rarely used in choral
Most commonly I, IV, V
passing 64
-- fills gap between root and first inversion of a chord.
Usually unstressed
ALWAYS double the 5 in a passing
64 I - V64 - I6 (B: ^1-^2-^3) and vice versa
IV - I64 - IV6 (B: ^4-^5-^6) and vice versa
cadential 64
use of 2nd inversion chords (64)
178
viio6
rarely used in R position because of dim5
viio6 (1st inversion) is most often used as passing chord between I - I6 and vice versa
I - vii06 - I6 (B: ^1 - ^2 - ^3)
I6 - vii06 - I (B: ^3 -^2 - ^1)
I - ii - viio6 - I6 (B: ^1 - ^2 - ^2 - ^3)
I6 - viio6 - ii - I (B: ^3 - ^2 - ^2 - ^1)
Also 1st inversion used as neighbor chord for I or I6 to prolong tonic
In 1st inversion, double 3.
NEVER double R (bc is LT)
Technically viio6 is a dominant functioning chord (bc of LT) without ^5. Can be used in AC vii06 - I but not at the final cadence (bc no tonic-affirming ^5 - ^1)
179
rarely used in R position because of dim5
viio6 (1st inversion) is most often used as passing chord between I - I6 and vice versa
I - vii06 - I6 (B: ^1 - ^2 - ^3)
I6 - vii06 - I (B: ^3 -^2 - ^1)
I - ii - viio6 - I6 (B: ^1 - ^2 - ^2 - ^3)
I6 - viio6 - ii - I (B: ^3 - ^2 - ^2 - ^1)
Also 1st inversion used as neighbor chord for I or I6 to prolong tonic
In 1st inversion, double 3.
NEVER double R (bc is LT)
Technically viio6 is a dominant functioning chord (bc of LT) without ^5. Can be used in AC vii06 - I but not at the final cadence (bc no tonic-affirming ^5 - ^1)
viio6
180
connecting I and I6
use inversions of dominant-functioning chords
viio6
V64 (inverted V, no 7th)
V43 (inverted V7)
181
use inversions of dominant-functioning chords
viio6
V64 (inverted V, no 7th)
V43 (inverted V7)
connecting I and I6
182
V43 to I or I6
V43 - I is regular resolution,
7th (^4) resolves down
V43 - I6 is rising resolution,
7th resolves up (^4-^5) in parallel 3rds with bass ^2 - ^3
183
V43 - I is regular resolution,
7th (^4) resolves down
V43 - I6 is rising resolution,
7th resolves up (^4-^5) in parallel 3rds with bass ^2 - ^3
V43 to I or I6
184
suspension
```
sus
accented non-chord tone held or repeated from previous chord
--prepared on a weak beat
--becomes dissonant on strong beat
--resolves by step on a weak beat
4-3 is the most common
```
185
```
sus
accented non-chord tone held or repeated from previous chord
--prepared on a weak beat
--becomes dissonant on strong beat
--resolves by step on a weak beat
4-3 is the most common
```
suspension
