MUS320 Exam 1 Review F26

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Across
  1. 6. The vast majority of secondary chords have chromatic pitches, unless the secondary tonic key is a ___________ of the key we are in
  2. 8. The ______ of secondary function chords include: intensify a diatonic harmony, provide temporary harmonic variety, create forward momentum, evade an expected resolution, and contribute to text painting
  3. 10. __________ and deceptive resolutions happen when a secondary chord resolves to a different chord than their tonic. Good voice leading makes these chromatic harmonies work smoothly
  4. 11. The seventh of any chord should resolve ___________
  5. 12. _________ sequence: harmonic progression repeated and transposed. These can be seen by examining the root of the chords
  6. 13. _________ cadence: a cadence that includes a secondary dominant going to the dominant and not resolving to tonic
  7. 16. __________-diminished seventh chord: a diminished triad with a diminished seventh, or m3+m3+m3. The leading tone seventh chord of a minor key will have this quality.
  8. 18. A sequence in which the repetition is chromatic. The intervals are exactly the same in size and quality, which forces accidentals
  9. 21. To avoid a _________ when approaching a secondary dominant from ii or IV, keep the chromatically altered pitch (^4 to ^#4) in the same voice
  10. 22. A dominant ____________ can happen when a secondary dominant and its inversions expand the dominant. These are also expanded tonicizations
  11. 23. ________ sequences are much less common, and include fifth and parallel 6-3 chord types
  12. 24. Briefly making a chord other than the tonic feel like a tonic. This can be done to most triads, usually by preceding them with one of its dominant function chords.
  13. 25. Most common type of descending sequence, based on the circle of fifths. The patterns are transposed down by second.
  14. 26. ___________ tonicization: when a secondary V or vii˚ is preceded by its predominant. These chords should be grouped with a bracket or long line and may last a measure or two.
  15. 27. A __________ chromatic pitch should resolve down
  16. 28. __________ harmony consists of chords that are available within a given scale/key
  17. 29. The I7 chord is often avoided in art or _________ music, where it is almost always a V7/IV. As a non-dominant seventh it is more common in jazz and popular music
  18. 30. To identify a secondary dominant, you should look at the ___________ of the chord, and identify a pitch a half-step (m2) up, which will be the secondary tonic.
  19. 31. A __________ chromatic pitch should resolve up
  20. 32. __________-diminished seventh chord: a diminished triad with a minor seventh, or m3+m3+M3. The leading tone seventh chord of a major key will have this quality.
  21. 33. ___________ or augmented triads cannot be tonicized, since tonicizations are borrowing chords from a major or minor key
Down
  1. 1. A sequence named after the composer of Canon in D, with a two-chord pattern in descending thirds and a root progression pattern down a fourth and up a second
  2. 2. _______ or diatonic sequence: A sequence in which the interval sizes of the repetition stay the same, but the qualities may be changed to stay within the key
  3. 3. __________ harmony consists of chords that are borrowed from another scale/key. For part-writing purposes, they behave as if they were in the key of their tonicized chord
  4. 4. V chord borrowed from another key. They are usually seventh chords.
  5. 5. A melodic pattern or motive repeated at a different pitch level, generally in the same voice or instrument. Their roles are to prolong the tonic area, provide a smooth transition from one key are to another, or develop a motive contrapuntally
  6. 7. Descending _________ 6-3 chords: a sequence with root progressions a second apart, which does not conform to regular chord progressions. The melodic lines are not independent.
  7. 9. __________ chord: vii˚ chord borrowed from another key. Its root will usually be chromatic in the key we are in, and a half step (m2) up from it will be the secondary tonic
  8. 14. _____________ pattern (LIP): a repeated pattern of intervals between outer voices in a harmonic sequence
  9. 15. You should never double ________ tones, such as an altered tone, a seventh, or a leading tone
  10. 17. The leading tone in a V7 or vii˚ chord should resolve __________ when in an outer voice. This includes secondary chords, where the leading tone resolves to its secondary tonic.
  11. 19. Interval of ________: the interval by which a sequence pattern is transposed
  12. 20. Mm7 chords and vii˚7 chords contain a tonicizing _________ between scale degrees 4 and 7, that strongly suggests their tonic