Across
- 6. The vast majority of secondary chords have chromatic pitches, unless the secondary tonic key is a ___________ of the key we are in
- 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
- 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
- 11. The seventh of any chord should resolve ___________
- 12. _________ sequence: harmonic progression repeated and transposed. These can be seen by examining the root of the chords
- 13. _________ cadence: a cadence that includes a secondary dominant going to the dominant and not resolving to tonic
- 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.
- 18. A sequence in which the repetition is chromatic. The intervals are exactly the same in size and quality, which forces accidentals
- 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
- 22. A dominant ____________ can happen when a secondary dominant and its inversions expand the dominant. These are also expanded tonicizations
- 23. ________ sequences are much less common, and include fifth and parallel 6-3 chord types
- 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.
- 25. Most common type of descending sequence, based on the circle of fifths. The patterns are transposed down by second.
- 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.
- 27. A __________ chromatic pitch should resolve down
- 28. __________ harmony consists of chords that are available within a given scale/key
- 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
- 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.
- 31. A __________ chromatic pitch should resolve up
- 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.
- 33. ___________ or augmented triads cannot be tonicized, since tonicizations are borrowing chords from a major or minor key
Down
- 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. _______ 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. __________ 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. V chord borrowed from another key. They are usually seventh chords.
- 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
- 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.
- 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
- 14. _____________ pattern (LIP): a repeated pattern of intervals between outer voices in a harmonic sequence
- 15. You should never double ________ tones, such as an altered tone, a seventh, or a leading tone
- 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.
- 19. Interval of ________: the interval by which a sequence pattern is transposed
- 20. Mm7 chords and vii˚7 chords contain a tonicizing _________ between scale degrees 4 and 7, that strongly suggests their tonic