Harmony and Voice Leading 7

I-V-I

Most basic chord progression

Changing the position of the upper voices over a sustained bass

I and V can be expanded by ______.

1, 3, 5

I supports scale degrees ___, ___, and ___.

5, 7, 2

V supports scale degrees ___, ___, and ___.

Authentic cadence

V-I

Perfect authentic cadence

V-I ending with 1 in soprano

Half cadence

I-V

Tonic

Doubling the 3rd of the _____ chord is possible.

3rd of V; leading tone

The _____ is always raised in minor.

Downward by step

The 7th of V7 must resolve _________.

Similar motion into doubled 3.

When moving from V7 to I, avoid ________.

Step, passing/neighboring

The 7th of V7 often enters by ______ as a ________ tone.

V7

____ is not usually used in a half cadence.

Neighboring or passing tones

Common soprano patterns for I-V-I

V7-I

____ progression requires one of the chords to be incomplete.

V8-7

Common way of expanding V at authentic cadences

Strong-weak, strong-weak-strong

When repeating a chord, ______ and ______ repetition are good.