Music Theory 2, Exam 2 (Turek Elements of Music Vol.1, Chapters 13-15)

Seventh chords are considered to be

dissonant

Seventh chords of _____________ function are the most frequently encountered.

dominant

A diminished triad and a diminished seventh result in _________, or the James Bond quality.

oo7

In both major and minor keysm the seventh chord constructed on the fifth scale degree is a ____________.

Mm7.

The addition of a seventh equates to the addition of scale degree ____.

4

The presence of a tendency tone in a dominant seventh chord enhances the chord's inclination to resolve to the _________.

tonic

The seventh of a V7 is never doubled and is most frequently resolved stepwise ____________.

downward

The leading tone is never doubled and is normally resolved _____________ to the tonic, especially when in an outer voice.

upward

When the dominant seventh chord appears in root position, the V7 or the I may be _________________.

incomplete

When the soprano has the leading tone, the most satisfying result is achieved by resolving to the ___________, but as a result, either the ______ or _____ may be incomplete.

tonic, V7, I

Occasionally, the V7 moves deceptively to the _________ rather than to the tonic.

vi (VI)

The resolution of the leading tone to the tonic results in a doubled ________ in the vi(VI).

third

The leading tone in an inner voice can resolve either upward to the tonic or downward to the root of ____.

vi

In minor, moving the leading tone downard to the root of the VI would create an __________________ ______________.

augmented second

Unlike the root position dominant seventh chord, its inversions rarely require the omission of any chord tone from either the _____ or ______.

V7, I

Distinct similarities exist between the V43, the ______, and the ______.

V64, viio6

The bass of the V43, V64, and viio6 resembles a _________________ ___________.

passing tone

The V43, V64, and viio6 are similar in function and sound, and are distinguished from each other by ________ chord tone(s).

one

The ___________________ seventh chord has a different structure in major than in minor keys.

leading tone

The major key form of the leading tone seventh is the _______.

om7 (half diminished seventh chord).

The minor key form of the leading tone seventh is the _________.

oo7 (fully diminished seventh chord).

The __________________________________ is used more often than the half diminished seventh and is used in preference even in major keys where it is not diatonic.

fully diminished seventh

Where the chord seventh is higher than the chord ________, the chord third will have to move upward, producing a less common doubling, in order to avoid forming consecutive fifths with the voice containing the chord seventh.

third

The leading tone fully diminished seventh is packed with __________________________.

tendency tones

In almost all cases, the root of the leading tone seventh chord should resolve ____________ and the chord seventh should resolve ___________.

upward, downward

On rare occasions, a seventh chord is followed by a chord that does not contain the note representing the normal downward resolution of the seventh. In most of these cases, the seventh is a ___________ _______ between the two chords and is retained in the same voice.

common tone

Sometimes the seventh of a V7 is resolved upward rather than downward, meaning the chord of resolution is a ________________ _______________ __________.

first inversion tonic

The V7, together witht eh viio7 and vii%7 forma. group of ______________ related chords whose similarities are much more significant than their differences.

functionally

Chords with dominant function share _____ common tones, which are normally resolved in the same manner in all three chords: scale 4 moves to 3, scale 7 moves to 1, and scale 2 moves either upwards or downwards to 3 or 1.

3

Retain _______________ ___________.

common tones

Resolve __________________ ____________.

tendency tones

Move _________________ between chords, from one tone to another.

stepwise

Avoid voice _________ and _____________, as well as P1, P5, P8, (and P4 between T & B).

crossing, overlap

For root position triads, double the __________________ as best practice. A doubled ______ is acceptable, a doubled _____ is weak.

bass, 5, 3

For ________________ ____________ triads, adhere to SB145 for a smoother bass line. Alternative doubling SB for consecutive 1st inversion triads.

first inversion

Second, inversion triads are most frequently associated with scale degrees ____, ____, and ____, having very specific types & and formulas. Chords in these positions should always have a doubled bass.

1, 4, 5

If the _____________ is a common tone, retain it. In this case the resolution is likely the following chord.

seventh

Very rarely, a seventh may need to resolve ____________ when moving to a I6 in order to avoid the weak doubled third.

upwards

The supertonic seventh chord has _______ tones in common with the V7 chord.

2

Supertonic seventh chords have _____________________ function.

pre-dominant

The quality of the supertonic seventh chord in minor is _________________________.

half diminished

The quality of the leading tone seventh chord in major is

half diminished

______ is the seventh of a supertonic seventh chord.

Do

Fully diminished leading tone seventh chords contain _____________________ _________.

interlocking tritones.

Fully diminished leading tone seventh chords contain _____, ____, _____, and ____.

fa, le, ti, re

Nondominant seventh chords

Diatonic seventh chords built on chords other than the dominant or leading tone.

Throughout the Renaissance, ___________ had appeared within triads as byproducts of linear motion.

sevenths

Seventh chords came to be recognized as harmonies in their own right during the ____________________ era.

baroque

A seventh constructed on scale degree 1:

MM7

A seventh chord constructed on scale degree 2:

mm7

A seventh chord constructed on scale degree 3:

mm7

A seventh chord constructed on scale degree 4:

MM7

A seventh chord constructed on scale degree 5:

Mm7

A seventh chord constructed on scale degree 6:

mm7

A seventh chord constructed on scale degree 7:

om7

A superscript seven alone indicates a ___________ seventh above the chord root.

diatonic

The most commonly encountered seventh chords in minor keys are those of the _____________ minor scale.

harmonic

In minor keys, the seventh chord built on ________ is more often a mm7 than an mM7.

tonic

In minor keys, the seventh chord built on the _______________ is usually a MM7.

mediant

Most _____________ seventh chords appear in root position more often than in inversion.

nondominant

The most common nondominant seventh chords are the _________________________.

pre-dominants

Predominant seventh chords resolve by way of the _________________ ________.

cadential six-four

If the seventh lasts for more than _____ beat, the chord can be analyzed appropriately as a seventh chord.

one

The variable ____________ and ______________ degrees permit two types of seventh chords on each and every degree of the minor scale.

sixth, seventh

Of the alternative seventh chords, the ______ and ______ occur most frequently.

IV7, vi%7

Alternative seventh chords are usually followed by a chord of ______________ function.

dominant

the IV7 in a minor key is a rare case where a Mm7 does not have a _______________ function.

dominant

The IV7 in a minor key typically appears in inversion, and resolves to a _____, _____, or _______.

V, V7, or viio.

When seventh chords appear in succession, they are frequently _______________, especially in strict four-voice styles.

incomplete

If a ____________ tone cannot function as a seventh, it may be possible to harmonize the tone with a seventh chord.

melody

Certain nondominant seventh chords may be substituted for each other because they are related by ____________.

function

The viio7 chord has _____ chromatically altered tendency tone in major.

one

Dominant function chords all share ___.

ti

Predominant function chords all share ___.

fa

The quality of a supertonic seventh chord is ____ in major keys.

mm7

The quality of a supertonic seventh chord is _____ in minor keys.

om7

Diatonic harmony is considered ______________ function.

primary

Tonicization

Briefly conveying a to chord (other than the tonic) the character of a tonic by preceding it with a chord that functions as its dominant, dominant seventh, leading tone triad, or leading tone seventh chord.

Tonicization was established by baroque composers _____________ and ____________.

Bach, Handel

You cannot tonicize _______________ triads.

diminished

You cannot tonicize _________.

tonic

Formula for secondary function

x/y

A deceptive cadence is achievable in secondary function because it has _____________ function.

dominant

Secondary dominant, or ____________ dominant, functions as the dominant of some harmonic element other than the key's tonic and resolves to that element.

applied

A secondary dominant or dominant seventh chord always has its root a perfect _______ above or a perfect ________ below the chord it tonicizes.

fifth, fourth

A secondary dominant is always a __________ triad.

major

A secondary dominant seventh chord is always a ______ chord.

Mm7

the viio and iio cannot be ________________.

tonicized

To be a convincing tonicization of ____, a lowered seventh must be added to the III, changing it to a Mm7.

VI

Minor key passages, by way of the __________ (acting as the V/III) make allusions to the relative major key.

VII

The seventh in most secondary dominant seventh chords occurs as a suspension-like figure in the _____________ voice.

highest

Secondary dominants may not always resolve to the chord they tonicize, most commonly in the case of a __________________ resolution.

deceptive

A secondary dominant may be followed by another secondary dominant, occuring in __________________ ________________________ progressions.

descending circle of fifth

Secondary leading tone seventh chords

chords that function momentarily as viio7 with respect to a chord other than the tonic

Secondary leading tone triads and seventh chords may __________ any major or minor triad.

proceed

A secondary leading tone triad or seventh chord always has its root a ______ below the chord it tonicizes.

m2

A secondary leading tone triad is always _______________.

diminished

A secondary leading tone seventh may be __________________ or ________________.

diminished seventh, half diminished seventh

The _____ is the more common of the two leading tone seventh chords and is almost always used when the tonicized chord is minor and is frequently the choice even when the tonicized chord is major.

o7

The seventh of a secondary dominant seventh chord should resolve __________ by step, just as does the seventh of a primary dominant chord.

downward