Harmonic Language

Music Theory I Final

progressive phrase

phrase with opening paradigm(s) in one key and a closing paradigm in a different key

tonicization

doesn’t cadence in the new key; applied chords

modulation

has PD-D-T and cadences in a new key

Secondary dominant

dominant chord borrowed from a different key; V or viio

closely related key

key signatures that share six out of seven notes of the scale

pivot chords

chords that move music smoothly between keys. located before accidental, must be same mode

Major keys are most likely to modulate to ___

V

minor keys are most likely to modulate to ___

iii (relative Maj)

pivot chords can be _____________

any chord that doesn’t contain the one different note

Tonic chords

I, I6

Predominant chords

vi, IV, IV6, ii, ii6

dominant chords

V (all inversions)

opening expanding tonic paradigm, do-re-mi in bass

passing (voice exchange, 10s)

passing bass can be harmonized with I-__-I6 or I-__-I6

V4/3 or viio6

open paradigm expanding tonic with do-ti-do or mi-fa-mi in bass

neighboring

do-ti-do in bass can be harmonized with I-__-I

V6(/5)

do-la-ti-do in bass

rising bass

do-do-ti-do in bass

bach prelude

do-(la)-fa-so-do in bass

bass arpeggiation

do-la-mi in bass

the plunge

do-do-do in bass

neighboring IV

root position V-I with do in soprano

PAC

root position V-I without do in soprano

IAC

ends on root position V

HC

special HC in minor from iv6-V with fa-so in soprano

phrygian cadence

V-vi with vi substituting for tonic

deceptive cadence

V-I6, voices don’t resolve as expected; more dramatic than IAC

evaded cadence

opening paraadigms ________ tonic, closing ones _______ tonic.

establish, confirm

opening paradigms serve to ________ tonic function