MUSM 112 Music Theory II Week 1

Tonic

The first scale degree of a key, serving as the home or resolution point, providing a sense of stability.

Dominant

The fifth scale degree, often leading to the tonic due to its strong harmonic pull.

Basic Phrase Structure

Consists of a beginning (often tonic), a middle (dominant or other chords), and an ending (cadence).

Half Cadence

A cadence that ends on the dominant (V) chord, creating a sense of pause.

Authentic Cadence

A cadence moving from the dominant (V) to the tonic (I), providing strong harmonic resolution.

Neighboring V Chord

A dominant chord that acts as neighboring harmony to another chord, used for embellishment.

Imperfect Authentic Cadence

An authentic cadence that doesn’t fulfill all requirements of a perfect cadence, such as missing the tonic in the soprano.

Perfect Authentic Cadence

A V-I cadence where both chords are in root position, creating a strong sense of resolution.

Alberti Bass

A left-hand accompaniment pattern featuring an arpeggiated chord structure.

Order of 3rds

The sequence in which diatonic chords are built by stacking thirds within a key.

Circle of 5ths

A diagram showing the relationship between key signatures, moving by a perfect fifth.

Roman Numeral for Root Position Triad

A capital letter numeral indicating a triad in its root position.

Roman Numeral for 1st Inversion Triad

The numeral with a superscript 6 indicating the third is in the bass.

Roman Numeral for 2nd Inversion Triad

The numeral with a superscript 6/4 indicating the fifth is in the bass.

Tendency Tones

Notes that have a strong inclination to resolve in a particular direction.

Chordal 7ths

The seventh of a chord which must resolve downward by step in a dominant 7th chord.

Chordal 3rds

The third of a chord, determining its quality (major, minor, diminished, augmented).

V7 - I Progression

A strong motion from the dominant 7th chord (V7) to the tonic (I).

4ths and 7ths in Voice Leading

4ths are consonant unless part of a suspension, though they should resolve down or up. 7ths should resolve upward by step to the tonic.

Voice Leading Rules

Avoid parallel 5ths/octaves, maintain smooth melodic motion, resolve tendency tones correctly.

Order of Flat Key Signatures

B, E, A, D, G, C, F (Battle Ends And Down Goes Charles’ Father).

Order of Sharp Key Signatures

F, C, G, D, A, E, B (Father Charles Goes Down And Ends Battle).

Parallel 5ths/Octaves

Movement of two voices in the same direction by a perfect fifth or octave, which weakens independence.

Rules for Voicing V7 Chords

Resolve the 7th downward, avoid doubling the leading tone, keep common tones between V7 and I.

What Do You Triple in Voice Leading When the 5th is Omitted?

The root is typically tripled to maintain harmonic stability.

Frustrated Leading Tone

When the leading tone does not resolve as expected, often moving to a chordal third instead.