Chapter 15 - Aural Skills 3: Harmonic Dictation

inversion

The supertonic and leading- tone chords are commonly found in first .

strong subdominant

The supertonic in first inversion is a(n) harmony.

Tonic

I and vi

Subdominant or Predominant

IV and ii or ii7

Dominant

V or V7 and vii° or vii°7

Cadence

The way phrases end

three harmonic areas or functions

tonic

subdominant

dominant

root position chords are considered

strong

used to prolong stronger harmonies

Second inversion and sometimes first inversion harmonies

Four basic ways to prolong a harmony

• Passing harmonies
• Neighbot harmonies
• Arpeggiated harmonies
• Cadential harmonies

how do harmonic progressions move

from tonic to subdominant to dominant to tonic (T-S-D-T)

Dominant harmonies don’t move

to subdominant

Significant harmonic function changes usually occur on

strong beats

When the bass line is conjunct

harmonies are generally being prolonged

When large skips or leaps occur in the bass

it often signals a change of function

Most common bass line endings

• So-So-Do
• Fa-So-Do

ii6-V7-I can harmonize with

Re-Re-Do

IV-V-I can be harmonized with

Do-Ti-Do

ii6-V or V7-I can be harmonized with

Re-Re-Do or Re-Ti-Do.

The middle section uses inversions if

the bass is moving stepwise.