final review help me

rt pos, stepwise motion

all upper vx contrary to bass

rt pos, motion by 3rds or 6ths

2 common, 1 by step

when to double 3rd of VI?

-when V-VI or VI-V

-maj + min, ALWAYS in min

when bass + sop move in par. 10ths (min and maj)

rt pos, motion by 4ths or 5ths

-1 common, 2 stepwise

-1 stepwise, 2 by 3rd; all upper vx in same direction

-tertian method

tertian method

-sop. OR ten. leaps a 4th from 3rd of first to 3rd of second chord

-alto common tone

-remaining vx by step

-for rt pos chords moving by 4ths/5ths

6/4 doubling

always double 5th (bass)

6/4 voice leading

never leap into or out of any voice of 6/4 UNLESS:

-arpeggiated 6/4 (rare)

-cad. 6/4: can leap UP INTO 1 or 2 vx, no more. CANNOT LEAP OUT

cad. 6/4 voice leading

-may have UPWARD skip or leap INTO 1 or 2 vx

-all vx must resolve by step or common tone; cant leap out

viio6 doubling/inversions

-normally double 3rd (bass), occasionally 5th

-NEVER root (leading tone)

-dim. triads ALWAYS IN 1ST INV.

viio6 function

-substitute for dominant (V); must resolve to I(6)/i(6)

-almost exclusively used as part of mel/harm idiom

viio6 voice leading

-approach and resolve all vx by step/common tone EXCEPT:

-1-4-3 idiom; leap in sop

-6-7-8 idiom; leap in bass

III/iii exceptional doubling

-III used as part of 8-7-6 idiom to harmonize 7 (leading tone)

-double the third of III, leap a 4th in tenor when resolving

8-7-6 idiom harmonization

I-iii-IV

doubling 1st inversion chords (non-dim)

-double the ROOT or 5TH; usually whatever is in sop. vx is better

-don’t double 3rd (bass note)

iio6 doubling

-normally double the 3rd, sometimes double root

-DON'T double 5th- tendency tone

inverted 7th doubling

ALWAYS complete

7th resolution

ALWAYS down by step, almost always down by step

approaching 7th

NEVER leap DOWN into 7th.

if leap up, resolve by step in other dir.

inverted 7th passing idioms

-can use 6/4 or 4/3 chords to connect rt pos to 1st inv chords with or without 7ths

vx exc. idioms → 6/4

par 10th idioms → 4/3

-approach and resolve all vx by step or common tone (there are leaps in 4/3 idiom)

vx exchange passing idioms

6/4

par 10th passing idioms

4/3

new motivic idioms

I- V4/2 - I6: 3-2-5, 5-5-8 (idioms involving V4/2 will have leaps)

I - ii4/2 - V6/5 - I; 3-4-4-3

dim. 7th inversions

MAY be in root pos

resolving the 7th

ALWAYS down by step, NEVER resolves by leap

EXCEPT: resolves up by step IF resolution tone is in bass of following chord

(if 7th chord repeated, 7th can move to diff. vx before resolving)

approaching the 7th

NO downward leaps

upward leaps MUST resolve down by step

consecutive rt pos 7ths moving by 4th/5th

-ALTERNATE complete and incomplete (dim. MUST be complete)

-upper vx move by step or common tone

consecutive rt pos 7ths moving by 3rd/6th

-ALL COMPLETE, 7th will resolve up by step (res tone in bass of following chord)

-upper vx move by step or common tone

special cases

V7-vi: V7 MUST be complete, may double 3rd of vi

vii(half-dim)7-I: may double 3rd of I in major to avoid par 5ths

unequal 5ths ok for:

-V7 and I

-V7 and vi, but avoid when possible

N6 doubling

double 3rd (bass)

N6 voice leading

N6 → cad6/4: put rt ABOVE 5th

Ger+6 (int. above bass)

P5 (or double A4), A6, M3

Fr+6 (int. above bass)

A4, A6, M3

It+6

A6, 2 M3 (roots)

types of binary

sectional (A ends with PAC in I) and continuous (it doesnt)

simple: normal

rounded: comes aROUND to the BEGINNING of A in B section

balanced: like a rhyme, B ends with mod. END of A section in I