Tonal harmony midterm

You can do this.

Triad 1st inversion

6; third in bass

Triad 2nd inversion

6/4; fifth in bass

Incomplete chord

No 5th in chord; double or triple the root

Contrasting phrase

a + b

Parallel phrase

a + a1

Parallel double period

(a + b) + (a + b1)

Perfect authentic cadence

V → I

Sop and bass to Do

Imperfect authentic cadence

V → I

viiº → I

Third or fifth in sop

Half cadence

Ends on V

Plagal cadence

Subdominant → tonic

Deceptive cadence

V → vi

Phrygian (minor) cadence

iv6 → 

7th chord 1st inversion

6/5; third in bass

7th chord 2nd inversion

4/3; fifth in bass, double fifth

7th chord 3rd inversion

2; seventh in bass

Frustrated leading tone

Leading tone moves to 5th or 3rd instead of resolving to root

Direct motion

Sop + bass move in same direction and result in a 5th or 8ve of distance

Harmonic connection

Keep common tone in the same voice

Melodic connection

Do not keep the common tone in the same voice

Leaping thirds

Switch from close to open position (when 3rd is in sop or tenor)

Keep common tone in same voice (chords have 1 common tone)

Bass goes in different direction than upper voices

Close position

Space between sop & tenor < 1 8ve

Open position

Space between sop & tenor > 1 8ve

Soprano range

C4 - G5

Alto range

G3 - D5

Tenor range

C3 - G4

Bass range

E2 - C4

General spacing rule

Space between S & A and A & T < 1 8ve

Space between T & B < 2 8ve

Unequal 5ths

P5 → º5 (or vice versa) (avoid this!!)

Second inversion types

Cadential I 6/4

Passing 6/4

Pedal/neighbor 6/4

Arpeggiated 6/4

Cadential I 6/4

Comes right before the V chord

Falls on a strong beat

Double the dominant

Sixth and fourth resolve to fifth and third

Passing 6/4

Bass comes and goes via stepwise motion

Appears on a weak beat

Pedal or neighbor 6/4

With bass holding, chord moves from root triad to 6/4 chord (4th above) then back to triad

Arpeggiated 6/4

Appears on a weak beat