| A | B |
|---|
| What is the best harmonic progression? | I-V-I= V leads to I by harmonic motion in the bass and by contrapuntal motion in the upper voices |
| How do you expand I and V (and every other major/minor root-position triad)? | By changing the position of the upper voices over a sustained bass |
| What scale degrees do I support? | 1-3-5 |
| What scale degrees do V support? | 5-7-2 |
| Authentic Cadence | V-I at the end of a phrase |
| Perfect Authentic Cadence | V-I at the end of a phrase, with the soprano leading to scale degree 1 |
| Semicadence | I-V |
| Doubling I or V | Root is best= Second best is the 5th= The 3rd of I is possible= The leading tone (the 3rd of V) must NOT be doubled |
| V in minor | In minor, the 3rd of V must be raised to form a leading tone |
| V^7 | Is V^[5/3] plus a 7th above the bass= This 7th is dissonant and must resolve downward by step (scale degrees 4-3) |
| V^7-I | When moving from V^7 to I, avoid similar motion into doubled scale degree 3 |
| What scale degrees do V^7 support? | 4, 5, 7, and 2 |
| What does the V^7 intensify? Result? | Intensifies motion to I= RESULT: V^7-I is thus good at an Authentic Cadence (but V^7 is not normally the goal of a semicadence) |
| V^7: Writing the tones of the chord | V^7 may be complete (with no tone doubled) or the 5th may be omitted and the root doubled |
| Moving from V^7 to I with scale degree 7 in the soprano | Will require that one of the chords be incomplete= If the I is incomplete, the root will usually be trippled |
| What is a common way of expanding V at Authentic Cadences? | V^(8-7)= If the 7th of V^7 is transferred from on upper voice to another, it must resolve in the last voice |
| Repeating a chord | Strong-Weak Repetition is GOOD= Weak-Strong Repetition is BAD= Strong-(Weak)-Strong repetition is GOOD |
