| A | B |
|---|
| How can you expand root-position I and V | I^6 and V^6 |
| I-I^6: Important Voice Leadings | (The I^6 expands root position tonic) Parallel 10ths or voice exchange in the outer voices |
| V-V^6: Important Voice Leadings | (The V^6 expands root position dominant) Parallel 10ths or voice exchange in the outer voices |
| What produces an arpeggiation of tonic harmony in the bass | The progression I-I^6-V (possibly continuing to another I) |
| When/where/what might I^6 and V^6 substitute for? | Might substitute for I and V where the stability of the root-position chord is not needed |
| What does the V^6 chord function as? Where does this happen? | V^6 functions as a neighboring chord (N) within an expanded tonic (bass: s.d.'s 8-7-8) or as an incomplete neighbor (IN) in the progression I^6-V^6-I |
| I^6: What tones can be doubled when writing out the chord | ANY tone of I^6 may be doubled |
| V^6: What tones can be doubled when writing out the chord | ANY tone of V^6 may be doubled EXCEPT the leading tone (i.e. scale degree 7) |
| What does VII^6 function as between I and I^6? | VII^6 functions as a PASSING CHORD between I and I^6 (i.e. I-VII^6-I^6) |
| What does VII^6 function as to I or I^6? | VII^6 functions as a NEIGHBORING CHORD to I or I^6 (i.e. VII^6-I or VII^6-I^6) |
| VII^6: What tones can be doubled when writing out the chord | Either scale degrees 2 or 4 may be doubled, but NEVER s.d. 7 (the leading tone) |
| Tritone | An interval of TWO minor 3rds or a flat/diminished 5th= Also a sharp/augmented 4th |
| How does the tritone in VII^6 often resolve? | The tritone in VII^6 (scale degrees 4 and 7) resolves normally (scale degrees 7-8 and 4-3) with all voices tending to move by step= s.d. 7 moves normally to s.d. 8, but s.d. 4 may sometimes move to s.d. 5 if the dissonance is an augmented 4th= If it is a diminished 5th, s.d. 4 may move to s.d. 5 ONLY if the bass moves to I^6 (s.d. 3) |
| VII^[5/3] | For the time being, should be avoided |
| How can you avoid an unwanted cadential effect? | Do NOT use V^(7)-I^[5/3] in the middle of a phrase if the soprano goes to s.d. 1= Use VII^6 or V^6 instead of root-position V^(7), or use I^6 instead of I |
| What should be avoided when it comes to the meter? | Avoid contradicting the meter= Do NOT move between two positions of the same chord from a weak to a strong beat |
