| A | B |
|---|
| Describe the resolution when you move from an inversion of V^7 to I (or I^6) | In moving from an inversion of V^7 to I (or I^6), s.d. 4 descends to s.d. 3= In inversions, the 7th resolves in the same way it does in root position= In moving to I, s.d. 5 is usually kept as a common tone |
| When/What type of motion should be avoided? | Avoid similar motion to s.d. 3 doubled at the octave or unison |
| V^[6/5]: What does it resolve to? | Resolves to I |
| V^[6/5]: What does its bass function as? | Functions as a NEIGHBOR to s.d. 1, either complete (I-V^[6/5]-I) or incomplete (at present I^6-V^[6/5]-I...there are other incomplete possibilities...) |
| V^[4/3]: What does it function as? When does it do this? | Functions as a PASSING CHORD between I and I^6 (or I^6 and I)= A less frequent function is as a NEIGHBORING CHORD to I or I^6 |
| Describe the resolution when V^[4/3] moves to I^6 | Scale degree 4 may ascend to s.d. 5= This most characteristically occurs in the progression I-V^[4/3]-I^6 with 10ths in the outer voices |
| Describe the resolution when V^[4/3] moves to I^[5/3] | Scale degree 4 must resolve down to s.d. 3 |
| V^[4/2]: What does it move to and why? | Moves to I^6 to resolve s.d. 4 |
| V^[4/2]: What does it function as and when does it do this? | Functions as a PASSING CHORD between V and I^6 and as an UPPER NEIGHBOR to I^6 |
| Writing the voices of inversions of V^7 | Inversions of V^7 are almost always complete chords |
| What can "I" function as? | "I" can function as a PASSING or NEIGHBORING chord subordinate to V, V^7, or their inversions |
| In moving from I to V^7 or within V^7, what dissonant leaps in the bass or soprano are allowable? | The following dissonant leaps in the bass or soprano are allowable: Ascending minor 7th, Diminished 4th, and Diminished 5th |
| V^7-I: When will one of the chords be incomplete? | If s.d. 4 moves to s.d. 3 and s.d. 7 moves to s.d. 8, then one of the chords will be incomplete= Especially at Authentic Cadences, (where complete chords are desirable), s.d. 7 can leap down to s.d. 5 or up to s.d. 3, BUT ONLY IN AN INNER VOICE= s.d. 4 is the 7th of the chord and must resolve down by step |
| VII^6-I: Progression | This progression sometime allows s.d. 4 to move more freely= If s.d. 4 and s.d. 7 from an A4, s.d. 4 can move up to s.d. 5= If they form a d5, s.d. 4 must descend to s.d. 3 if the motion is to I^[5/3], but it can rise to s.d. 5 if the motion is to I^6 |
| Inversions of V^7 | As a rule, the tritone will resolve normally except for V^[4/3] moving to I^6, which follows the same procedure as VII^6-I^6 |
