| A | B |
|---|
| What do the intermediate harmonics IV, II, and II^6 lead from? | Lead from I to V (NOT from V to I) |
| When can the intermediate harmonics IV, II, and II^6 appear? | Can appear immediately before a cadential dominant, forming part of the cadence |
| What do the intermediate harmonics IV, II, and II^6 allow? | They allow the 7th of V^7 (i.e. scale degree 4) to be prepared as a common tone |
| IV-V: Voice Leading | Lead the upper voice in contrary motion to the bass to avoid parallel 5ths and octaves |
| I-II: Voice Leading | Lead the upper voice in contrary motion to the bass to avoid parallel 5ths and octaves |
| Which chord is the best to support scale degree 6? | In general, IV is better than II or II^6 as support for s.d. 6 |
| II^[5/3]: Minor | Avoid II^[5/3] in minor except on a weak beat following II^6 or IV |
| IV: Best doubling in MAJOR | The best doubling is the ROOT |
| II: Best doubling in MAJOR | The best doubling is the ROOT |
| II: Best doubling in MINOR | The best doubling is the 3rd |
| II^6: Best doubling in MINOR | The best doubling is the bass or root |
| II^6-V: What should you look out for and why? | Look out for parallel octaves if the bass of II^6 is doubled |
| Which chords make possible a stepwise bass ascent from I to V? | IV, II, and II^6 |
| What expanded usages can precede V? | II-II^6 or II^6-II (possibly connected by a passing "I^6"= IV-II^6= IV-II |
| What are possible alternatives to root position V or V^7? | VII^6 or V^[4/3] (especially with melodic line s.d's 5-6-7-8)= V^[4/2]= V^6= V^[6/5] |
| What progressions should be avoided because they can cause a contradiction of the meter? | A weak-strong progression within the same chord (such as II-II^6)= A weak-strong bass repetition (such as IV-II^6 [EXCEPTION: IV or II^6 to V^[4/2] is good]) |
