Music Theory Chords and Harmony Syllabus

Where do the half-diminished and fully diminished seventh chords occur diatonically?

Half-diminished: on the leading tone in major (viiø7) and on scale degree 2 in minor (iiø7). Fully diminished: on the raised leading tone in minor (vii°7, using the harmonic minor scale).

What are the four figured-bass symbols for a seventh chord in root position and its three inversions?

Root position: $7$; first inversion: ${}^{6}_{5}$; second inversion: ${}^{4}_{3}$; third inversion: ${}^{4}_{2}$ (or simply $2$).

For each seventh-chord inversion figure ($7$, ${}^{6}_{5}$, ${}^{4}_{3}$, ${}^{4}_{2}$), which chord member is in the bass?

$7$: root in the bass; ${}^{6}_{5}$: third in the bass; ${}^{4}_{3}$: fifth in the bass; ${}^{4}_{2}$: seventh in the bass.

In Roman numeral analysis, what do uppercase, lowercase, °, and + indicate?

Uppercase = major triad (e.g., IV); lowercase = minor triad (e.g., ii); lowercase with ° = diminished (e.g., vii°); uppercase with + = augmented (e.g., III+).

What two pieces of information does a Roman numeral give about a chord?

1) The scale degree on which the chord's root is built within the key (the numeral itself), and 2) the chord's quality (via case and symbols). Added figures show inversion (e.g., $\mathrm{I}^{6}$, $\mathrm{V}^{6}_{5}$).

List the diatonic triads (with qualities) on each scale degree of a major key.

I (major), ii (minor), iii (minor), IV (major), V (major), vi (minor), vii° (diminished).

List the diatonic triads (with qualities) in a minor key using the harmonic minor scale.

i (minor), ii° (diminished), III (major; III+ augmented if the raised 7th is included), iv (minor), V (major), VI (major), vii° (diminished).

Why are V major and vii° diminished in minor keys, even though the natural minor scale would give v and VII?

Because scale degree 7 is raised (harmonic minor) to create a leading tone a half step below tonic. The raised 7th turns v into major V and builds a diminished triad vii° on the leading tone, strengthening the pull to tonic.

What is tonic function, and which chords carry it?

Tonic function represents stability, rest, and resolution — the home of the key. Primarily I (i in minor); vi (VI) can substitute as a weaker tonic representative.

What is subdominant (predominant) function, and which chords carry it?

Subdominant/predominant function moves harmony away from tonic and prepares the dominant. Primarily IV (iv) and ii (ii°); they normally lead to V or vii°.

What is dominant function, and which chords carry it?

Dominant function creates tension that demands resolution to tonic, largely due to the leading tone. Primarily V, $V^{7}$, and vii° (vii°7); they normally resolve to I (i).

What is the standard functional harmonic cycle in tonal music?

Tonic → Predominant → Dominant → Tonic (T–PD–D–T), e.g., I–IV–V–I or I–ii–$V^{7}$–I. Motion may skip forward (T directly to D) but conventionally does not move backward (D to PD).

What is a circle-of-fifths progression? Give a diatonic example.

A progression whose chord roots descend by fifths (or ascend by fourths), the strongest root motion in tonal harmony. Example in major: vi–ii–V–I (extended: iii–vi–ii–V–I).

How do the two tendency tones of $V^{7}$ resolve when it moves to I?

The leading tone (chordal third, scale degree 7) resolves up by half step to tonic (degree 1), and the chordal seventh (scale degree 4) resolves down by step to degree 3.

What is a retrogression in functional harmony?

A "backward" motion in the functional cycle, most typically dominant moving to predominant (e.g., V–IV). It is considered weak or nonfunctional in common-practice style and is generally avoided in part-writing.

Define a perfect authentic cadence (PAC) and list its three requirements.

The strongest cadence: V (or $V^{7}$) to I (i). Requirements: 1) both chords in root position, 2) soprano ends on scale degree 1, and 3) the dominant chord is V/V7 (not vii°).

What makes a cadence an imperfect authentic cadence (IAC) rather than perfect?

It is still dominant-to-tonic, but weakened in some way: either chord is inverted, the soprano ends on scale degree 3 or 5 instead of 1, or vii° substitutes for V.

What is a half cadence (HC)?

A phrase ending on the dominant chord (V), arriving from any chord (commonly I, ii, or IV). It sounds inconclusive — a musical "comma" — and requires continuation.

What is a Phrygian half cadence?

A specific half cadence in minor keys: iv6 moving to V, with the bass descending by half step (scale degree 6 down to 5) while the soprano typically ascends by step to the dominant.

What is a plagal cadence?

IV–I (iv–i in minor), the "Amen" cadence heard at the ends of hymns. It closes on tonic but lacks the leading-tone drive of an authentic cadence, so it usually follows an authentic cadence as an extension.

What is a deceptive cadence?

The dominant resolves to something other than tonic — most commonly V–vi in major (V–VI in minor). The expected tonic is evaded, prolonging the phrase; the leading tone still resolves up to scale degree 1.

What is a phrase in tonal music?

A relatively complete musical thought ending with a cadence, conventionally about four measures long. The cadence type determines whether the phrase sounds conclusive (authentic) or open (half).

What is a period, and what are its two phrases called?

A two-phrase unit in which the first phrase (antecedent) ends with a weak cadence (usually a half cadence or IAC) and the second phrase (consequent) answers with a stronger cadence (usually a PAC), creating a question–answer pair.

What is the difference between a parallel period and a contrasting period?

In a parallel period, both phrases begin with the same or similar melodic material; in a contrasting period, the consequent begins with different melodic material. Both still pair a weak cadence with a stronger concluding cadence.

Define a passing tone.

A nonchord tone that fills the space between two chord tones by stepwise motion, approached by step and left by step in the same direction (e.g., C–D–E over a C chord). It may be accented or unaccented.

Define a neighbor tone, and distinguish upper from lower neighbors.

A nonchord tone that steps away from a chord tone and returns to the same chord tone (approached and left by step in opposite directions). An upper neighbor steps above; a lower neighbor steps below (e.g., C–D–C or C–B–C).

What are the three stages of a suspension, and what are the common suspension types by figure?

Preparation (the note as a consonant chord tone), suspension (the note held over the chord change, now dissonant, on a strong beat), and resolution (down by step). Common types: 4–3, 7–6, 9–8, and the bass suspension 2–3.

How does a retardation differ from a suspension?

Both hold a note over a chord change creating an accented dissonance, but a retardation resolves up by step instead of down (classic example: 7–8, the leading tone held over the tonic chord then rising to tonic).

Compare an appoggiatura and an escape tone by how each is approached and left.

Appoggiatura: approached by leap, resolved by step (usually in the opposite direction), typically accented. Escape tone (échappée): approached by step, left by leap in the opposite direction, typically unaccented.

Define an anticipation and a pedal point.

Anticipation: a nonchord tone that arrives early — a note of the next chord sounded before the chord changes, then repeated or held as the harmony catches up. Pedal point: a sustained or repeated note (usually tonic or dominant in the bass) held while the harmonies above it change, sometimes clashing with them; it begins and ends as a chord tone.