Diatonic and Chromatic Harmony Flashcards
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Read the first 6 Diatonic and Chromatic Harmony flashcards as text
In the key of C major, which of the following progressions best exemplifies the use of a secondary dominant?
Answer: C - D7 - G - C
A secondary dominant is a dominant seventh chord that is the dominant of a diatonic chord other than the tonic. In C major, the dominant (V) is G. The dominant of G is D. Therefore, a D7 chord functions as the V7 of V (V7/V), temporarily tonicizing the G major chord before it resolves back to the tonic C. The progression C - D7 - G - C clearly shows this function.
Which of the following chromatic chords is built on the lowered second scale degree and typically functions as a pre-dominant harmony?
Answer: Neapolitan Chord
The Neapolitan chord is a major triad built on the lowered supertonic (♭II). It is most often found in first inversion (N6) and functions as a pre-dominant chord, typically resolving to the dominant (V). For example, in C minor, the Neapolitan chord is a D♭ major triad.
A composer in a major key wants to create a moment of poignant emotion by using a chord from the parallel minor. Which of the following is a common example of this technique, known as modal mixture?
Answer: Using a iiø7 chord
Modal mixture, or borrowing, involves using chords from the parallel minor in a major key (or vice versa). In a major key, the diatonic ii chord is minor (e.g., Dm in C major). In the parallel minor key (C minor), the diatonic ii chord is diminished (D°), and the seventh chord built on it is half-diminished (Dø7). Borrowing the iiø7 chord into the major key is a common use of modal mixture that adds a distinct color.
What characteristic interval defines all types of Augmented Sixth chords (Italian, French, and German)?
Answer: An augmented sixth resolving outward to an octave.
The defining characteristic of all augmented sixth chords is the interval of an augmented sixth, typically formed between the lowered sixth scale degree (le, ♭ˆ6) in the bass and the raised fourth scale degree (fi, ♯ˆ4) in an upper voice. This interval has a strong tendency to resolve outward by half step to an octave on the dominant (ˆ5).
A Common-Tone Diminished Seventh chord (CT°7) is a non-functional chromatic chord that serves what primary purpose?
Answer: To embellish and prolong a single diatonic chord.
The Common-Tone Diminished Seventh chord (CT°7) is a non-functional harmony, meaning it does not have a typical root movement function like a dominant or subdominant. Instead, it acts as an embellishing chord, prolonging a diatonic chord (most often I or V) with which it shares a common tone. The other notes of the CT°7 typically move as chromatic neighbors to the members of the chord being prolonged.
Which statement accurately distinguishes between diatonic and chromatic harmony?
Answer: Diatonic harmony exclusively uses notes and chords found within the prevailing key, while chromatic harmony incorporates notes and chords from outside the key.
The fundamental difference lies in the source of the pitches. Diatonic harmony is constructed using only the notes belonging to the established key signature's scale (e.g., the notes C-D-E-F-G-A-B for C major). Chromatic harmony introduces notes foreign to that key, creating chords like secondary dominants, borrowed chords, and augmented sixth chords, which add color and complexity without necessarily causing a full modulation.