Music Transcription Harmonic Progression Analysis Questions and Answers ā Questions and Answers
Question 1: While transcribing a piece in C minor, you encounter a D-flat major chord that resolves to a G major chord (V). How should this D-flat major chord be analyzed using Roman numerals?
- As a Neapolitan chord (N6 or āII6) (Correct answer)
- As a secondary dominant (V/V)
- As a borrowed chord from the parallel major (āII)
- As a result of modal interchange (iv/iv)
Correct answer: As a Neapolitan chord (N6 or āII6)
A major chord built on the lowered second scale degree (D-flat in the key of C minor) is known as the Neapolitan chord. It typically functions as a pre-dominant harmony, leading to the dominant (V). It is most often found in first inversion, hence the '6' in its symbol N6 or āII6.
Question 2: In the context of Common Practice Period harmony, which of the following harmonic progressions is considered the strongest and most foundational for establishing tonality?
- IV - I (Plagal)
- V - vi (Deceptive)
- V - I (Authentic) (Correct answer)
- ii - V (Pre-dominant to Dominant)
Correct answer: V - I (Authentic)
The V - I progression, or authentic cadence, is the most powerful and definitive progression in tonal music of the Common Practice Period. The dominant chord (V) creates strong tension that resolves convincingly to the tonic (I), firmly establishing the key center.
Question 3: You are analyzing a passage in G major and identify the following chord progression: G major - E major - A minor - D major. The E major chord is non-diatonic. What is its most likely function?
- A borrowed chord from G minor (VI)
- A Neapolitan chord (N6)
- The leading-tone chord of the relative minor (viiĀ°/vi)
- A secondary dominant (V/ii) (Correct answer)
Correct answer: A secondary dominant (V/ii)
The A minor chord is the 'ii' chord in G major. The E major chord functions as the dominant (V) of A minor. Therefore, it is a secondary dominant, analyzed as V/ii (read as 'five of two'). It temporarily tonicizes the ii chord, creating a strong pull towards it.
Question 4: A composer wants to create a moment of surprise by avoiding the expected resolution to the tonic chord. Which of the following cadences would best achieve this effect?
- Perfect Authentic Cadence (V-I)
- Plagal Cadence (IV-I)
- Deceptive Cadence (V-vi) (Correct answer)
- Half Cadence (ends on V)
Correct answer: Deceptive Cadence (V-vi)
A deceptive cadence occurs when a dominant chord (V) resolves to a chord other than the tonic, most commonly the submediant (vi in major, VI in minor). This creates an unexpected turn, 'deceiving' the listener who anticipates a resolution to the tonic I chord.
Question 5: Which of the following describes the concept of 'modal interchange' or 'borrowed chords'?
- Temporarily shifting the tonic center to a new key.
- Using a chord that functions as the dominant of a non-tonic chord.
- Utilizing chords from a parallel key (e.g., C minor in the key of C major). (Correct answer)
- Inverting a diatonic chord to create smoother bass motion.
Correct answer: Utilizing chords from a parallel key (e.g., C minor in the key of C major).
Modal interchange, also known as modal mixture or borrowed chords, is the practice of borrowing chords from the parallel minor or major key. For example, in a piece in C major, using chords like Fm, Aā major, or Eā major (which are diatonic to C minor) adds harmonic color and emotional depth without fully modulating.
Question 6: You are analyzing a Baroque piece and notice a long chain of chords where the root of each successive chord is a fifth lower (or a fourth higher) than the previous one, such as I - IV - viiĀ° - iii - vi - ii - V - I. This common pattern is known as a:
- Phrygian progression
- Plagal sequence
- Chromatic modulation
- Circle-of-fifths progression (Correct answer)
Correct answer: Circle-of-fifths progression
A circle-of-fifths progression is a sequential pattern where chord roots move by descending fifths (or ascending fourths). This pattern was extremely common in the Baroque era and creates a strong sense of forward harmonic motion. The diatonic version is I-IV-viiĀ°-iii-vi-ii-V-I.
Music Transcription Harmonic Progression Analysis Questions and Answers
While transcribing a piece in C minor, you encounter a D-flat major chord that resolves to a G major chord (V).
How should this D-flat major chord be analyzed using Roman numerals?