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Harmonic Dictation and Analysis Flashcards

7 cards from real Music Transcription practice questions. Tap to flip, then mark Knew It or Still Learning โ€” missed cards come back until you master them.

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  1. When dictating a chromatic mediant relationship, what makes two chords chromatically mediant to each other?

    Answer: Their roots are a third apart with different modes

    Chromatic mediants have roots a third apart but differ in quality (e.g., C major to E major), sharing one common tone.

  2. In figured bass, what does the symbol '7' above a bass note indicate?

    Answer: A seventh chord in root position

    The figure '7' indicates a seventh chord in root position, meaning a seventh is added above the bass (root).

  3. Which scale degree is doubled most often when voicing a second-inversion (cadential 6/4) chord?

    Answer: The root of the key (bass note)

    In a cadential 6/4, the bass note (the fifth of the chord, which is the root of the key) is typically doubled.

  4. What is the difference between a passing 6/4 chord and a cadential 6/4 chord?

    Answer: Passing 6/4 has a bass that moves stepwise between two chords; cadential 6/4 precedes V

    A passing 6/4 connects two chords with stepwise bass motion, while a cadential 6/4 appears before V at cadences.

  5. When transcribing a French augmented sixth chord, which notes are present in C minor?

    Answer: Ab, C, D, F#

    The French augmented sixth (Fr+6) in C minor contains Ab, C, D, and F#, featuring both the augmented sixth and an augmented fourth above the bass.

  6. In harmonic analysis, a modulation confirmed by a cadence in the new key is called what type of modulation?

    Answer: Pivot chord modulation

    A pivot chord modulation uses a chord that functions in both the old and new key to smoothly transition between them.

  7. Which of the following best describes a 'tonicization' in harmonic analysis?

    Answer: A brief emphasis on a non-tonic chord using its secondary dominant

    Tonicization temporarily treats a non-tonic chord as a local tonic, typically through a secondary dominant, without fully modulating.