Harmonic Progression Analysis Flashcards
7 cards from real Music Transcription practice questions. Tap to flip, then mark Knew It or Still Learning — missed cards come back until you master them.
Read the first 7 Harmonic Progression Analysis flashcards as text
What is the primary difference between a plagal cadence and a perfect authentic cadence?
Answer: Plagal ends IV–I; perfect authentic ends V–I
A plagal cadence moves IV–I (often called the 'Amen' cadence), while a perfect authentic cadence moves V–I with both chords in root position.
When transcribing a chord that contains the notes C, E, G, B♭, and D, what is it most likely called?
Answer: C dominant 9
C, E, G, B♭, D forms a C dominant 9 chord (C9): C major triad + minor 7th (B♭) + major 9th (D).
Which harmonic device involves a chord moving up or down by a half step to create chromatic voice leading?
Answer: Chromatic planing
Chromatic planing moves chords in parallel by half steps, maintaining chord quality while shifting chromatically.
In the progression Am–G–F–E (or i–VII–VI–V in A minor), what type of progression is this?
Answer: Andalusian cadence
The descending Am–G–F–E pattern is known as the Andalusian cadence, common in flamenco and classical music.
A German augmented sixth chord (Ger+6) typically resolves to which chord?
Answer: The dominant V chord (often via a 6/4)
The German augmented sixth chord resolves outward by half steps to the dominant V, often with an intermediate 6/4 to avoid parallel fifths.
When analyzing a pop song with the loop vi–IV–I–V, how would you best describe its tonal center?
Answer: It is ambiguous between the relative major and minor
The vi–IV–I–V loop is tonally ambiguous — it can be heard in either the major key (starting on I) or the relative minor (starting on vi).
In four-part chorale writing, which voice-leading error results from two voices moving in the same direction to a perfect interval?
Answer: Parallel octaves/fifths
Parallel octaves or parallel fifths occur when two voices move in the same direction and arrive on a perfect unison, octave, or fifth.