Music Transcription Harmonic Progression Analysis 4 — Questions and Answers
Question 1: What is the primary difference between a plagal cadence and a perfect authentic cadence?
- Plagal ends IV–I; perfect authentic ends V–I (Correct answer)
- Plagal ends V–I; perfect authentic ends IV–I
- Plagal ends ii–I; perfect authentic ends vii°–I
- Plagal ends I–IV; perfect authentic ends I–V
Correct 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.
Question 2: When transcribing a chord that contains the notes C, E, G, B♭, and D, what is it most likely called?
- C major 7
- C dominant 9 (Correct answer)
- C minor 9
- C augmented 7
Correct 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).
Question 3: Which harmonic device involves a chord moving up or down by a half step to create chromatic voice leading?
- Chromatic mediant
- Parsimonious voice leading
- Enharmonic modulation
- Chromatic planing (Correct answer)
Correct answer: Chromatic planing
Chromatic planing moves chords in parallel by half steps, maintaining chord quality while shifting chromatically.
Question 4: In the progression Am–G–F–E (or i–VII–VI–V in A minor), what type of progression is this?
- Ascending sequence
- Andalusian cadence (Correct answer)
- Rhythm changes bridge
- Coltrane changes
Correct answer: Andalusian cadence
The descending Am–G–F–E pattern is known as the Andalusian cadence, common in flamenco and classical music.
Question 5: A German augmented sixth chord (Ger+6) typically resolves to which chord?
- The tonic I chord
- The supertonic ii chord
- The dominant V chord (often via a 6/4) (Correct answer)
- The submediant vi chord
Correct 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.
Question 6: When analyzing a pop song with the loop vi–IV–I–V, how would you best describe its tonal center?
- It is ambiguous between the relative major and minor (Correct answer)
- It is firmly in the minor key on vi
- It is firmly in the major key on I
- It has no tonal center
Correct 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).
Question 7: In four-part chorale writing, which voice-leading error results from two voices moving in the same direction to a perfect interval?
- Voice crossing
- Parallel octaves/fifths (Correct answer)
- Doubling error
- Contrary motion fault
Correct 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.
Music Transcription Harmonic Progression Analysis 4
What is the primary difference between a plagal cadence and a perfect authentic cadence?