A Level Harmony

A Level Harmony

1. Basics

   • Degrees of the Scale
     • Primary Chords I, IV and V
       • Function - Establish the key of the phrase
     • Secondary Chords ii, iii, vi and vii
       • Function - These chords act as potential dominants for other keys - used for modulation.
   • Triads and their inversions

2. CHORD PROGRESSIONS

   • Cadences
     • Imperfect Cadence I/ii/IV-V
       • Sometimes referred to as a "half close" they sometimes act as a half way stage in a modulation
     • Perfect Cadence V-I
       • These act as musical "punctuation" stopping the flow of music
     • Interrupted Cadence V-vi
     • Plagal Cadence IV-I
   • Chord Choice - A good ratio of primary chords, secondary chords and their inversions should be used to achieve good harmony

3. Good Practice

   • Spacing - the largest interval should be between the tenor and bass
   • Always look out for parallel (consecutive) 5th and 8ves
   • Never overlap parts

4. Types of Chords

   • Neapolitan 6th
     • Function - Prepares the dominant acting as a substitution chord for chords IV or iib
     • 6th = Implies the chord must be in first inversion
     • Resolves to Chord V
   • Dissonant Chords
     • Diminished 7th
       • Function - Acts as a dominant chord resolving to the tonic
       • Resolution - The chord literally implodes inwards mainly to chord I
     • Augmented 6th Chord
       • Function - Mainly for modulation since the chord is enharmonically similar to chord V7. Mostly resolves to chord V.
         • Raised 4th degree acts as the leading note in the new key
       • Italian 6th 4#,1, 6b
       • German 6th 4#, 3b, 1, 6b
       • French 6th 4#, 2, 1, 6b
   • Dominant 7th Chord
     • The 7th must fall and this helps in the resolution to chord I (see example in cadences)
     • Preparation - The 7th must be prepared in the previous chord
     • Resolution - The 7th must always fall

Images and files in the map