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Assessment for Unit 7: Harmony and Voice Leading IV: Secondary Function
Select the one best answer for each question.
1. [Skill: 2A | Topic: 7.1] A student analyzes the following harmonic excerpt in C major (one chord per beat): m. 12: | D–F#–A–C | G–B–D | Which of the following best identifies the process occurring in the first chord and its harmonic goal?
2. [Skill: 2A | Topic: 7.1] In A minor, a chord is spelled B–D#–F#–A and resolves directly to an E major triad (E–G#–B). Which Roman numeral analysis correctly labels the first chord in the context of A minor?
3. [Skill: 1A | Topic: 7.1] Consider the following notated harmonic motion in D major: | E–G#–B–D | A–C#–E | Which statement best describes what is happening harmonically in this excerpt?
4. [Skill: 1B | Topic: 7.1] In B-flat major, a composer wants to tonicize ii (the ii chord) using a secondary dominant seventh chord. Which of the following correctly spells V^7/ii in B-flat major?
5. [Skill: 2A | Topic: 7.1] In C major, a student labels the following progression: | A–C#–E–G | D–F–A | Which pitch in the first chord most directly signals tonicization, and what is its role?
6. [Skill: 1.B | Topic: 7.4] In the key of C major, the following two-chord chorale-style excerpt is shown (SATB). Measure 1 is a secondary leading-tone seventh chord tonicizing V; measure 2 is V7. m.1 (vii°7/V): S: E-flat4 A: C4 T: A3 B: F-sharp2 m.2 (V7): S: F4 A: B3 T: G3 B: G2 Which of the following best identifies the voice-leading error between m.1 and m.2?
7. [Skill: 2.A | Topic: 7.3] In the following harmonic excerpt in C major, measure 2 contains the vertical sonority A–C–F# (A in the bass), which resolves in measure 3 to a G-major harmony. m.1: C–E–G (C in bass) m.2: A–C–F# (A in bass) m.3: G–B–D (G in bass) m.4: C–E–G (C in bass) Which Roman numeral analysis best identifies the chord in measure 2 and its tonicized target?
Answer all parts of each question. Answers must be in essay form. Outlines or lists alone are not acceptable.
Question 8: