Let’s pretend that somehow we’ll be able to function on Wednesday, and that we’ll have our quiz.
Let’s recap the material we’ve covered so far.
Chopin Prelude No. 4: non-functional voice harmonic progressions, chromatic voice-leading, and implied tonality.
Chromatic Sequences: descending circle-of-fifths, ascending 5-6, and omnibus.
Integer notation, transposition, and equal divisions of the octave.
Chromatic mediant relationships with one common tone and no common tones.
Direct Modulations
Tritone Relationships, especially between V7 chords.
Common-tone and enharmonic relationships between V7 chords (roots a minor third apart, or tritone apart).
Real sequences as another name for chromatic sequences.
Suspended tonality and tonally ambiguous passages.
Parallel voice leading.
Non-functional bass lines.
Elements that define a tonal center (from Kostka):
- Diatonic pitch material
- Tertian harmonies
- Dominant-tonic harmonic progressions
- Dominant-tonic bass lines
- Resolution of leading tones to tonic
- Resolution of dissonant sonorities to more consonant ones.
From grading the last homework it seems that implied tonality still can cause problems, especially if you have a number of V7 harmonies. Remember that a V7 does not imply that its root is tonic, but that its root is a fifth above the implied tonic.
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