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.
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.