Unit quiz: Analysing harmony that leaves the key: applied chords, tonicisation versus modulation, modes, and cadences that mark an ending

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Question 1

A rehearsal chart in F major reads F, D7, G minor, C7, F, one chord per bar, at 96 beats per minute. A player says the D7 leaves the key and wants to know what to call it. Computed from that tempo, how long is the progression, and which label is correct for the D7?The progression lasts 12.5 s, and D7 is V7/ii, because a fifth below D is G and G is the root of ii in F majorThe progression lasts 12.5 s, and D7 is VI7, because a major chord built on the sixth degree is standard practice in a major key

Question 2

Two versions of the same passage begin in A major. Both introduce an A7 chord in bars three and four resolving to D. In the first version the music returns to A major for eight bars; in the second it stays in D and closes with an authentic cadence in D. What is A7 doing, and what evidence separates the two versions? At 84 beats per minute, how long do those eight bars of the first version last?A7 is a diatonic dominant seventh in A major in both versions, and the difference is simply the length of the passage, which at 84 beats per minute is 22.857 s for eight barsA7 is V7/IV in both versions, and the difference is confirmation: the first version tonicizes IV and returns home, while the second modulates to D because a cadence establishes the new key, and eight bars at 84 beats per minute last 22.857 s

Question 3

A learner writes a passage using only white notes, begins and ends phrases on D, and labels it D major, planning to fix the seventh degree afterwards. Using the modal definitions and the colour-note idea, what is the accurate description and what would D major require?It is D Dorian, because the white notes centred on D give a minor third and a raised sixth; D major would require both F sharp and C sharp, which is two changes rather than oneIt is D major with a lowered seventh, since naming D as the tonic settles the third and the only remaining alteration is the seventh degree

Question 4

Two four-bar phrases in C major end differently. The first ends with G7 followed by a C triad with C in the bass and the tonic scale degree in the soprano. The second ends with G7 followed by a C triad in first inversion with the third of the chord in the soprano. How should each ending be labelled, and how long does each final two-chord pair occupy at 100 beats per minute?The first is a perfect authentic cadence and the second is a plagal cadence, because a first-inversion tonic at the end loses its dominant and behaves like IV to I; each pair lasts 1.2 sBoth are authentic cadences; the first is perfect because both chords are in root position and the tonic is in the soprano over tonic, and the second is imperfect because the final chord is inverted and the soprano note is not the tonic; each pair lasts 1.2 s

Question 5

A sixteen-bar section in C major at 96 beats per minute is made of four four-bar phrases: C, A minor, F, G7; then C, A minor, D7, G7; then C, E minor, F, F minor; then C, G7, C, C. A learner is asked to label the function of each phrase and the duration of each. What is the accurate labelling, and how long is one phrase?The first three phrases each begin on the tonic and end without a tonic ending, since phrases one and two close on G7 and phrase three closes on F minor, so only the fourth phrase carries the full set of tonic beginning through predominant to dominant to tonic ending; each four-bar phrase lasts 10.0 sEvery phrase must carry the full set of tonic beginning, predominant, dominant and tonic ending because the phrase model requires all four functions in a phrase, and each four-bar phrase lasts 10.0 s

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