Chord Function, Cadence, and Phrase
If you want all members of a dominant ninth (V9) chord to resolve correctly in SATB style, what would be the best approach for handling the ninth itself?
When resolving a V7 to I progression in SATB style, how should the leading tone resolve if it is in an upper voice?
When incorporating seventh chords into harmonic progressions using four-part writing principles, why is it generally preferred that sevenths are prepared beforehand?
When incorporating viiø65−I64−V−I cadential progression into homophonic texture, which inversion maximizes smooth bass line movement?
In a four-part chorale setting, which voice should typically contain the seventh of a dominant seventh chord?
In a dominant seventh chord, which scale degree is the root?
In four-part writing involving seventh chords, what must be done with the seventh degree when resolving to avoid parallel octaves?
How are we doing?
Give us your feedback and let us know how we can improve
What interval is formed between the root and the seventh of a major-minor seventh chord?
When resolving a V7 chord to a I6 in four-part harmony, which voice should typically move to the tonic note in the resolution to maintain proper voice leading?
Which note in a vii°7 chord typically resolves up by half-step to stabilize the following I chord?