Chord Progressions and Predominant Function
Which secondary dominant is most appropriately applied before introducing a iii chord in major keys to intensify its arrival without disturbing its function as a predominant?
When harmonizing a melody in harmonic minor with predominantly tertiary chords, what melodic adjustment is often made when approaching or leaving a III chord to avoid an augmented second interval?
How does introducing chromaticism into a passage with repeated use of the iii/III chord affect its usual diatonic function within that context?
How might modulating to the relative major affect the use of III in its new context compared to its original role as iii in minor?
What function does the III chord serve when used in a harmonic progression within a minor key?
When harmonizing a melody in a minor key that emphasizes the leading tone, which function does the III chord best serve as an alternate to the V chord due to its inclusion of this tone?
When transposing music to another key, which aspect of a iii chord changes?
How are we doing?
Give us your feedback and let us know how we can improve
When modulating from a major key to its relative minor utilizing pivot chords, which phrase correctly identifies how one might use both I and III chords effectively as pivots within this modulation?
When factoring in the secondary dominant function, how does introducing III chord in C major alter expectations regarding subsequent harmonic events?
When analyzing a piece that modulates from C major to E minor, which role would the E minor chord typically serve immediately before the modulation?