Chord Progressions and Predominant Function
When analyzing a harmonic progression in minor where the III is followed by iv, what might this suggest about the composer's intent?
In a minor key, if the iii chord immediately follows the V7 chord in root position, which non-chord tone is typically used to create a smooth voice-leading transition from the leading tone of V7 to the third of iii?
When harmonizing a melody that has an ascending leap from D to F# in the key of G major, which chord could appropriately follow a I or tonic chord?
Which chord is spelled using the notes F#, A, and C# in the key of D major?
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 might modulating to the relative major affect the use of III in its new context compared to its original role as iii in minor?
In a minor key, which harmonic function does the III chord typically serve when it leads to the vi chord?
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Which roman numeral symbol represents an augmented triad built on scale degree three?
What altered chromatic mediants relationship exists between two different iterations of 'iii' chords where one is borrowed from another mode resulting on unexpected yet harmonically viable connections between them?
Which member of the III chord in C minor would be doubled for stable voicing?