Module 5 mini-test

Try without looking at the answers.

1. What are the three basic harmonic functions?

2. In C major, what is the strongest tonic chord?

3. Which chords commonly have predominant function in C?

4. Which chords have dominant function?

5. What is ii–V–I in C?

6. What is ii–V–I in G?

7. What is an authentic cadence?

8. What is a deceptive cadence in C major?

9. Why can B° behave like a dominant chord in C?

10. Analyze C–Am–Dm–G7–C in Roman numerals.

Answers

1. Tonic, predominant, dominant
2. C / I
3. Dm / ii and F / IV
4. G / V, G7 / V7, B° / vii°
5. Dm–G–C, or usually Dm7–G7–Cmaj7
6. Am–D–G, or Am7–D7–Gmaj7
7. V–I, especially V7–I
8. G7 → Am / V7 → vi
9. Its notes B–D–F are the upper three notes of G7 and contain the leading-tone/tritone tension that resolves toward C
10. I–vi–ii–V7–I

The big idea from Module 5 is:

Harmony is motion between degrees of stability, not just a sequence of chord labels.

When you can hear home → preparation → tension → home, you are beginning to understand harmony by ear rather than merely calculate it.

Module 6 will take this one step further: cadences, phrase structure, harmonic rhythm, and how to recognize where a song is “punctuating” its musical sentences. This will start connecting theory directly to figuring out songs and accompaniments by ear.