C A A P T E R $9$

Tonic and Dominant Harmony

In those chapters that discuss specific chord functions $($I$,$ V$,$ iii, etc.$),$ you should first practice spelling the root position and inversions of these chords in various kcys$.$ For instance, spell I and V triads in the major keys of D$,$ Bb$,$ E$,$ Ab$,$ If$,$ and $\backslash ($ B $\backslash )$ and $\backslash ($ j $\backslash )$ and $\backslash ($ V $\backslash )$ in the minor keys of $\backslash ($ F$,$ C $\backslash$&$,$ A$,$ E b $\backslash ),$ and $\backslash ($ C $\backslash ).$

When partwriting progressions, harmonizing melodies, or realizing figuredbass exercises, assume a four$-$voice texture unless instructed othenwise.

Many of the analytical exercises for these chapters include comments or questions for inciass discussion.

$1$ In the Collowing cadential progressions, the key, roman numetals, soprano scale degreses, and chord structure are provided. Notate each progression $($in fourvoice texture$),$ then identify the lype of cudence, using one of the following absreviations: PA $($for perfect authentic$),$ IA $($imperfect authentic$),$ and HI $($hulf$).$

Gauldin, p$.35$

$15$