Music Theory III Final Examination Review Highway!

We’re in the homestretch of the Autumn 2017 semester! We have explored TONS of
musical concepts! So, there will be a comprehensive final examination covering these
concepts. This final test will consist of short answer, fill in the blank, part-writing,
composition/harmonization, and analysis. To help you prepare, I have an exciting study
packet intended to help and engage you.

Before we get going, I have a few points. The Final is comprehensive but will focus
mainly on material since the midterm. To study, review the key concepts and review
questions in your textbook, InQuizitive, class notes, this packet, handouts, homework,
and the midterm. The final will consist of short answer, fill in the blank, part-writing,
composition/harmonization, and analysis. It will take 2 hours. It is expected that you
can analyze and part-write a chord in 1 minute, so expect approximately 120 items to
complete. So, without further ado, let’s crank up the engines! Vrooooom! It is GO time!

 Let’s start with secondary dominants. Secondary dominant chords (a.k.a.

“applied” dominants) are major or Mm 7th chords that resolve to diatonic
major or minor chords in the primary key. These chords function as
dominants in their spellings and resolutions, but they resolve to scale degrees
other than the tonic. Secondary dominants are applied chords, meaning
that they are “applied” to a chord other than the tonic.
o Now, how are secondary dominants derived from diatonic chords?
From diatonic chords, go to a chord (i.e. ii), go up a fifth (or down a
fourth), and build a major chord or Mm7 chord. Another method is to
investigate accidentals, which can be key clues to be on the lookout for.
Yet another way to create secondary chords is to find the scale degree
the chord is built on and render it major or Mm(7). Secondary
dominant chords are major-minor seventh chords. You can imagine
the dominant harmony as a temporary tonic key. Next, using that key
signature and key, spell its dominant seventh chord. Another method
is to construct a dominant seventh chord on scale degree 2 of the
primary key. Basically, you can think of the chord you are trying to
tonicize at the moment and spell its dominant. Another way is to
memorize which scale degrees the chords are built on. Summary:
Secondary dominant chords are dominants of diatonic triads.
o Now, I’m going to make it easier for us to drive! Here’s the chromatic
solfege based on these secondary dominant chords:
 V7/IV in Major, V(7)/iv in minor – Te in Major, Mi in minor
 V(7)/V in both Major and minor – Just Fi in Major, Fi and La in
minor
 V(7)/vi in Major, V7/VI in minor – Si in Major, Ra in minor
 V(7)/VII in minor – La in minor
 V(7)/ii in Major – Di in Major
  V(7)/iii in Major, V7/III in minor – Ri and Fi in Major, but
NONE in minor
 I highly recommend that you take a moment to backtrack to this
chart several times. We will now ask surreptitiously: What is a
deceptive resolution of a secondary dominant chord? An
irregular/deceptive resolution of a secondary dominant
resolves to a chord other than the chord it tonicizes. This chord
resolves up by step. For example, if we have V/V, the scale
degree would be 2 (Re, Fi, La, Do). If we resolve up a step, we
would have vi in the key of V (E, G, B). Here’s another example:
V7/IV in C major is C, E, G, Bb. We need to go to D, F, A (vi in
the key of IV). And a third one: V(7)/iii will need to resolve to I.
Essentially, we would write the chords as if they were in
secondary keys. In other words, you can show them as if they
were in the “temporary” key. Oooo; getting adventurous!
Bracket notation is most helpful. Think of irregular/deceptive
resolutions as steps.

 Secondary leading tone chords are either fully-diminished or half-

diminished. To spell a vii07 of something in any key, think of the root a
diatonic half step below the tonicized chord. To write these chords, use
accidentals to render chords fully-diminished or half-diminished. To resolve
them, the temporary leading tone (the root) will resolve up to the tonicized
scale degree, and the chordal seventh will resolve down by step. Beautiful!
You may also have vii06/V or vii-half-diminished 7/V.

 Here’s a neat little combo to keep you engaged! You can think of secondary-
dominant and secondary-leading-tone chords as if they were together; they
combine to form a V9/7 chord.

 You all ready to create some beauteous repetition?! Here we go! Before we
define diatonic and chromatic sequences, I am going to help you know what
we are getting ourselves into. A sequence is a recurring musical pattern that
is transposed by some interval. Diatonic sequences occur when the
interval sizes are identical when shifting pitch levels, but interval qualities
may change. Chromatic sequences introduce accidentals. Note that these
sequences are the same as diatonic sequences, except that chromatic
sequences often use chromatic chords, such as secondary dominants.
Chromatic sequences have secondary-function chords that elaborate a
sequence in alternation with triads or as all dominant sevenths in a
descending-fifth sequence. Now, what are those sequences? Oh, here they
come now!
o In a descending-seconds/fifths sequence, the pattern descends by
second while the harmonic motion descends by fifth. Oh, did you know
that you can use 7-6 suspensions to delay the arrival of one of the chord
members? You guessed it, folks! Here is the pattern of Roman
numerals we MUST snapshot: I-IV-vii0-iii-vi-ii-V-I
 o 3 versions of ascending seconds/fifths (circle of fifths backwards,
down a third and up a fourth, 5-6 motion)
 Reverse circle of fifths (up a fifth and down a fourth); 4-3
suspensions can embellish harmonies: I-V-ii-vi-iii-vii0-IV-I (It’s
What a Feeling by Flashdance, so let’s party to the music as
we’re on the road!)
 Down a third and up a fourth: I-vi-ii-vii0-iii-I-IV
 Ascending second sequences with 5-6 motion descend a third
and up above the bass a fourth in the bass. Both the 5th and 6th
are consonances.
o A Pachelbel (descending thirds) sequence moves down a fourth and
up a second. You may also have a bass line descending by step, thereby
generating an alternation of root-position and first-inversion chords.
SWAP!
o Parallel 6/3 chords are NOT two-chord patterns. Instead, they
associate with Fauxbourdon false steps. The linear intervallic
pattern (LIP – contrapuntal framework in which sequences are
structured around a series of outer voices) for this type is 6-6, though
the middle voice makes 10-10 (or 3-3) with the bass. 7-6 suspensions
can delay the arrival of one of the chord members.
o You can have 5-6 motion (LIP = 5-6).

 To alter these sequences with secondary dominants, make chords major or

Mm7 to tonicize subsequent chords of the sequence. The pattern will remain
the same, but every other chord will tonicize chords in the sequence; this
“every other” guideline often applies to ascending-second sequences.
Normally, ascending sequences go 5-6, yet you can turn the chords into major
ones to render them secondary dominants. In descending-seconds/fifths, you
can make every or every other chord secondary (tonicizing).

 Another concept we must take a photo of is modulation verses tonicization

and extended tonicization. A tonicization occurs when you have a
secondary chord (the dominant or leading tone chord of something) resolve to
some sort of scale degree in the primary key. A secondary dominant resolves
so that its resolution seems like a temporary tonic. A dominant is applied
only briefly to a diatonic chord. Illusion, one might say. Tonicizations
happen within phrases, and they cadence in the primary key. Finally, this
type of switcheroo is not that structurally significant, since it goes back to its
normal functional role in the main key. Tonicizations occur mid-phrase.
Modulations, however, act as if the music were actually driving to another
key. Modulations have strong cadences in the new key. To track down those
prized modulations, look out your window for a continuation of the passage in
the new key, an authentic cadence in the new key, a PD-D-T progression in
the new key, and/or the existence of a predominant harmony (precedes the
secondary chord and/or followed by music that proceeds in the new key) in
the new key. Finally, extended tonicizations are long tonicizations from
dominant to tonic of whatever key you are tonicizing. To analyze, use bracket
 notation by viewing the Roman numerals as if you were tonicizing the scale
degrees in question.

 You will also need to write progressions through pivot chords, so we must
snapshot the concepts about pivot chords. Now, a pivot chord modulation
involves a chord that possesses “full membership in both keys.” Pivot chords
frequently function as predominants in one or both keys. Think of a pivot
chord like the keys are “hugging.” Aww… They’re loving on the road…
Anyways, this form of modulation is also called a common-chord
modulation. Pivot chords are diatonic in both keys and must be of identical
qualities in both keys, so they generate smooth modulations. If they’re
different, then guess what we’re going to yell, since there is no modulation?!
NOPE! Finally, pivot chord modulations occur within phrases.
 An abrupt/direct/phrase modulation includes a cadence, followed by a
modulation. Modulations can also happen midphrase through pivot chords (see
above).
 Now that we have taken great pics of these modulations, guess what,
passangers?! Let’s explore closely related keys, the most common modulations in
common-practice tonal music! Closely related keys are keys whose tonic
chords are diatonic in both keys (from the primary key, pivot chord). You can
think of them by the circle of fifths. Closely related keys are only one accidental
apart from each other. Finally, the tonics of closely related keys can be only
major or minor (NOT diminished). Now, here are a couple of useful example
diagrams for closely related keys (C Major and c minor):

I ii iii IV V vi
C Dm Em F G Am
1 flat 0 accidentals 1 sharp
F Major C Major G Major
d minor a minor e minor
IV or ii I or vi V or iii
One useful concept to take away from the above diagram is that the major and minor
keys revolve around the circle of fifths. You may also start at IV, descend a third to ii,
and descend a second to I; the pattern repeats until iii. Now, here is a map for minor:

i III iv v VI VII
Cm Eb f g Ab Bb
Ab Major Eb Major Bb Major
f minor c minor g minor
4 flats (VI) 3 flats (III) 2 flats (VII)

This time, we descend by fourth from III to v.

 Back to the main road, so zoom! The most common key to modulate to in major
is the dominant (V); the most common key to shift to in minor is the relative
major (III).
 The temporary leading tone of a secondary dominant can resolve down to the
seventh of the following chord in order to avoid a cross relation. The formal term
for this is harmonic elison, which occurs when the expected chord is skipped
over to later on. Think of harmonic elisions as variations; they have the same
roots as the chords we are analyzing. Here’s an example that will help us on our
musical journey (take as a useful souvenir to use as we encounter traffic): If we
have a V6/5/ii, we would normally go to ii, but we may instead go to V4/2/V. Here,
the temporary leading tone of V6/5/ii, D natural, will resolve down to Db, the
chordal seventh of V6/5/ii.

 Now, we drive into musical structure! That’s right, passengers! We get into
great forms!
o Binary (two-part) form involves two sections: an A section and a B
section. Repeat signs in both sections are often key indicators of binary
form. This form is often used in instrumental works. We can discuss
their A sections in terms of key changes. Oh, did you know that binary
form can be characterized by a yes or no question – Does the A section
modulate?
 Binary form is sectional if the A section ends on the tonic in
the original key. We don’t really need the next section.
 However, binary form is continuous if the A section modulates
or ends off the tonic. Because of the modulation, the music will
need to continue in order to properly return to the primary key.
o Binary form exists in two main types: rounded and simple.
 In simple binary form, the B section does not feature a return
to the opening material. This form associates with music from
the Baroque era.
 In rounded binary form, however, the B section DOES
reiterate the opening material. In other words, the end of the
piece repeats the material from the first section. To experience
this form, be on the lookout for repeats, half cadences in the B
sections, and equal-length measures. This form is used
frequently in music from the Classical era.
o Ternary (three-part) form features three sections – ABA – whereas
rounded binary form involves only two sections – A and B. This time,
there is NO half cadence in the B section. Also, ternary form does NOT
have repeats. Changes of character, key, tempo, rhythm, and longer
contrasting material (in its own key) in the B section are also clues for
ternary form. Based on the exits we have just explored, let’s do a little
compare and contrast of ternary and rounded binary forms, shall we?
An attribute exclusive to ternary form is that the B section involves
explicit changes of character; longer contrasting material (often eight
measures; contrasts with rounded binary form, which often involves
four-measure B sections) in its own key; and shifts of key, tempo,
and/or rhythm. Another key difference between the two forms has to
do with whether or not they have half cadences in the B section;
rounded binary form often involves a half cadence in the B section, but
 ternary form does NOT. Instead, ternary form has a B section that has
modulated in order to end on an authentic cadence in the new key.
Despite these differences, the two forms feature a return to opening
material after the contrasting material. Even with this similarity, the
differences are still there; in rounded binary form, we would label the
return to the opening material with a’ (or an equivalent thereof),
whereas in ternary form, we would use A. Finally, ternary form does
not contain repeats, whereas rounded binary form DOES contain them.
o Composite/compound ternary form contains three giant sections
(all boxed): A, B, and A. The first boxed A section contains a repeated
A section within it; below the A is an “a” phrase. Following the first A,
we have a repeating B section with a “b” and “a” phrase, in that order.
Afterwards, switcheroo time! We go to a boxed B section, which
contains a smaller repeating C (c to c phrases) section. After the C
section, the form ventures forth to a repeating D/C section that
contains a “d” phrase and “c” phrase, in that order. Finally, we have a
reiteration of the boxed A section from before.
o Forward, march! Or, should I say drive for crying out loud?! In
composite binary form, the first section is a simple continuous
binary form, and the second section is a modified rounded sectional
binary form. Essentially, each section has its own form.
o Let’s switch ‘er up with variations form! Variations forms contain
repeated elements that are varied.
 On one lane, in continuous variation form:
 The variations continue. There is no sense of stoppage;
the phrases continue.
 The repeated element is short (usually two to eight
measures).
 It may be a bass line (as in Bach chaconne), a chord
progression, or both. Often, the phrase ends on the
dominant (V) and is elided, providing continuity. Roll
call: Short and flowing – here!
 This form is often associated with Baroque music.
 Examples include passacaglias and chaconnes.
Passacaglias have repeated bass lines, whereas chaconnes
involve chord progressions. However, it’s not all black
and white (not full of traffic, no pressure here); there is
some room for flexibility.
 One of the types of passacaglias you may encounter is a
lament, which involves a descending bass from do to sol
(often, but not always in minor).
 This form involves increasing momentum.
 This form often has a comprehensive (ABA), often with
rhythmic acceleration. Note: I put ABA in parentheses to
show that it’s not always used in continuous variations
form. It links to “phrase ends on the dominant and is
 elided.”
 In the other lane, in sectional variation form:
 The repeated element is the theme and has its own form.
This element is longer this time.
 Many items can be varied, including (drumroll, please…):
o Rhythm
o Ornamentation/figuration
o Dense textures
o Chromaticism
o Meter/mode changes in variations
 This form is associated with music from the Classical era.
o Let’s get rockin’ with popular song forms!
 In strophic/AAA… form, each section is a strophe, a repeating
tune set to different words per A section. Essentially, strophes
are repeated with variations. Now, strophic form involves
refrains, repeated text and melodies. Refrains at the beginning
– the first line of text – of each strophe are called head
refrains. Refrains at the end – the last line of each strophe –
are known as tail refrains.
 Verse-chorus form features a verse and a chorus, hence the
name. There are two KEY types of verse-chorus form out there,
so let’s step on it!
 In verse-chorus form after 1950, we can think of a
verse as an A section and a chorus as a B section; these
sections alternate (verse-chorus-verse-chorus…get the
picture?). In this type, the verse starts on the tonic, a
modulation signals the beginning of the chorus, and the
chorus ends on the tonic. You may also encounter
various other combinations of on-tonic vs. off-tonic in
verse-and-chorus form after 1950 (i.e. ToTT means tonic-
off tonic; verse starts on tonic, but ends off-tonic). This
form compares to continuous binary form.
 Now, let’s backtrack in time to verse-chorus form
BEFORE 1950. This time, the verse acts like an
introduction. Everything after the verse/intro constitutes
the recurring chorus. This time, we will not consider
choruses as refrains. The verse happens just one time.
 Let’s have some fun with another popular form! This one is
especially for jazz fans out there! The most common form of the
chorus is 32-bar song form, which consists of an eight-
measure A section, another eight-measure A section, an eight-
measure B section, and a final eight-measure A section. Here,
the A sections are still strophes, and they can have either or both
types of refrains we have coasted through.
 AABA form is just like 32-bar song form, except that you may
encounter an 8-measure B section. The B section, called the
 bridge, serves to provide contrast through changes in harmony,
and it usually (but not always) ends on a half cadence. The
return to A helps to balance the overall form.
 Finally, there can be additional song sections within a verse-
chorus form.
 The prechorus precedes the chorus and builds
momentum and/or anticipation of it.
 The postchorus is separate from the chorus. Many
songs add this section after the chorus.
 Finally, the bridge (I know that I’ve already bolded it,
but it has a new association here) associates with
composite/compound AABA form, which is as follows
(brackets denote large sections A, A, B, then A): [verse
(pre) chorus (post)] [verse (pre) chorus (post)] [Bridge]
[Lots of chorus (a’)]. Essentially, we have turbocharged
AABA form; the A sections have multiple parts.

 We now enter into another part of highway. Let’s mix up some modes, guys!
Modal mixture is the use of pitches from one mode in the parallel mode.
Now, you might wonder about this: which scale degrees affect which chords?
Well, I have the answers right here! From minor:
o i contains me (flatted scale degree 3).
o ii half-diminished 7 or ii07 contains le (flatted scale degree 6)
o bIII has me and te (flatted scale degree 7)
o iv contains le.
o v is not common.
o bVI has le and me.
o bVII contains te.
o Finally, (vii07 contains le.) I put this one in parentheses to denote that
it’s least common.
 From major:
o I has mi. Now this one is common, folks!
o ii, #iii, and #vi are not common.
o Finally, IV contains la. This one is common!
 Now that we have explored these chords, which chord sets are most
common/least common? Here we go again!
o The most common chord (winner!) set is that containing le chords.
o The runner up in this contest of which set is most common is the set
with me chords.
o Trailing the pack (meaning the least common) is the set with te chords.
 These chords function in the PREDOMINANT area.
 Now, how does each modal mixture chord function and resolve? bVI
functions in the predominant, often goes a predominant, and frequently
culminates in a cadential 6/4. Speaking of cadential 6/4s, you can flat the 6 to
conjure up a little creative modal mixture! bVI can also resolve to V 7/bIII.
 bVI prolongs the tonic if it goes to a IV; however, it functions as predominant
if it goes to V. bVII functions as the subdominant of the subdominant, and it
can resolve to IV6 or vi.

 Yeah, guys! We’re on the homestretch to our destination! This last section of
road will explore Neapolitan and augmented-sixth chords.
 Now, know that these chords are altered predominants, but how so? The
answer to this question is that these chords can be seen as chromatic
alterations of predominants. So, without further ado, let’s cruise through
these beauteous chords!
o The Neapolitan chord is built on the flatted second scale degree (Ra),
is major, and is often in first inversion, with fa (scale degree 4) in the
bass in order to smoothen voice-leading. This chord is an altered ii (o).
Now, Neapolitan chords need to resolve to a subsequent chord. Here is
how (I have also included doubling rules and guidelines to help us out;
hard set rules are in bold.):
 If we skip do, ra (flatted scale degree 2) goes to ti (scale degree
7), producing a diminished third. Diminished thirds are not
traps, but it is best that we evade them; therefore, you can use a
cadential 6/4 or a vii07/V to harmonize do in between ra and ti.
 Double fa.
 Resolve ra DOWN, as ra is a LOWERED note.
 This final rule is not hard set; it is more of a guideline. It is
strongly recommended that you place ra in the soprano.
o Did you know that we can spice Neapolitan chords up by tonicizing
them? You guessed that right, folks! For example, if we spell the
dominant of bII, we get a V7/bII, which contains se (lowered scale
degree 5). This variation has le resolve up to ra and se down to fa. You
can also have V4/2/bII.
o Augmented-sixth chords are also altered predominants; this time,
the predominants are IV or iv. These chords ALWAYS have le in the
bass; fi and do are also present. There are variations – nationalities –
of augmented-sixth chords that we will explore now, so buckle up!
 Le, do, and fi comprise an Italian-augmented-sixth chord.
For this chord, double do. Label the chord as It+6. Let’s hear it
for its resolutions:
 Fi resolves up to sol.
 One do resolves up to re.
 The other do resolves down to ti.
 Finally, le resolves to sol.
 When you stack the Italian-augmented-sixth chord and stack it
in thirds, fi will be the root.
 This next variation is going to get real creative! A German-
augmented-sixth chord entails le, do, me, and fi. You can
remember this chord by Germe (me is part of the chord). Nice
one! Label it as Ger+6. To resolve these gorgeous chords:
  If these chords resolve directly to V, you will encounter a
reckless driver (pesky parallel fifths); they need to get out
of the way! I am just kidding a little bit. You may use
parallel fifths by resolving Ger+6 chords directly to V, but
at NO other time can you use parallel fifths, or else…
Therefore, it is best to resolve Ger+6 chords to cadential
6/4s.
 Fi resolves up to sol.
 Me/ri resolves to me/mi, depending on mode. Me/mi
subsequently resolves down to re. Interesting aspect to
snapshot: In a major key, German-augmented-sixth
chords can use ri to resolve up to mi in the cadential 6/4.
 Do stays for the cadential 6/4, but then it resolves down
to ti.
 Le resolves down to sol, but then it stays.
 A creative souped-up version of German-augmented-sixth
chords is the German-diminished three chord, which is the
same as a German-augmented sixth chord, except that fi is in
the bass. Another variation of a German-augmented-sixth
chord you might encounter is a Ger6/5 chord, which has fi as the
root when the chord is stacked in thirds.
 Now, let’s connect German-augmented-sixth chords and
Neapolitan chords together! German-augmented sixth chords
and V7/bII are enharmonics of each other.
 This is it! We’re almost there! A French-augmented-sixth
chord contains le, do, re, and fi. One way to help you remember
this type is French (re as part of the chord). Cool and beauteous,
huh?! Now, let’s step on it and explore those resolutions!
 Fi resolves up to sol.
 Re stays throughout the two-chord progression.
 Do resolves down to ti.
 Finally, le resolves down to sol.
 Oh, I believe that we should explore a variation of French-
augmented-sixth chords. Stacking a French-augmented-sixth
chord in thirds results in a re root, so we can sometimes call
them Fr4/3 chords.

Whoo-hoo-hoo!!! We’ve made it! It has been AMAZING exploring musical concepts on
the road with you! Now, the reason why I have created this highway (packet) is because
there will be a cumulative final test on these concepts. Remember to take this journey
(read this packet) several times and use all of the other study tools at your disposal.
Below are a few things we must be able to do:

• Be able to write a progression using a pivot chord modulation and any of the
chromatic chords learned this semester.
• Be able to harmonize a bassline or melody using all of the chromatic chords learned
this semester.
• Be able to analyze any of the topics above.
 Be able to diagram phrases and forms. To do this, label the large sections, the
phrases, the lengths of the phrases, the measure numbers, the cadence, the key of the
cadence, and its relation to the overall key.

That just about wraps it up. It really has been wonderful! See you real soon!