Title: I6 and V6
1I6 and V6
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3BrainTeasers
1. Spell Incomplete V7 using scale degrees (bass
first).
2. Spell Complete V7 using scale degrees (bass
first).
3. With normal voice leading from complete V7-I
what doubling in I results
4. What is the usual alternative to the normal
voice-leading in contexts where a
complete I is desired
5. Which scale degree is never doubled in
dominant-function chords such as V
V7 V6 etc.
6. Which doubling is incorrect 1113 113
3 1335 1115 1355
47. Using only I V and V7 whats the best
harmonization of 1-2-3
8. What is the only scale degree that we cannot
harmonize given the chords in our
vocabulary (I I6 V V7 V6)
9. Using our chords harmonize 3-4-5
10. When using V V7 or V6 in minor always
___________.
51.
I
V8-7
I
I
V
I
I
V7
2.
pt
pt
I
I
V8-7
VI
V6
I
I6
Susp. V7
6I6
I. Basics
Notes/Bass Tone/Supports/Doubling/Voice-leading
II. Functions
A. Expands Tonic usually via I-I6
B. Substitues for Tonic in V(7)-I (rare)
71. Original Root Position Harmonization
2.
8I6
I. Basics
Notes/Bass Tone/Supports/Doubling/Voice-leading
II. Functions
A. Expands Tonic usually via I-I6
B. Substitues for Tonic in V(7)-I (rare)
C. Intermediate Chord in arpeggiation
progression I-I6-V
D. Begins cadential progression I6-V6-I
93.
( )
10V6
I. Basics
Notes/Bass Tone/Supports/Doubling/Voice-leading
II. Functions Nearly always leads to I!. Why
A. Expands or prolongs dominant family
B. Substitutes for V(7) at Cadences (V6-I)
C. Prolongs Tonic Harmony via I-V6-I (NN motion)
D. Dominant chord cadential progression I6-V6-I
(IN)
111. Original Root Position Harmonization
4.
5.
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