Harmony, Counterpoint and Analysis
This domain tests functional harmony, voice leading and analytical labelling: reading a figured bass, choosing chords for a melody or bass, naming cadences, identifying chromatic harmony and explaining how a passage reaches its cadence. Answers must show the reasoning chain, chord by chord, in the key stated or implied.
Numbering and inversion
Roman numerals show the scale degree of the root; case shows quality (upper case major, lower case minor, ° diminished). Figures show inversion: 5/3 (usually omitted) root position, 6 first inversion, 6/4 second inversion; sevenths become 7, 6/5, 4/3, 4/2.
Cadences
Perfect authentic (V–I, both root position, tonic in the top voice), imperfect authentic, plagal (IV–I), interrupted/deceptive (V–vi), half cadence ending on V. A cadence name describes its last two chords, not the whole phrase.
Chromatic resources
- Secondary dominants: V/x, e.g. A major in C major is V/ii, dominant of D minor.
- Neapolitan sixth: major triad on ♭2, normally in first inversion (D♭/F in C minor).
- Augmented sixths: Italian (♭6, 1, ♯4), French (♭6, 1, 2, ♯4), German (♭6, 1, ♭3, ♯4), all resolving to V.
Worked example
In A minor: Am – F – D – E – Am. D major contains F♯, the raised leading tone of E, so D is V/V and E is V. Label: i – VI – V/V – V – i. Had the chord been D minor it would be the diatonic iv with no such tension.
Counterpoint rules worth stating
Avoid parallel perfect fifths and octaves; prefer contrary motion; prepare and resolve suspensions downward by step; pass dissonance by step.
Traps
- Doubling the leading tone or resolving a chordal seventh upward.
- Calling a second-inversion tonic a root-position I.
- Quoting figured-bass numbers without checking which note is in the bass.
- Labeling the Neapolitan as root position when it is normally a sixth chord.