I6 and V6I6 and V6

BrainTeasers

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?^1^1^1^3 ^1^1^3^3 ^1^3^3^5^1^1^1^5 ^1^3^5^5

7. Using only I V and V7 what’s 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 ___________.

&

?

bb

bb

bb

bb

c

c

n

nn

b

n

nn

b

Ó

.œ

j

œ

Ó.œ

J

œ

˙ .œ

J

œ

Ó

.œ

j

œ

.œ

j

œ .œ œ œ œ œ

.œ

J

œœ œ

.œ

J

œ .œ

J

œ.œ

j

œ.œ

j

œ

œ œ œœœ

œ

œ

œ œ

&

?

b

b

c

c

œ œ œ œœ œœ

œ

œ œ œ œœ

œœ

œœ

œ œ œ ˙œ œ ˙

œœ

˙

œ œ˙

ww

w

w

[ T i t l e ]

[ T i t l e ]

1.

&

?

bb

bb

bb

bb

c

c

n

nn

b

n

nn

b

Ó

.œ

j

œ

Ó.œ

J

œ

˙ .œ

J

œ

Ó

.œ

j

œ

.œ

j

œ .œ œ œ œ œ

.œ

J

œœ œ

.œ

J

œ .œ

J

œ.œ

j

œ.œ

j

œ

œ œ œœœ

œ

œ

œ œ

&

?

b

b

c

c

œ œ œ œœ œ œ œ

œ œ œ œœ

œœ œ œ

œ œ œ ˙œ œ œ œ

œ œ ˙

œ œ œ

˙

ww

w

w

[ T i t l e ]

[ T i t l e ]

2.

I V8-7 I V I I V7 I

I V8-7 VI V6 I I6 Susp. V7 I

pt

pt

I6

II. Functions

A. Expands Tonic, usually via I-I6

B. Substitues for Tonic in V(7)-I (rare)

I. BasicsNotes/Bass Tone/Supports/Doubling/Voice-leading

&

?

bb

bb

bb

bb

c

c

n

nn

b

n

nn

b

Ó

.œ

j

œ

Ó.œ

J

œ

˙ .œ

J

œ

Ó

.œ

j

œ

.œ

j

œ .œ œ œ œ œ

.œ

J

œœ œ

.œ

J

œ .œ

J

œ.œ

j

œ.œ

j

œ

œ œ œœœ

œ

œ

œ œ

&

?

b

b

c

c

œ œ œ œœ œœ

œ

œ œ œ œœ

œœ

œœ

œ œ œ ˙œ œ ˙

œœ

˙

œ œ˙

ww

w

w

[ T i t l e ]

[ T i t l e ]

1. Original Root Position Harmonization

2.

I6

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

I. BasicsNotes/Bass Tone/Supports/Doubling/Voice-leading

D. Begins cadential progression I6-V6-I

&

?

bb

bb

bb

bb

c

c

n

nn

b

n

nn

b

Ó

.œ

j

œ

Ó.œ

J

œ

˙ .œ

J

œ

Ó

.œ

j

œ

.œ

j

œ .œ œ œ œ œ

.œ

J

œœ œ

.œ

J

œ .œ

J

œ.œ

j

œ.œ

j

œ

œ œ œœœ

œ

œ

œ œ

&

?

b

b

c

c

œ œ œ œœ œœ

œ

œ œ œ œ

œ

œœ

œ

œ œ œ ˙œ œ ˙

œ œ ˙

œ

œ˙

ww

w

w

[ T i t l e ]

[ T i t l e ]

( )

3.

V6

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)

I. Basics

Notes/Bass Tone/Supports/Doubling/Voice-leading

D. Dominant chord cadential progression I6-V6-I (IN)

1. Original “Root Position Harmonization

4.

5.

&

?

bb

bb

bb

bb

c

c

n

nn

b

n

nn

b

Ó

.œ

j

œ

Ó.œ

J

œ

˙ .œ

J

œ

Ó

.œ

j

œ

.œ

j

œ .œ œ œ œ œ

.œ

J

œœ œ

.œ

J

œ .œ

J

œ.œ

j

œ.œ

j

œ

œ œ œœœ

œ

œ

œ œ

&

?

b

b

c

c

œ œ œ œœ œœ

œ

œ œ œ œœ

œœ

œœ

œ œ œ ˙œ œ ˙

œœ

˙

œ œ˙

ww

w

w

[ T i t l e ]

[ T i t l e ]