Harmony & Voice Leading IV: Secondary Function unit test

A test on this unit alone, marked as a percentage and a letter grade — for the test your class is actually sitting, rather than for May. Answer everything, then submit once: seeing the answer to question 3 before attempting question 4 makes the final percentage meaningless.

Paper 1 Paper 2 Paper 3

Each paper is built from this unit’s 18 terms and is the same for everyone, so a teacher can assign “Unit 7, Paper 1” and every student sits the identical test. Multiple choice is marked objectively; the written sections you mark yourself against the model answer and rubric.

Suggested time 34 min 31 points0/17 attempted

Which chords can be tonicized

Common secondary progressions

Secondary leading-tone chords

Neapolitan sixth

Labeling secondary function

What a secondary dominant is

Resolving a secondary dominant

Deceptive resolution of a secondary dominant

Spelling any secondary dominant

V/V and the raised fourth

Modal mixture (borrowed chords)

The German sixth problem

Short answer 1. Define or explain: Italian, French and German augmented sixths

3 pts

Short answer 2. Define or explain: Tonicization vs modulation

3 pts

Short answer 3. Define or explain: Hearing chromatic harmony

3 pts

Short answer 4. Define or explain: Applied chords in minor

3 pts

Free response

7 pts

Answer each of the following about secondary function.

In G major, spell the chord V7/V and identify its root.

Identify which pitch in that chord is chromatic, that is, not found in the G major scale.

Name the chord to which V7/V normally resolves.

Identify the two tendency tones in V7/V and state where each resolves.

In C major, a chord is spelled D, F-sharp, A, C. Identify it as a secondary function and name the chord it tonicizes.

In C major, explain the difference between V/vi and the diatonic chord built on the same scale degree.

Explain one voice-leading error to avoid when writing a secondary dominant in four parts.