In Unit 11, we will study harmonic progressions composed of six chords. These chords will follow the logic of chord progressions that we studied in Unit 9, whose rules are determined by the principles of voice-leading.
The Anatomy of a 6-Chord Harmonic Dictation
Things to Notice
Measure 1: same logical three-chord progression as in our previous exercises. Do-re-mi in the bass voice implies tonic-dominant-tonic.
Measure 2: the cadence is an IAC (i.e. the progression is dominant-tonic, but the soprano ends on sol and not do so we can’t call this a PAC). The cadence is preceded by chord IV: in other words, a very logical, “textbook” way to precede V or V7.
Things to watch out for: learn how to differentiate between V and V7. Remember, V is a consonance (a major triad), whereas V7 is (doubly) dissonant because it contains the intervals of a tritone and a minor 7th. Listen out for that dissonance; it’s important.