OCR A-Level Music: harmony and tonality overview quiz quiz

Imperfect

Perfect

Plagal

Interrupted

V to I

IV to I

V to VI

II to V

The subdominant

The tonic minor

A remote key

The dominant

By a cadence in the new key, after a pivot chord and a new leading note

By the music gradually getting louder and louder until the listener simply hears the new key arrive

By a key signature change being written into the score, with no change to the harmony or melody at all

By a sudden change of tempo at the exact moment the new key is reached, with no cadence required

Its dynamic level, such as forte or piano

Its inversion (root, first or second)

Its tempo and rhythmic placement in the bar

Which instrument is playing the chord

I and vi (the tonic-function chords)

IV and ii (the predominant chords)

V, V7 and vii (diminished)

iii used entirely on its own

A single loud chord played sharply on a strong beat to mark the start of a new section

A type of cadence that closes a musical phrase firmly and confirms the home key strongly

A fast scale rushing upwards beneath the melody, changing pitch on every single note,

A sustained or repeated note held while the harmony above it changes

Preparation, suspension, resolution

Loud, soft, loud

Tonic, dominant, tonic

Exposition, development, recapitulation

A plain tonic triad sitting firmly within the key

A secondary dominant (the 'V of V')

A passing note that simply fills in a melodic gap

A unison doubling of the melody across the parts

Simply saying that the music sounds dissonant overall

Counting up how many dissonances occur in the passage

Naming the dissonance type and how it resolves

Ignoring how the dissonance resolves altogether

Guessing the top melody notes by ear and then working downwards from them to invent the chords below

Naming only the loudest chord in each phrase and stopping there, since the quiet chords rarely matter

Ignoring the bass line entirely on the grounds that it rarely defines the chords above it,

Writing the bass line, then using cadence logic, then fitting chords to the key

The same knowledge serves both the listening analysis and the composing technical exercises

It is only ever tested in one short section of the listening paper and never appears anywhere else

It is worth a fixed block of bonus marks awarded automatically on top of your other section totals

It removes the need to revise the listening paper, since harmony covers everything that is examined