What are chords, inversions and functional harmony, and how are they labelled?
Triads and seventh chords, their qualities and inversions, Roman-numeral and figured-bass labelling, and functional harmony (tonic, subdominant, dominant function and common progressions), as the harmonic vocabulary for analysis and the composing exercises.
A focused answer to chords and functional harmony for OCR A-Level Music. Covers triads and seventh chords, major, minor, diminished and augmented qualities, inversions and their figured-bass and Roman-numeral labelling, and functional harmony (tonic, predominant and dominant function, common progressions and the cycle of fifths), for analysis and the composing technical exercises.
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What this dot point is asking
Chords are the building blocks of harmony, and OCR expects you to identify and label them, by quality and inversion, with Roman numerals and figured bass, and to understand functional harmony (how chords function as tonic, predominant or dominant). This vocabulary is examined in analysis (labelling chords in the prescribed work, describing harmony in extracts) and is essential to the composing technical exercises. This dot point sets out triads and sevenths, inversions, labelling and chord function.
Triads and seventh chords
Inversions and labelling
Functional harmony
Why this matters for composing
The chorale harmonisation exercise requires you to choose functionally correct chords, in good inversions, voiced for four parts, with proper cadences, exactly this vocabulary in action. Two-part counterpoint must imply clear functional harmony between the lines. In analysis, you label chords in the prescribed work and describe harmonic colour in extracts. Mastering chords and function therefore pays off across the listening and composing components alike.
Try this
Q1. What is the difference between a first-inversion and a second-inversion triad, and their figured bass? [Knowledge recall]
- Cue. First inversion has the third in the bass (figured or , Roman-numeral ); second inversion has the fifth in the bass (figured , Roman-numeral ).
Q2. Name the three harmonic functions and a chord that performs each. [Short explanation]
- Cue. Tonic ( or ); predominant/subdominant ( or ); dominant (, or ).
Exam-style practice questions
Practice questions written in the style of OCR exam questions on this dot point, with worked answer explainers. The year tag is the paper they imitate, not the source.
OCR 2020 (H543/05 Section B, style)4 marksLabel the chords marked in the printed extract using Roman numerals. (Section B, prescribed work)Show worked answer →
Up to four marks, typically one per chord. Identify the root and quality of each marked chord and its position in the key: the tonic (), supertonic (), mediant (), subdominant (), dominant (, often ), submediant () or the chord of the leading note (), and note inversions with figured bass ( for first inversion, for second). Markers reward correct Roman numerals that fit the key and the bass, including any sevenths and inversions. They penalise chords that do not fit the prevailing key, or ignoring the inversion shown by the bass note. Work from the bass up and check against the key.
OCR 2022 (H543/05 Section A, style)3 marksDescribe the harmony of the extract, including the chord types and any sevenths. (Section A, unfamiliar listening)Show worked answer →
Up to three marks. Describe the harmony's character (diatonic or chromatic, consonant or dissonant) and name chord types you can hear: major and minor triads, a dominant seventh (adding drive to a cadence), a diminished seventh (tense, ambiguous), and the use of inversions for a smooth bass. Markers reward accurate chord-quality description tied to what is heard, including sevenths and the general harmonic colour. They penalise vague statements ("nice harmony") or naming chords that do not fit. You will rarely label every chord by ear, so prioritise the cadences, the colour and any striking chords.
Related dot points
- Keys and the major/minor system, the four cadence types and their function, and modulation to related keys (dominant, subdominant, relative and tonic minor/major), as the tonal framework for analysis and the composing exercises.
A focused answer to keys, cadences and modulation for OCR A-Level Music. Covers the major and minor key system, the circle of fifths and related keys, the four cadence types (perfect, imperfect, plagal, interrupted) and their function, and modulation to the dominant, subdominant, relative and tonic minor or major, for both listening analysis and the composing technical exercises.
- Harmonic devices and dissonance, the pedal point and drone, suspensions, passing and auxiliary notes, sequences, chromatic chords (secondary dominants, diminished and augmented sixths) and their resolution, as examined in analysis and used in the composing exercises.
A focused answer to harmonic devices and dissonance for OCR A-Level Music. Covers pedal points and drones, suspensions and their resolution, passing and auxiliary notes, harmonic sequences, and chromatic chords (secondary dominants, the Neapolitan and augmented sixths), explaining how dissonance creates and resolves tension, for analysis and the composing technical exercises.
- Aural recognition of harmony, hearing major and minor chords, sevenths, cadences and modulations, and tracking harmonic rhythm and the bass line, as required by the listening questions and the harmonic dictation.
A focused answer to recognising harmony by ear for OCR A-Level Music. Covers hearing chord quality (major, minor, diminished, sevenths), identifying cadences and the bass line, tracking harmonic rhythm and modulation, and a method for the harmonic dictation, building the aural skill the listening questions and Section B require.
- The Bach chorale harmonisation technical exercise (Composing A): harmonising a given melody in four parts with functional harmony, correct cadences, good voice-leading and Bachian style, and the common rules and errors.
A focused answer to the Bach chorale harmonisation technical exercise in OCR A-Level Music Composing A. Covers harmonising a given chorale melody in four parts: choosing functional chords and cadences, voice-leading the SATB parts smoothly, using passing notes and suspensions, capturing the Bach style, and avoiding the common errors (parallels, poor spacing, weak cadences).
- The two-part counterpoint and ground bass technical exercises (Composing A): writing a second independent line against a given part with good contrapuntal motion, and composing varied music over a repeating bass with implied harmony.
A focused answer to the two-part counterpoint and ground bass technical exercises in OCR A-Level Music Composing A. Covers writing an independent second line against a given part (consonance, contrary motion, avoiding consecutives, imitation), and composing varied, coherent music over a repeating ground bass with clear implied harmony, plus the common errors.
Sources & how we know this
- OCR A Level Music (H543) specification — OCR (2016)