|
Across
|
| 3. |
This NCT is held while other voices change above it.
|
| 5.
|
Two keys with different tonics but the same signature are said
to be (abb.) |
| 9.
|
If your G major-minor seventh chord is spelled G-B-F, it is
(abb.) |
| 10.
|
This NCT approaches by leap and resolves by step (abb.)
|
| 11.
|
This NCT leaves by step and resolves by step in the opposite
direction. |
|
Down
|
| 1.
|
A first inversion chord may substitue _ a root position harmony.
|
| 2.
|
This NCT is held as a dissonance while the notes around it shift,
then resolves upward by step (abb.) |
| 3.
|
This NCT approaches by step and resolves by step in the same
direction. |
| 4.
|
This NCT may approach by any interval, and is held until the
notes surrounding it become consonant (abb.) |
| 6.
|
This NCT approaches by step and resolves by leap, usually in
the opposite direction. |
| 7.
|
This cadence moves from V to vi instead of I (abb.)
|
| 8.
|
How many different voices should appear when writing seventh
chords in inversion? |
| 10.
|
This NCT is a version of 11 across, appearing on the beat rather
than off (abb.) |