|
Across
|
| 1.
|
A ___ary chord produces a temporary tonicization. |
| 5.
|
This progression produces the cadence identified in 9 across.
|
| 8.
|
The quality of third found between the fifth and seventh members
of a MM7 chord (abb.) |
| 9.
|
This cadence is produced by the progression identified in 5
across. |
| 10.
|
The quality of seventh added to a diminished triad to form a
half-diminished seventh chord. |
| 11.
|
The quality of the ii chord in a major key (abb.) |
| 13.
|
When resolving the seventh of a seventh chord, always move down
by ____. |
|
Down
|
| 1.
|
When dealing with diatonic harmony, always raise the __ degree
in minor, unless it is in a III chord (abb.) |
| 2.
|
The two members of the clockwise circle of fifths found between
F and D. |
| 3.
|
The chord built on scale degree seven may have a ___ function,
producing a leading-tone cadence. |
| 4.
|
The quality of the seventh contained by the chord constructed
on the fourth degree in a major key. |
| 6.
|
Part-writing problems may force you to write an ___ chord, especially
at a cadence (abb.) |
| 7.
|
The quality of the chord built on the second degree in minor
(abb.) |
| 12.
|
When found in an outer voice, the seventh degree always resolves
___ by step. |