Prof.

Jeff Kryka ________________________________

Music 120a Practice Final NAME
Fall 2014


I. ESSAY QUESTION (30 Points)
Im leaning towards Tristan here.

II. CHORD PROGRESSIONS (4 total): All chord progression must be in some meter
with proper rhythmic values. All chord progressions must have AT LEAST ONE chord
that is not in root position. Below the music, ANALYZE YOUR WORK using Roman
and Arabic Numerals, and FUNCTION LABLES. (60 Points)

1) Write a complete chord progression in G major in which viio7 is enharmonically

reinterpreted and resolves through unsubstitution to a new tonic a tritone away.

2) In the key of c minor, write a chord progression that confirms the tonic. Then use a
common-tone modulation to move to a key that is a chromatic mediant away from the
tonic; do another common- tone modulation to a key that is another chromatic mediant
away from that second tonic, a tritone away from the original key. Now use an omnibus
progression to return to the original key.

3) Write a complete chord progression in A Major in which a predominant function is

prolonged through a chromatic voice-exchange, transforming a predominant into a
secondary dominant.

4) Write a complete chord progression in C Minor in which a fully-diminished seventh

chord is prolonged through the third or fourth variant of the omnibus (continuing through
multiple voice- exchanges as necessary). The final chord should be (re)interpreted as an
Augmented-Sixth (note: not a Diminished-Third chord), which then resolves properly,
ending on the tonic chord a MAJOR SECOND higher than the original tonic.

5) Write a complete chord progression in Ab Major where a dominant seventh with a

lowered 5th is reinterpreted as a French Augmented Sixth. Conclude your progression in
the new key with the following chords: N6 viio7b3/V V7 I

6) Write a complete chord progression in B major in which a dominant seventh with a

lowered 5th resolves to a tonic a tritone away (i.e. demonstrating tritone substitution).

7) Write a complete chord progression in Bb Major in which a dominant with both a

raised and lowered fifth is enharmonically reinterpreted to resolve to a new tonic in a new
key.

III. Analysis (2 excerpts) Roman / Arabic numerals, Function labels. (110 points)