AP Music Theory - Advanced Harmony & Form

Front

Distinguish between a Neapolitan 6th (N6) chord and a major triad built on the flat II in root position regarding function.

Back

While both use bII, the N6 specifically appears in **first inversion** (figured bass 6) to function as a **predominant** chord. It prepares the dominant by intensifying the chromatic voice leading (especially the lowered 2nd scale degree). A root position bII lacks the gravitational pull of the bass note (b6) moving down by semitone to the dominant and is not the standard pedagogical N6 function.

Front

Explain the resolution of the Augmented 6th chords (Italian, French, German) and the specific interval formed.

Back

Augmented 6th chords contain the interval of the augmented 6th (usually b6 to #4 in the key). This interval **expands outward** to the octave. The bass note (b6) moves down by semitone to 5 (Dominant), while the #4 moves up by semitone to 5. This creates a dominant function with powerful voice leading. German 6ths (It + 5) typically resolve to a cadential 6/4 chord to hide parallel fifths.

Front

What are the standard voice-leading exceptions for the French Augmented 6th chord?

Back

The French 6th (It + 2) contains a distinct whole tone (or major second) interval between the augmented 6th scale degree and the added note (scale degree 2). Unlike the German 6th, the French 6th does not create parallel fifths when resolving directly to the dominant (V), allowing for a direct resolution without the intervening cadential 6/4 chord.

Front

Define 'Mixture' (or Borrowed Chords) and its impact on voice leading in a major key.

Back

Mixture involves borrowing chords from the **parallel minor** scale while in a major key. Commonly, the iv and iib7 chords replace IV and ii7. This introduces the lowered scale degrees (b3, b6, b7). Care must be taken to resolve the lowered 7th (subtonic) downward or to avoid the 'melodic minor clash' if moving to the natural 7.

Front

Explain the harmonic concept of a 'Deceptive Resolution' involving V7 chords other than vi.

Back

While V to vi (or VI) is the standard deceptive cadence, a V7 can resolve to any diatonic chord containing a root a step above the leading tone (which typically resolves up). A 'Deceptive Resolution of V' to IV (or iv) is possible, though less common than the vi resolution. The defining feature is the evasion of the tonic chord.