Which of the following is NOT listed as one of the three main reasons to use first inversion triads?
Explanation
This question requires recalling the specific list of three functions for first-inversion triads provided in the chapter. The functions all relate to improving the bass line and managing harmonic weight. Forcing a modulation is a larger-scale harmonic process, not a primary function of using a single inverted chord.
Other questions
What is one of the primary reasons for using inverted chords in tonal music?
How can first inversion triads originate through a technique involving the bass part moving through notes of a single chord?
According to the chapter, how many main reasons are there for using substituted first inversion triads?
Why were diminished triads used almost exclusively in first inversion during much of the tonal era?
Which progression involving a first inversion triad is presented as one that should generally be avoided?
In lead sheet notation, what does a symbol like 'C/E' indicate?
What is the function of chords in a passage of parallel sixth chords?
What is a common technique used to avoid parallel fifths in a sixth-chord passage?
In a four-part texture, which chord member is it usually best not to double in any triad?
What is the typical consequence of doubling the leading tone in a four-part texture?
In a three-part texture, if one member of an inverted triad must be omitted, which one is it almost always?
What is the definition of counterpoint provided in the chapter?
In the definition of counterpoint as 'the combining of relatively independent musical lines,' what does the word 'independent' primarily mean?
What type of counterpoint is also known as 1:1 or first species?
In most tonal music after 1750, where is the greatest contrapuntal interest typically found?
In a four-part texture, what is the guideline for doubling in a contrapuntal texture versus a homophonic texture?
What is the function of a vi6 chord when it is correctly used between a root position I and a root position ii chord?
In fast keyboard arpeggiations like those in Haydn's sonatas shown in Examples 8-3 and 8-4, how should the pitches other than the 'real' bass line be considered?
What is the primary characteristic of the bass line in a passage using parallel sixth chords?
What kind of counterpoint involves a pattern being repeated in a different voice, as seen in a canon or round?
In a four-part texture using an inverted triad, how many chord members are there, and how many voices?
What is the likely result if the root is omitted from an inverted triad in a three-part texture?
When creating harmony exercises, what is the recommended first step according to the discussion on soprano-bass counterpoint?
Which type of melodic figure is described as a step down from a note followed by a step back up to the original note, or vice versa?
Between which two aspects of a musical line is contour considered more important for creating contrapuntal independence?
What is the primary purpose of textural reductions, such as those shown for Examples 8-3 and 8-4?
When are inverted triads in four-part textures typically incomplete?
What type of texture consists of relatively independent melodic lines?
What is the relationship between the two violin parts in Example 8-15, which have identical contours and rhythms?
The use of vi6 to avoid parallel 5ths between a I and ii chord is sometimes called what?
In the context of part-writing, a texture that is primarily chordal or consists of a melody with chordal accompaniment is known as what?
What is the primary aesthetic problem with the progression V - vi6?
In a three-part incomplete inverted triad, which member cannot be omitted?
Which example from the chapter illustrates a canon, a form of imitative counterpoint?
What is the primary function of V6 and V6-5 chords when used to prolong the tonic area, as seen in the chapter's introduction?
Why must one member of a triad be doubled in a four-part texture?
What is the typical motion of the bass line relative to the soprano in a good contrapuntal framework?
In what historical period is it common for all voices in a texture to have contrapuntal independence?
What is the term for a piece in which each voice states a short theme (the subject) in turn, after which it is developed among the voices?
According to Example 8-11, which doubling of a first inversion triad is generally most preferred in tonal music?
A correct use of the vi6 chord can be found in what type of pattern?
When a vi6 chord is used to prolong tonic harmony, it is often referred to as avoiding what voice-leading error between the I and ii chords?
What is the main reason a bass player in a jazz group might deviate from emphasizing the root of a chord?
What does the abbreviation '1:1' signify in the context of counterpoint?
In a four-voice texture, how is the issue of parallel fifths in a parallel sixth-chord passage often resolved?
What type of triad has consonant intervals above the bass only when in first inversion?
Example 8-5 illustrates that an inverted V6 chord can allow what kind of motion in the bass line?
What is the relationship between the number of voices and the number of chord members in an incomplete inverted triad in three-part writing?
When analyzing a passage of parallel sixth chords, how should the Roman numerals be notated to show they are not functioning in their usual manner?