Question 10 of 50

What is the defining characteristic of a dominant chord with a substituted 6th (Vsubs6th)?

In the typical resolution of a V or V7 with a substituted 6th, how does the 6th move?

In a V7subs6th chord, what is the required voicing relationship between the 7th and the substituted 6th?

How is the V+7 chord, an augmented dominant, described in terms of its sonority?

What is the typical resolution of the raised 5th in a V+ or V+7 chord?

The augmented dominant (V+ or V+7) is typically found resolving to a tonic chord in which mode?

What does the chapter state about the prevalence of true eleventh and thirteenth chords before the Impressionistic period?

What is described in the chapter as the most common way the 9th of a ninth chord is treated before the chord resolves?

What is the definition of a common-tone diminished seventh (cto7) chord?

When a common-tone diminished seventh (cto7) chord is used to embellish a tonic chord (I) in a major key, how is it most often spelled?

When a common-tone diminished seventh (cto7) chord is used to embellish a dominant chord (V), what is its usual spelling?

According to the table in Chapter 24, how can a musician distinguish a common-tone diminished seventh (cto7) from a leading-tone diminished seventh of the dominant (viio7/V)?

What is the key difference in the resolution of the altered pitch in a V+7 chord compared to a V7subs6th chord?

Why is the V7subs6th chord not considered a true 13th chord in the context of the textbook?

What two chords are most frequently embellished by a common-tone diminished seventh chord?

When a common-tone diminished seventh (cto7) embellishes a major triad or dominant seventh chord, which member of the embellished chord is the common tone?

The chromatic alteration in an augmented dominant (V+) is described as being useful because the raised 5th creates a leading tone to which part of the tonic triad?

The substituted 6th in a Vsubs6th chord is often prepared in a way that makes the theorist analyze it as a V chord with what type of nonstandard nonchord tone?

While dominant ninths are the most frequently encountered ninth chords, Chapter 24 provides a clear example of a ninth chord built on which other scale degree?

In the progression V9 to i, how does the 9th of the V9 chord typically resolve?

What does the text say about the use of inversions for ninth chords compared to triads and seventh chords?

What analytical convention does the text adopt for common-tone diminished seventh chords to indicate their weak harmonic function?

The V+7 chord in a major key is enharmonically equivalent to which chord in the minor mode?

In addition to embellishing I and V, Chapter 24 shows that common-tone diminished seventh chords can also be used to embellish what other type of chord?

What are the most common secondary dominants to appear in augmented form, according to the chapter?

Why might a composer, like Chopin in Example 24-10, use an enharmonic spelling for the notes of a V+7 chord?

Although a V+7 chord may contain the interval of an augmented 6th depending on its voicing, why should it not be confused with conventional augmented sixth chords?

How does the chapter suggest analyzing inversions of ninth chords, given the cumbersomeness of figured bass?

In the context of common-tone diminished seventh chords, the text mentions that examples in which mode are rare?

What does the text indicate about inversions for common-tone diminished seventh chords?

What is the relationship between a dominant with an added 6th (like IVadd6) and a dominant with a substituted 6th (Vsubs6th)?

In Example 24-2c, the Vsubs6th chord contains the same scale degrees as which diatonic triad?

In most instances of V+ or V+7, what diatonic chord often precedes them?

According to the text, what is a potential alternative analysis for the 9th of a Vb9 chord?

In Example 24-21 from Mozart, the common-tone diminished seventh chord is interpolated between what two harmonic events?

In Example 24-25 from Brahms, how is the cto7 chord embellishing the tonic spelled, and why?

In the lead-sheet symbol V7(b9), what does the 'b9' indicate?

In Example 24-29 by Fanny Mendelssohn Hensel, a diminished seventh chord in measure 12 is heard first as a potential viio7/vi but then functions as what?

Is the Vsubs6th the same as a triad with an added sixth?

What is the reason given in the chapter for why the augmented dominant is not found resolving to a minor triad?

The fourth inversion of a ninth chord is described as being what?

In the Tchaikovsky and Sousa examples (24-23 and 24-24), a prominent common-tone diminished seventh chord is shown embellishing what harmony?

In the Schumann 'Lento espressivo' (Ex. 24-27), a chord spelled as a D-flat diminished 7th (a cto7 of I) resolves in a way that requires what analysis?

What is the key functional difference between a Vsubs6th chord and a iii6 chord, despite them containing the same scale degrees?

In the Checkpoint section of Chapter 24, how is the resolution of the raised 5th of a V+ or V+7 described?

The Checkpoint section of Chapter 24 asks how the 9th resolves in the progression V9 to i. What is the implied answer based on the chapter's content?

According to Checkpoint question 8 in Chapter 24, the cto7 that embellishes the tonic is usually spelled as a #iio7, whereas the one that embellishes the dominant is usually spelled as what?

What does the text say is the only criterion for the spelling of a common-tone diminished seventh (cto7) chord?

In the summary of Chapter 24, what analysis is one cautioned NOT to make for a viio7/V?