Q 1:

Chromatic harmony 1.1.

The chord of resolution of the supertonic chromatic chord should be either a dominant discord or some position of the tonic harmony : correct! The notated illustrations are also correct. But the student should have included at least 1 or 2 examples depicting the second alternative (some position of the tonic harmony).

For want of better presence of mind. the students mark is adjusted to 1.2.

8.5/10

The normal resolution of the major chord on the flattened supertonic without modulation is upon some form of one of the primary triads, most commonly the dominant often with a seventh or ninth added, or upon one of the other supertonic chords. The student wrote upon the dominant with a seventh or ninth added, or upon some form of the supertonic harmony. He omitted the subdominant and tonic primary chords. The notated illustration about the resolution on the dominant th 7 results in an odd voice leading in both directions for the soprano Db:

It would have been more recommendable to resolve this configuration of the major chord on the flattened supertonic without modulation on a supertonic chromatic chord as follows:

The omission of 2 types of primary chords and the kind of logic prevailing in the above-mentioned voice leading bring the mark to 7/10 1.3. The supertonic diminished triad in major keys normally resolves on dominant or tonic harmony. A resolution on the supertonic chromatic chord is quite common. The student once more restricts himself to the dominant or tonic harmony, while all his illustrations relate to the dominant:

It even appears that, as regards voice leading from the flattened submediant, some instances of the above resolution upon the dominant can be improved as follows:

1) The restriction of the resolution to the dominant or tonic harmony, 2) the limitation of the illustrations to the dominant and 3) some loss in the voice leading, confer 7/10 to this exercise. 1.4. The resolution of the minor triad on the subdominant in major keys is on the dominant discord, on the tonic harmony, on the supertonic chromatic chords or on one of those drifts of chromatic harmony of most effectively vague tonality. The students answer is: on the dominant discord or some position of the tonic

harmony. This half answer is once more illustrated solely by instances of resolution on dominant discord. Unnecessary D! The mark remains unchanged: 7/10 1.5. The tonic chromatic chord can be used without resolution as the major final chord of a work or section in the minor key (" Tierce de Picardie"). It implies a change from the minor to the major key in modern tonality. Or it resolves on an alternation of mode, i.e. on an alternation of the major and the minor tonic chords. The student retained that the tonic chromatic chord resolves on an alternation of modes (major and minor) in the tonic harmony. It would be unthinkable that one misses the related notated illustrations since the structure of the chord remains unchanged apart from the color of the third. The mark is 7.5/10 The tonic chromatic seventh should resolve upon dominant or some form of supertonic harmony. A direct resolution on the subdominant harmony suggests modulation (V7 - I). The student wrote: It should resolve upon a dominant or some form of supertonic chromatic harmony: which is correct. But, in his practical exercises, in relation to voice leading, if the Bb has to resolve one step downwards, then it wasnt a good idea to illustrate the resolution of the given structures of the chord with solely dominant harmony:

1.6.

In this close structure, a resolution on the supertonic chromatic seventh chord would have revealed itself smoother, without alternative:

In view of the uncertain aspect of the illustrations the mark has been reduced to 6.5/10 1.7. The most usual resolution of the chords of the augmented sixth on the flattened submediant, as with the supertonic chromatic chords, is on a dominant discord, or some position of the tonic harmony. Or on the supertonic chromatic chords. The student judiciously answered: dominant, tonic or some form of the supertonic harmony. But the only time he mixed illustrations of resolution on the dominant and the supertonic chromatic harmony, he could not realize that the outer voices, sharpened (fourth) or flattened (submediant), had to expand one half step outside respectively; not as he did it:

? Rather as follows:

In view of the above deviation in the voice leading, the mark is maintained at 7/10

1.8

Dealing with the Augmented fifths in Major keys, this altered dominant resolves on the tonic harmony. The student answered accurately: Tonic harmony. And his notated illustrations do not raise problems of voice leading:

In spite of a telegraphic discourse in the students answer, the mark climbs to 9/10