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You are here: Home / Music Theory Lessons / Diatonic Harmony Module

Diatonic Harmony Module

Breaking Barlines Diatonic Harmony Module, Tonic and Dominant

Tonic and Dominant

  • The Authentic Cadence
  • The I and V Chord
  • Four-Voice Writing: Soprano, Alto, Tenor, Bass
  • Doubling Tones
  • Voice Leading and Independence
  • The Leading Tone
  • Open and Close Position Writing

Breaking Barlines Diatonic Harmony Module, Practice with Tonic and Dominant

Practice With Tonic and Dominant

  • Voice Leading with I and V Chords in Root Position
  • Figuring Out Which Tones to Double
  • When to Omit a Chord Tone
  • Contrary Motion
  • The V Chord in Minor: Using Harmonic Minor

Breaking Barlines Diatonic Harmony Module, Inversions of I and V

Inversions of I and V

  • Creating a Smooth Bass Line with Inversions
  • Using Figured Bass for Chord Inversions
  • Parallel Octaves

Breaking Barlines Diatonic Harmony Module, The Dominant 7th Chord

The V7 Chord

  • Tendency Tones in the V7 Chord: FA and TI
  • Voice Leading with the V7 Chord in Root Position
  • Using Inversions of the V7 Chord
  • Rhythmic Differentiation of the Parts
  • Passing Tones

Breaking Barlines Diatonic Harmony Module, Pre-Dominants Part 1

Pre-Dominants Part 1: The II Chord

  • Approaching the V Chord with II
  • Voice Leading with ii — V — I
  • Parallel Fifths
  • Neighbor Tones

Pre-Dominants Part 2: The IV Chord

  • Approaching the V Chord with IV
  • The Plagal Cadence: IV – I
  • The Phrygian Cadence


The Cadential 6/4

  • The Perfect 4th as a Dissonance
  • Second-Inversion Triads and Suspensions
  • Resolving Cadential 6/4 to V
  • Resolving Cadential 6/4 to V7

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