1. I 6 and V 6

3. BrainTeasers 1. Spell Incomplete V7 using scale degrees (bass first). 2. Spell Complete V7 using scale degrees (bass first). 3. With normal voice leading from complete V7-I, what doubling in I results? 4. What is the usual alternative to the normal voice-leading, in contexts where a complete I is desired? 5. Which scale degree is never doubled in dominant-function chords such as V, V7, V6, etc. 6. Which doubling is incorrect? ^1^1^1^3^1^1^3^3^1^3^3^5 ^1^1^1^5^1^3^5^5

4. 7. Using only I V and V7 what’s the best harmonization of ^1-^2-^3 ? 8. What is the only scale degree that we cannot harmonize given the chords in our vocabulary (I, I6, V, V7, V6)? 9. Using “our chords” harmonize ^3-^4-^5 10. When using V, V7, or V6 in minor always ___________.

5. 1. 2. I V 8-7 IVIIV7V7 I I VIV6V6 II6I6 Susp. V 7 I pt

6. I6I6 II. Functions A. Expands Tonic, usually via I-I 6 B. Substitues for Tonic in V (7) -I (rare) I. Basics Notes/Bass Tone/Supports/Doubling/Voice-leading

7. 1. Original Root Position Harmonization 2.

8. I6I6 II. Functions A. Expands Tonic, usually via I-I 6 B. Substitues for Tonic in V (7) -I (rare) C. Intermediate Chord in arpeggiation progression I-I 6 -V I. Basics Notes/Bass Tone/Supports/Doubling/Voice-leading D. Begins cadential progression I6-V6-I

9. ( ) 3.

10. V6V6 II. Functions: Nearly always leads to I!. Why? A. Expands or prolongs dominant “family” B. Substitutes for V (7) at Cadences (V 6 -I) C. Prolongs Tonic Harmony via I-V 6 -I (NN motion) I. Basics Notes/Ba ss Tone/Supports/Doubling/Voice-leading D. Dominant chord cadential progression I 6 -V 6 -I (IN)

11. 1. Original “Root Position Harmonization 4. 5.