1. V@-! V@-! Cadential or Accented @

2. Harmonic Prolongation via expansion 2 Basic Phrase Shapes: I-V (half cadence) I-V (7) -I (authentic/full) I- IV- V- I I-V#-I- IV- I 6 - II- V°—‡ I I- IV- II- V- I I- V- I

3. a minor: I- IV ? - V! I V@-! = Harmonic Prolongation via Delay

4. ^3 ^^1 V@-! Delays V via double upper neighbors: Expressed as scale degrees: V@-! delays V via __ to __ and __ to __. V V@ - ! Because of delay function V@-! is always a “package” @ part uses notes of tonic triad, but is dominant function (never label I@) Tonic note (^1) is dissonant (forms 4th with bass tone) ^5 NN 6th above bass delays 5th 4th above bass delays 3rd

5. V@-! Basics: 1. Notes (scale degrees) in @ portion AND bass tone 2. Doubling (give as scale degree and as root, 3 rd, or 5 th ) 3. @ Metrically strong or weak ( hint: in 3/4 beats 1-2 are both strong ) ! (dominant arrival) strong or weak 4. Voice -leading in upper voices 5. Characteristic bass motion Beethoven, 7 Variations on “God Save the King”

6. 1. What 2 characteristic melody lines (3 notes) does V@-! -I often support? 2. How is the dissonant scale degree ^^1 approached in bar 5? 3. Is it difficulty to connect V@-V7 instead of V! (see m. 13)? 4. What function chord ( tonic, interm. dom ) leads to both V@-! Figures?

7. What is the function of this V@-!?

8. ^5 ^6 ^7 ^1 ^2 ^3 ^4 ^3 ^2 ^1