Kunitachi College of Music Entrance Exam Set

The core of this question lies in understanding the principles of harmonic progression and voice leading within a contrapuntal context, specifically as applied to the Baroque era, a period heavily emphasized in Kunitachi College of Music’s curriculum. The scenario describes a chorale harmonization where the soprano line is given, and the task is to complete the inner voices (alto and tenor) and the bass line, adhering to strict rules of counterpoint and harmonic function. Consider a progression from a tonic chord in first inversion (I6) to a dominant seventh chord (V7). The soprano is on the third of the I6 chord, say E in C major. The V7 chord in C major is G-B-D-F. Let’s assume the soprano is on E (the third of C major in first inversion). The progression is from I6 to V7. I6 (C-E-G, with E in soprano) V7 (G-B-D-F) If the soprano is on E, and we are moving to a V7 chord, the soprano might move to D (the fifth of the V7 chord). Let’s trace a plausible voice leading: Soprano: E (in I6) -> D (in V7) Alto: G (in I6) -> B (in V7) Tenor: C (in I6) -> G (in V7) Bass: C (in I6) -> G (in V7) This creates a V7 chord (G-B-D-F) with G in the bass, B in the alto, D in the soprano, and F in the tenor. This is a standard root position V7 chord. Now, consider the requirement for a smooth, stepwise melodic contour and avoidance of parallel octaves and fifths. The question asks about the *most appropriate* harmonic and contrapuntal realization. The key is that Kunitachi College of Music emphasizes rigorous training in historical compositional techniques. Therefore, a realization that demonstrates mastery of these techniques, including proper resolution of dissonances and avoidance of forbidden parallels, would be considered the most appropriate. The question tests the candidate’s ability to apply fundamental principles of species counterpoint and figured bass realization to a specific harmonic progression, ensuring smooth voice leading and adherence to stylistic conventions of the period. The correct answer will reflect a realization that prioritizes melodic smoothness, harmonic correctness, and the avoidance of common contrapuntal errors, demonstrating a deep understanding of the underlying theoretical framework taught at Kunitachi College of Music. The specific choice of intervals and melodic movement in the inner voices and bass, when resolving from I6 to V7, must be evaluated against these criteria. A common and stylistically sound approach would involve the bass moving from the root of I6 to the root of V7, or a fifth, while the inner voices fill out the chord and resolve any dissonances appropriately. The soprano’s movement is given, and the other voices must adapt. Let’s refine the example with a specific key and progression: Key: C Major Progression: I6 -> V7 Assume I6 is C-E-G with E in the soprano. Assume V7 is G-B-D-F. If the soprano moves E -> D (the fifth of V7), then we need to voice G-B-F in the remaining voices. Possible realization: Soprano: E -> D Alto: G -> B Tenor: C -> G Bass: C -> G This results in a V7 chord with G in the bass, B in the alto, D in the soprano, and F in the tenor. This is a root position V7. Now consider the preceding chord, I6. If the bass is C, and soprano is E, then alto and tenor could be G and C respectively, or C and G. Let’s say: I6: Bass C, Alto G, Tenor C, Soprano E. Moving to V7: Bass: C -> G (root of V7) Alto: G -> B (third of V7) Tenor: C -> F (seventh of V7) Soprano: E -> D (fifth of V7) This results in a V7 chord (G-B-D-F) with G in the bass, B in the alto, D in the soprano, and F in the tenor. This is a stylistically correct and smooth realization. The tenor’s movement from C to F is a melodic leap of a fourth, which is acceptable. The alto’s movement from G to B is a third, also acceptable. The bass moves by a perfect fifth. All intervals are consonant within the chords, and no parallel fifths or octaves are created between any two voices. The question asks for the *most appropriate* realization. This implies evaluating different possible voicings and melodic paths for the inner voices and bass. The correct option will be the one that best adheres to the principles of smooth voice leading, harmonic correctness, and avoidance of contrapuntal errors, reflecting the rigorous training expected at Kunitachi College of Music. Final Answer Calculation: The calculation is conceptual, not numerical. It involves identifying the chord tones of I6 and V7, considering the soprano’s melodic movement, and then determining the most stylistically appropriate placement of the remaining chord tones in the alto, tenor, and bass to form a complete V7 chord without violating contrapuntal rules. The correct option will be the one that achieves this with the smoothest melodic contours and adherence to Baroque voice-leading conventions.

The question probes the understanding of harmonic progression and its application in compositional techniques, specifically focusing on the deceptive cadence and its resolution. A standard deceptive cadence in C major would typically resolve from V (G major) to vi (A minor). However, the question asks about a resolution to a chord that is *not* the expected tonic or its relative minor. In the context of Kunitachi College of Music’s emphasis on advanced harmony and compositional theory, understanding deviations from standard cadential patterns is crucial. A common deceptive resolution involves moving from the dominant (V) to the submediant (vi). For example, in C major, a G major chord (V) would typically resolve to C major (I). A deceptive cadence would resolve G major (V) to A minor (vi). The question, however, asks for a resolution that deviates from this. If we consider the dominant seventh chord of C major, which is G7 (G-B-D-F), its typical resolutions are to C major (I) or, deceptively, to A minor (vi). The question asks for a resolution to a chord that is *not* the tonic or the relative minor. Let’s consider the dominant chord in C major: G major (G-B-D). The expected resolution is to C major (I). The deceptive resolution is to A minor (vi). The question asks for a resolution to a chord that is *not* the tonic (C major) or the relative minor (A minor). Among the common resolutions of a dominant chord, moving to the subdominant (IV) chord is a plausible, albeit less common, resolution in certain contexts, especially when leading to a plagal cadence or as part of a more complex progression. In C major, the subdominant chord is F major (F-A-C). Therefore, a G major chord resolving to an F major chord is a resolution to a chord that is neither the tonic nor the relative minor. The calculation is conceptual, not numerical. We identify the dominant chord in a given key (e.g., G major in C major) and then consider its typical resolutions (tonic, relative minor) and explore other plausible resolutions that fit the criteria of not being the tonic or relative minor. The resolution to the subdominant chord (IV) is a valid harmonic movement that fulfills this condition.

The core of this question lies in understanding the principles of counterpoint and voice leading as applied in Baroque fugal composition, a cornerstone of the Kunitachi College of Music curriculum. A fugue’s subject, when presented in stretto, requires careful manipulation of intervals and rhythmic durations to maintain harmonic clarity and contrapuntal integrity. In a typical four-voice fugue, the subject is often presented in its original form, inversion, retrograde, or retrograde inversion. When a subject is presented in stretto, it means that entries of the subject overlap. The question asks about the most harmonically sound continuation when the alto voice enters with the subject while the soprano voice is still on its third measure. Let’s assume a hypothetical subject in C major, starting with C-D-E-F-G. If the soprano begins with this subject, and the alto enters with the same subject (or a related form) on the second beat of the soprano’s first measure, the alto’s entry would be a measure later. The question specifies the alto entering on the third measure of the soprano’s statement. This implies a significant overlap. Consider a common fugal texture where the subject is presented in its original form. If the soprano begins on beat 1 of measure 1, and the alto enters on beat 1 of measure 3, the alto’s entry would be two measures after the soprano’s initial entry. The soprano would be in its third measure. The crucial aspect is how the intervening voices (alto, tenor, bass) fill the harmonic space and support the melodic lines. The most harmonically sound continuation, adhering to Baroque contrapuntal practice, would involve the tenor and bass voices providing harmonic support that complements the melodic lines of the soprano and alto, ensuring smooth voice leading and avoiding dissonances that are not properly prepared or resolved. Specifically, the tenor and bass would likely be filling in the harmonic progression implied by the subject and the counter-subjects or free counterpoint. The goal is to maintain consonant intervals between all simultaneously sounding voices, with dissonances (like suspensions or passing tones) being carefully placed and resolved according to established rules. The question tests the candidate’s ability to envision this contrapuntal texture and identify the option that best reflects these principles. The correct answer would describe a continuation that prioritizes smooth melodic contours, consonant harmonic relationships, and adherence to voice-leading conventions, such as avoiding parallel fifths and octaves, and resolving dissonances correctly. The specific melodic and harmonic content of the subject and countersubject would dictate the precise intervals and rhythms, but the underlying principle of maintaining contrapuntal clarity and harmonic stability remains constant. The correct option will describe a scenario where the tenor and bass provide a foundation that supports the overlapping melodic lines of the soprano and alto, creating a rich and coherent harmonic texture.

The core of this question lies in understanding the principles of counterpoint and voice leading as applied in Baroque compositional techniques, a cornerstone of study at Kunitachi College of Music. Specifically, it tests the ability to identify and resolve dissonances according to established rules, particularly the treatment of suspensions. A suspension occurs when a note from a consonant chord is held over into the next chord, where it forms a dissonance, and is then resolved downwards by step to a consonant note. In the given scenario, the progression implies a potential suspension in the tenor voice. Let’s analyze a hypothetical progression to illustrate the concept. Consider a progression from a C major chord to a G major chord. If the tenor in the C major chord holds a ‘E’ (the third of the chord) and the G major chord is formed by G, B, D, then ‘E’ is consonant. However, if the progression were to a D minor chord (D, F, A), and the tenor held ‘E’, this ‘E’ would be a dissonance against the D minor chord. The resolution would typically be downwards to ‘D’. The question asks about the *most appropriate* resolution of a dissonant passing tone in a contrapuntal texture, specifically within the context of preparing for advanced harmonic and contrapuntal analysis at Kunitachi College of Music. A dissonant passing tone, by definition, connects two consonant tones by step, moving through the dissonance. The most fundamental rule for resolving such passing tones, especially in a style that emphasizes clarity and smooth melodic lines, is to resolve it by step in the direction that maintains melodic continuity and avoids awkward leaps. If the passing tone is approached by step, it is typically resolved by step. If it is approached by leap, it must be resolved by step in the opposite direction. However, the question specifies a *dissonant passing tone*, implying it’s already part of a melodic line. The most common and stylistically appropriate resolution for a dissonant passing tone, particularly when it creates a momentary melodic tension, is to resolve it by step in the direction that continues the melodic contour or provides a smooth transition to the next consonant tone. This principle is fundamental to creating well-formed melodic lines in any contrapuntal style studied at Kunitachi. The other options represent less conventional or potentially problematic resolutions that could disrupt the flow or violate other contrapuntal principles, such as creating parallel octaves or fifths, or introducing unnecessary harmonic complexity without clear justification within the stylistic framework.

The question probes the understanding of harmonic function and voice leading principles within a specific compositional context, relevant to advanced music theory studies at Kunitachi College of Music. The scenario presents a progression that, while seemingly functional, contains a subtle harmonic ambiguity and a potential voice-leading issue that a discerning student must identify. Consider the progression: C major (I) – G/B (V6) – Am (vi) – F/C (IV6). In the key of C major: I is C-E-G. V6 is B-D-G (first inversion of G major). vi is A-C-E. IV6 is C-F-A (first inversion of F major). The progression I – V6 – vi – IV6 is a common and harmonically sound sequence. However, the question focuses on the *implied* harmonic function and voice leading, particularly in relation to the bass line and the melodic contour. The progression itself is not inherently problematic. The difficulty lies in discerning a subtle point of harmonic tension or a less-than-ideal voice leading that might be present depending on the specific voicing of each chord and the melodic line. Let’s analyze a potential voicing and its implications. Assume a standard SATB voicing. C major (I): C4-E4-G4-C5 G/B (V6): B3-D4-G4-B4 Am (vi): A3-C4-E4-A4 F/C (IV6): C4-F4-A4-C5 The bass line is C – B – A – C. This is a descending scalar motion. The progression is harmonically valid. The question is designed to test a deeper understanding of how specific voicings and melodic lines interact within a harmonic framework, and to identify the *most* significant point of consideration for an advanced student at Kunitachi College of Music, which emphasizes nuanced musical analysis. The core of the question is about identifying a potential point of harmonic weakness or a less-than-ideal voice leading that might arise from a specific, though unstated, melodic or harmonic realization. The progression I-V6-vi-IV6 is generally robust. The challenge is to identify a subtle issue. Let’s re-evaluate the prompt’s intent. It’s not about a calculation, but a conceptual understanding of harmonic progression and voice leading. The progression itself is standard. The question likely aims to test the student’s ability to identify a *potential* issue in a common progression, perhaps related to melodic parallelism, awkward leaps, or a less-than-optimal resolution of a dissonance or tendency tone, even within an otherwise functional sequence. Consider the relationship between the melodic line and the bass line. If the melody were to follow a specific contour, it might create a problem. For instance, if the melody in the Am chord (vi) moved from E to D, and the bass moved from A to C, this would create a D in the melody and a C in the bass, which is not inherently problematic. The question is designed to be tricky. The progression I-V6-vi-IV6 is very common. The “calculation” here is conceptual: understanding the harmonic function and the typical voice leading associated with these inversions and chords. The most likely point of subtle critique, often discussed in advanced harmony, relates to the melodic connection between the V6 and the vi, or the IV6 and the subsequent chord (if there were one). Let’s assume the question is testing the student’s ability to identify the *most* harmonically interesting or potentially problematic aspect of this progression from a compositional perspective, rather than a strictly “wrong” note. The progression is harmonically sound. The difficulty lies in identifying a subtle point of analysis. The progression I-V6-vi-IV6 is a staple. The V6 (G/B) leads smoothly to vi (Am) via a descending bass line (B to A) and often a smooth melodic connection. The vi (Am) to IV6 (F/C) is also standard. The question is likely about a subtle aspect of voice leading or harmonic implication. The key is to find a point that, while not strictly incorrect, represents a less-than-ideal scenario in advanced counterpoint or harmony. The transition from V6 to vi is generally smooth. The transition from vi to IV6 is also standard. Let’s consider the possibility of melodic parallelism. If the soprano voice in the V6 chord was G and in the Am chord it was A, and the bass moved from B to A, this would not create direct parallelism. The question is likely testing the student’s ability to identify a point where the harmonic progression, while functional, might be considered less elegant or could be improved through alternative voice leading, especially in the context of Kunitachi College of Music’s emphasis on refined compositional technique. The most common point of discussion for this progression, when seeking subtle critique, often revolves around the melodic movement in relation to the bass. The B in the bass of V6 moving to A in the bass of vi is a descending step. If the melody also descends, it might create a less desirable effect. Let’s assume the question is about identifying a potential for awkwardness in melodic contour when combined with the bass line. The progression is harmonically sound. The difficulty is in identifying a subtle voice-leading issue that advanced students are expected to recognize. The progression I-V6-vi-IV6 is a common and generally well-behaved progression. The question is likely designed to test a very nuanced understanding of voice leading. The most common area for subtle critique in such a progression would be the melodic relationship between the chords, particularly the transition from the V6 to the vi. The progression is C – G/B – Am – F/C. Bass: C – B – A – C. The transition from G/B to Am involves the bass moving from B to A. This is a descending step. If the melody also moves downwards, it could create a less desirable effect. Let’s consider the possibility of melodic parallelism. If the melody in the G/B chord was, for example, D, and in the Am chord it was C, this would be a descending step. If the bass also descended (B to A), this would not be direct parallelism. The question is designed to be difficult by presenting a common progression and asking for a subtle point of analysis. The progression itself is not flawed. The “calculation” is the conceptual analysis of voice leading and harmonic implication. The most common point of subtle critique in this progression relates to the melodic line’s interaction with the bass line, particularly the transition from V6 to vi. The progression I – V6 – vi – IV6 is harmonically sound. The question is about identifying a subtle point of analysis relevant to advanced compositional technique. The most likely area of focus for such a question would be the melodic contour and its relationship to the bass line, specifically the transition from the V6 to the vi. The descending bass line (B to A) is standard. If the melodic line also descends, it could lead to a less desirable effect, though not necessarily outright parallelism. The progression I – V6 – vi – IV6 is a standard and harmonically sound progression. The question is designed to test a nuanced understanding of voice leading and harmonic implication within a compositional context, as expected at Kunitachi College of Music. The most common area for subtle critique in such a sequence relates to the melodic line’s interaction with the bass line, particularly the transition from the V6 to the vi. The descending bass line (B to A) is a common and effective way to move from V6 to vi. However, if the melodic line also descends in a similar fashion, it could create a less desirable effect, even if it doesn’t constitute direct parallelism. This is the most likely point of subtle analytical focus for an advanced student. Final Answer Derivation: The question asks to identify the most significant point of consideration for an advanced student. The progression I-V6-vi-IV6 is harmonically sound. The difficulty lies in identifying a subtle aspect of voice leading or harmonic implication. The transition from V6 to vi, with its descending bass line (B to A), is a common point for analysis regarding melodic contour. If the melody also descends, it can create a less ideal melodic shape, even if it avoids direct parallelism. This nuanced consideration of melodic flow in relation to harmonic function is a hallmark of advanced musical analysis. The progression is C major (I) – G/B (V6) – Am (vi) – F/C (IV6). The bass line descends: C – B – A – C. The transition from V6 (G/B) to vi (Am) involves the bass moving from B to A. This is a descending step. The most significant point of consideration for an advanced student would be the potential for an awkward melodic contour if the melody also descends during this transition, even if it doesn’t create direct parallelism. This is a subtle aspect of voice leading that distinguishes advanced analysis. The correct answer focuses on the melodic contour in relation to the bass line during the V6 to vi transition.

The question probes the understanding of harmonic progression and voice leading principles within a specific compositional context, relevant to the rigorous curriculum at Kunitachi College of Music. The scenario describes a progression from a dominant seventh chord in second inversion to a tonic chord. Consider a progression from a G7 chord in second inversion (D-G-B-F) to a C major chord (C-E-G). The goal is to identify the most harmonically sound and stylistically appropriate resolution for the leading tone (B) and the seventh of the dominant chord (F). In a standard dominant-to-tonic resolution, the leading tone (B) in the dominant chord typically resolves upwards by a half step to the tonic note (C). The seventh of the dominant chord (F) typically resolves downwards by step to the third of the tonic chord (E). Applying these principles to the given progression: – The leading tone B resolves to C. – The seventh F resolves to E. Therefore, the most appropriate voice leading for the dominant seventh chord in second inversion (D-G-B-F) resolving to a C major chord (C-E-G) would involve the B moving to C and the F moving to E. This creates a smooth, stepwise motion in the inner voices and avoids parallel octaves or fifths, adhering to classical voice leading conventions emphasized in Kunitachi College of Music’s pedagogical approach. The D in the bass would move to C, and the G in the chord would likely move to G or E in the tonic chord, depending on the desired voicing. The core of the question lies in the resolution of the B and F.

The question probes the understanding of harmonic function and voice leading within a specific contrapuntal context, relevant to advanced music theory studies at Kunitachi College of Music. The scenario presents a progression that requires careful consideration of melodic and harmonic implications. Consider a passage in A minor. The progression is i – V6/V – V – i. In A minor, i is Am (A-C-E). V6/V is the first inversion of the dominant chord of the dominant. The dominant of A minor is E major (E-G#-B). The dominant of E major is B major (B-D#-F#). So V6/V is the first inversion of B major, which is D#-F#-B. V is E major (E-G#-B). i is Am (A-C-E). The progression is: Am (A-C-E) D#-F#-B (V6/V) E-G#-B (V) Am (A-C-E) The core of the question lies in identifying the most harmonically and melodically sound resolution from V6/V to V, specifically focusing on the treatment of the leading tone of the secondary dominant (D#) and the resolution of the augmented sixth interval that often arises in such progressions when approached from certain voicings. In this case, the D# in V6/V (D#-F#-B) is the leading tone to E. When moving to the V chord (E-G#-B), the D# must resolve upwards to E. The F# in V6/V typically resolves to G# in the V chord, and the B in V6/V resolves to B in the V chord. This creates a smooth voice leading. The crucial aspect is how the leading tone of the secondary dominant (D#) is handled. It must resolve to the tonic of the secondary dominant’s key, which is E. Therefore, the correct resolution involves the D# moving to E.

The question probes the understanding of harmonic function and its application in compositional analysis, specifically within the context of tonal music as taught at Kunitachi College of Music. The core concept is the resolution of dissonances and the establishment of tonal centers. In a typical four-part chorale texture, the progression from a dominant seventh chord (V7) to a tonic chord (I) is a fundamental cadence. The V7 chord, in its root position, contains the leading tone (the third of the chord) which strongly resolves upwards by a half step to the tonic. The seventh of the V7 chord, being a dissonance, typically resolves downwards by step to the third of the tonic chord. Consider the progression from G7 to C major. The G7 chord consists of the notes G, B, D, and F. The C major chord consists of C, E, and G. – The leading tone B in the G7 chord resolves upwards to C in the C major chord. – The seventh F in the G7 chord resolves downwards to E in the C major chord. – The root G in the G7 chord typically moves to the fifth of the C major chord, which is G. – The fifth D in the G7 chord can resolve to C or E in the C major chord. The question asks about the *most* stable harmonic function following a dominant seventh chord. Stability in tonal harmony is primarily associated with the tonic chord. The dominant seventh chord, by its very nature, creates tension that seeks resolution to the tonic. Therefore, the most stable harmonic function immediately following a V7 chord is the tonic chord (I). This resolution provides a sense of arrival and completion, which is the hallmark of tonal stability. Other progressions might be harmonically interesting or lead to further development, but they do not offer the same degree of resolution and stability as the tonic. For instance, moving to a subdominant chord (IV) would prolong the tension, and moving to a mediant chord (iii) would create a different, less conclusive harmonic effect. The Kunitachi College of Music curriculum emphasizes a deep understanding of these fundamental principles of voice leading and harmonic progression as the bedrock of Western tonal music.

The question probes the understanding of harmonic function and voice leading principles within a specific contrapuntal context, relevant to advanced music theory studies at Kunitachi College of Music. The scenario presents a progression that, while seemingly straightforward, contains a subtle harmonic ambiguity that requires careful analysis of voice leading and implied harmony. Consider the progression: C major chord -> G major chord -> Am chord -> F major chord. The first chord is C major (C-E-G). The second is G major (G-B-D). The third is A minor (A-C-E). The fourth is F major (F-A-C). Let’s analyze the voice leading from the C major to the G major. If the C major chord is voiced C4-E4-G4, and the G major chord is voiced G3-B3-D4, the E4 in the C major chord moves to D4 in the G major chord, a step down. The G4 moves to G3, a larger interval. The C4 moves to B3, a step down. This is a standard V-I or V-V/I progression. Now consider the G major to A minor. If the G major is G3-B3-D4, and the A minor is A3-C4-E4. The B3 moves to C4, a step up. The D4 moves to E4, a step up. The G3 moves to A3, a step up. This is a standard V-i or V-vi progression in a minor key, or V-vi in a major key. The critical point arises from the implied harmony between the G major and A minor chords. While the G major chord is explicitly stated, the subsequent A minor chord can be interpreted in relation to the preceding G major. If we consider the possibility of a secondary dominant, the G major chord (G-B-D) could be functioning as the dominant of C major. However, the progression moves to A minor. The question asks about the most appropriate harmonic interpretation of the transition from the G major chord to the A minor chord, considering the preceding C major chord. The key is to identify the underlying harmonic function that best explains this movement within a tonal framework, as taught at Kunitachi College of Music. The progression C – G – Am – F is common. The G chord acts as the dominant of C. The Am chord is the submediant in C major. The F chord is the subdominant in C major. The transition from G to Am is a common melodic and harmonic movement. However, the question is designed to test a deeper understanding of harmonic relationships and voice leading. The G major chord (G-B-D) can be seen as V of C. The A minor chord (A-C-E) is vi in C. The movement from V to vi is a standard progression. Let’s re-examine the G major to A minor. If we consider the possibility of a deceptive cadence, the G major (V) would typically resolve to Am (vi). This is a very common and harmonically sound progression. The B in the G chord moves to C in the Am chord. The D in the G chord moves to E in the Am chord. The G in the G chord moves to A in the Am chord. All these are smooth voice leading movements. The question asks for the *most appropriate* harmonic interpretation. While G to Am is a direct V-vi, the context of the preceding C major chord is important. The progression C – G – Am – F can be analyzed as I – V – vi – IV in C major. In this context, the G major chord is indeed functioning as the dominant of C. The subsequent move to Am is a resolution of the dominant function, albeit to the submediant rather than the tonic. This is a common deceptive resolution. The explanation should focus on the concept of deceptive cadences and their role in creating harmonic interest and momentum, a key area of study in advanced harmony at Kunitachi College of Music. A deceptive cadence is a cadence where the dominant chord (V) resolves to a chord other than the tonic (I), most commonly the submediant (vi). This creates a sense of surprise and can lead to further harmonic development. In the given progression, the G major chord (V in C major) resolves to the A minor chord (vi in C major). This is a classic example of a deceptive cadence. The smooth voice leading from the G major to the A minor supports this interpretation. The B in the G chord moves up to C in the A minor, the D moves up to E, and the G moves up to A. This smooth melodic contour is characteristic of strong harmonic resolutions, even when deceptive. Understanding deceptive cadences is crucial for analyzing and composing music that exhibits sophisticated harmonic language, a core tenet of the curriculum at Kunitachi College of Music. It allows for the avoidance of predictable resolutions and the creation of more engaging musical narratives.

The core of this question lies in understanding the principles of counterpoint and voice leading as applied in Baroque fugal writing, a cornerstone of Western classical music pedagogy, particularly at institutions like Kunitachi College of Music. A fugue, by definition, is a contrapuntal composition in which a short melody or phrase (the subject) is introduced by one part and successively taken up by others and woven together. The exposition of a fugue typically involves the subject being presented in the tonic key, followed by the answer in the dominant key, and then further entries of the subject and answer. The question asks about the *most* appropriate next step after a subject has been presented in the tonic and the answer in the dominant. In a typical fugal exposition, after the initial statement of the subject and its answer, the composer often introduces a brief transitional passage, known as a “bridge” or “codetta,” before the next voice enters with the subject. This bridge serves several crucial functions: it provides a smooth melodic and harmonic connection between the dominant key of the answer and the tonic key where the subject will likely reappear; it allows for rhythmic and melodic development of motives derived from the subject or countersubject; and it creates anticipation for the subsequent entries. Consider the harmonic progression. The answer is in the dominant. For the subject to reappear in the tonic, a modulation or a clear harmonic pivot is needed. A bridge passage, often featuring sequences or modulatory material, facilitates this return to the tonic. Furthermore, the development of melodic material from the subject or a countersubject during this bridge is a common compositional technique to maintain musical interest and thematic unity. Therefore, the most logical and stylistically appropriate next step, following the established conventions of Baroque fugal writing, is to introduce a transitional passage that prepares for the next subject entry. This passage would typically involve harmonic movement back towards the tonic and potentially the development of melodic fragments.

The question probes the understanding of harmonic progression and its application in compositional techniques, specifically focusing on voice leading and the avoidance of parallel perfect intervals, a fundamental tenet in classical counterpoint and harmony. In a progression from a tonic chord (I) to a dominant chord (V), the leading tone (7th scale degree) in the tonic chord’s melody must resolve upwards to the tonic of the dominant chord. If the dominant chord is in root position, the leading tone would typically resolve to the root of the V chord. However, if the dominant chord is inverted (e.g., V6), the leading tone might resolve to the third of the V chord. The core issue here is the prohibition of parallel fifths and octaves between any two melodic lines. Consider a progression in C major: I (C-E-G) to V (G-B-D). If the soprano line moves from G to B (the leading tone), and the bass line moves from C to G, this creates parallel octaves between the soprano and bass if the soprano’s G is the root of the C chord and the bass’s G is the root of the G chord. More critically, if the soprano has E and the alto has G in the C chord, and then the soprano moves to D and the alto moves to B in the G chord, we must check for parallels. Let’s analyze a specific scenario to arrive at the correct answer. Suppose a two-part texture in A minor. The first chord is Am (A-C-E). The second chord is E major (E-G#-B), the dominant. Part 1 (Soprano): A – G# Part 2 (Bass): C – E Chord 1 (Am): Soprano (A), Bass (C). Interval: Major Sixth. Chord 2 (E): Soprano (G#), Bass (E). Interval: Major Sixth. The interval between the soprano and bass in the first chord is a major sixth (C to A). The interval between the soprano and bass in the second chord is also a major sixth (E to G#). This creates parallel major sixths, which are permissible. Now consider a different voice leading: Part 1 (Soprano): E – B Part 2 (Bass): A – E Chord 1 (Am): Soprano (E), Bass (A). Interval: Perfect Fifth. Chord 2 (E): Soprano (B), Bass (E). Interval: Perfect Fifth. Here, the interval between the soprano and bass in the first chord is a perfect fifth (A to E). The interval between the soprano and bass in the second chord is also a perfect fifth (E to B). This creates parallel perfect fifths, which is a forbidden progression in traditional harmony and counterpoint, especially in the context of preparing students for rigorous academic study at institutions like Kunitachi College of Music. The principle is that parallel perfect intervals diminish the independence and melodic character of individual lines, creating a more homophonic and less contrapuntal texture. Therefore, identifying the scenario that results in parallel perfect intervals is key. The scenario where the soprano moves from the fifth of the tonic chord to the third of the dominant chord, while the bass moves from the root of the tonic chord to the root of the dominant chord, often leads to parallel fifths or octaves depending on the specific notes. The specific example leading to parallel fifths is the soprano moving from E to B and the bass from A to E in the progression Am to E.

The question probes the understanding of harmonic progression and voice leading principles within a specific contrapuntal context, relevant to advanced music theory studies at Kunitachi College of Music. The scenario involves a four-part chorale harmonization, a common exercise in music theory. The core of the problem lies in identifying the most harmonically sound and stylistically appropriate resolution of a dominant seventh chord in second inversion (V6/5) preceding a tonic chord. Consider a progression from a dominant seventh chord in second inversion (e.g., G7/B in C major) to a C major tonic chord. The V6/5 chord contains the notes G, B, D, and F. When moving to a C major tonic chord (C, E, G), the typical voice leading rules for a dominant seventh chord in second inversion dictate specific resolutions for each voice. The leading tone (B) in the upper voices must resolve upwards to the tonic (C). The seventh of the chord (F) must resolve downwards by step to the third of the tonic chord (E). The root of the dominant chord (G) can move to the tonic (C) or remain as a common tone (G) in the tonic chord. The fifth of the dominant chord (D) typically resolves downwards by step to the tonic (C). Let’s analyze the options based on these principles: If the V6/5 chord is voiced as Soprano: F, Alto: D, Tenor: B, Bass: G, moving to a C major tonic chord: – Soprano (F) resolves to E (correct, down by step). – Alto (D) resolves to C (correct, down by step). – Tenor (B) resolves to C (correct, up by step). – Bass (G) resolves to C (correct, up by fourth, or could remain G). This leads to a C major chord with C in the soprano, E in the alto, G in the tenor, and C in the bass. This is a standard root position C major chord. Now consider the specific challenge presented in the question: a V6/5 chord in first inversion (meaning the third of the dominant chord is in the bass). If the bass is the third of the dominant chord (e.g., B in a G7 chord), the dominant seventh chord is in second inversion. The question asks for the resolution of this V6/5 chord to a tonic chord. The critical aspect is the resolution of the leading tone and the seventh. Let’s assume the progression is from G7/B to C major. The notes of G7/B are G, B, D, F, with B in the bass. – The leading tone (B) must resolve upwards to C. – The seventh (F) must resolve downwards to E. – The root (G) can move to C or stay as G. – The fifth (D) can move to C or stay as D (though less common in this context, it can resolve to C). The most stylistically appropriate resolution, adhering to the principles of smooth voice leading and avoiding parallel octaves or fifths, would involve the leading tone resolving upwards to the tonic and the seventh resolving downwards to the third of the tonic chord. Consider the scenario where the V6/5 chord is voiced with the leading tone in the soprano. For instance, in a G7/B to C major progression, if the soprano has F, alto has D, tenor has B, and bass has B. This is not V6/5, this is V7/B. The question specifies V6/5, which means the third of the dominant chord is in the bass. So, in G7 to C, the bass is B. The chord is G7/B. The notes are G, B, D, F, with B in the bass. If the leading tone (B) is in an upper voice, it must resolve to C. If the seventh (F) is in an upper voice, it must resolve to E. The bass (B) must resolve to C. Let’s re-evaluate the common resolutions for V6/5 to I. If the V6/5 chord is G7/B (notes G, B, D, F, with B in the bass), and it resolves to C major (C, E, G, C). – Bass (B) resolves to C. – The leading tone (B) in an upper voice must resolve to C. – The seventh (F) in an upper voice must resolve to E. – The remaining note (G or D) resolves accordingly. The question is about the most appropriate resolution. The most common and stylistically sound resolution of V6/5 to I involves the leading tone resolving upwards to the tonic and the seventh resolving downwards to the third of the tonic chord. This ensures smooth melodic lines and avoids dissonances in the resulting tonic chord. Let’s consider a specific voicing for G7/B to C major: Bass: B -> C Tenor: G -> G (common tone) Alto: D -> C Soprano: F -> E This results in a C major chord with C in the bass, G in the tenor, C in the alto, and E in the soprano. This is a C major chord in root position with doubled tonic and the third in the soprano. This is a perfectly acceptable and common resolution. Now, let’s consider an alternative where the leading tone is in the soprano. Bass: B -> C Tenor: F -> E Alto: G -> G Soprano: D -> C This results in a C major chord with C in the bass, E in the tenor, G in the alto, and C in the soprano. This is also a root position C major chord with doubled tonic and the fifth in the soprano. The question asks for the most appropriate resolution. The key is the resolution of the leading tone and the seventh. The leading tone (B) must resolve to C. The seventh (F) must resolve to E. The bass note (B) must resolve to C. The option that best reflects these principles, ensuring smooth voice leading and avoiding common errors like parallel fifths or octaves, is the one where the leading tone resolves upwards to the tonic, and the seventh resolves downwards to the third of the tonic chord, while the bass also moves to the tonic. The correct answer focuses on the imperative resolution of the leading tone and the seventh. The leading tone, being a strong tendency tone, must resolve upwards to the tonic. The seventh of the dominant chord, also a dissonant tone, must resolve downwards by step to the third of the tonic chord. The bass note, which is the third of the dominant chord in this inversion, must resolve to the tonic. The most appropriate resolution of a dominant seventh chord in second inversion (V6/5) to a tonic chord involves the leading tone resolving upwards to the tonic, the seventh resolving downwards to the third of the tonic chord, and the bass note (the third of the dominant) resolving to the tonic. This creates a smooth and consonant resolution. Final check: If the V6/5 chord is G7/B, with B in the bass, and it resolves to C major. The leading tone is B. The seventh is F. – Bass (B) resolves to C. – Leading tone (B) in an upper voice resolves to C. – Seventh (F) resolves to E. – The remaining note (D or G) resolves appropriately. The most direct and stylistically sound resolution is the one that prioritizes the resolution of the leading tone and the seventh. The correct option will be the one that demonstrates the leading tone resolving upwards to the tonic and the seventh resolving downwards to the third of the tonic chord, with the bass also resolving to the tonic. Let’s assume the V6/5 chord is G7/B, and the tonic chord is C major. The notes of G7/B are G, B, D, F, with B in the bass. The notes of C major are C, E, G, C. A correct resolution would be: Bass: B -> C Tenor: G -> G Alto: D -> C Soprano: F -> E This results in a C major chord with C in the bass, G in the tenor, C in the alto, and E in the soprano. This is a root position C major chord. The question asks for the most appropriate resolution. The crucial elements are the resolution of the leading tone and the seventh. The leading tone must resolve upwards to the tonic. The seventh must resolve downwards to the third of the tonic chord. The correct option will reflect this fundamental voice-leading principle. Final Answer is the option that shows the leading tone resolving upwards to the tonic and the seventh resolving downwards to the third of the tonic chord, with the bass resolving to the tonic.

The core of this question lies in understanding the principles of Schenkerian analysis, specifically the concept of the *Ursatz* (fundamental line) and its relationship to the *Gebrauchsmusik* aesthetic championed by composers like Paul Hindemith, whose influence is significant in music education. A true *Ursatz* is a foundational melodic descent, typically from scale degree 5 or 3 to 1, which underpins the entire structure of a tonal piece. Hindemith, while embracing tonality, often explored modal inflections and more complex harmonic language than strict diatonicism. His emphasis on functional harmony and clear voice leading, however, still allows for the identification of underlying structural tones. Consider a hypothetical composition in C major that exhibits Hindemithian characteristics. If the primary melodic motion is a descent from G (scale degree 5) to C (scale degree 1), with significant harmonic support and structural weight placed on these tones and the intervening scale degrees (F and E in this case, forming a descending fifth and third), this would strongly suggest a G-C *Ursatz*. The presence of chromatic alterations or modal borrowings within the foreground of the music, while adding color and complexity, would not negate the fundamental structural descent if the underlying harmonic progression and melodic contour still support the G-C framework. For instance, a Neapolitan chord or a secondary dominant might appear, but the overall harmonic trajectory would likely resolve to chords that facilitate the G-C descent. The concept of *Gebrauchsmusik* often involves clarity and accessibility, which aligns with a discernible underlying structure. Therefore, a G-C *Ursatz* would be the most fitting description for a piece that, despite contemporary harmonic practices, maintains a clear tonal foundation and a fundamental melodic descent from the fifth to the tonic.

The core of this question lies in understanding the principles of harmonic progression and voice leading within a contrapuntal context, specifically as applied to the stylistic conventions expected at Kunitachi College of Music. A perfect cadence in C major typically involves the progression V-I, which is G major to C major. In four-part harmony, this would be G-B-D (V) to C-E-G (I). Consider the progression from a dominant seventh chord (G7) to a tonic chord (C major). The G7 chord consists of the notes G, B, D, and F. The C major chord consists of C, E, and G. When resolving G7 to C major in four-part harmony, the standard voice leading rules are: 1. The leading tone (B in the G7 chord) must resolve upwards to the tonic (C). 2. The seventh of the chord (F in the G7 chord) must resolve downwards by step to the third of the tonic chord (E). 3. The root of the dominant chord (G) can either stay on G (if it’s in the bass or an inner voice) or move to the fifth of the tonic chord (G). 4. The fifth of the dominant chord (D) typically moves to the root of the tonic chord (C) or the third (E). Let’s analyze the options based on these rules, assuming a standard SATB (Soprano, Alto, Tenor, Bass) voicing. Option (a): Bass: G, Tenor: D, Alto: F, Soprano: B. Resolution to C major: Bass: C, Tenor: C, Alto: E, Soprano: C. – Bass moves G to C (correct). – Tenor moves D to C (correct). – Alto moves F to E (correct, seventh resolves down). – Soprano moves B to C (correct, leading tone resolves up). This is a standard and correct resolution. Option (b): Bass: G, Tenor: F, Alto: B, Soprano: D. Resolution to C major: Bass: C, Tenor: E, Alto: C, Soprano: G. – Bass moves G to C (correct). – Tenor moves F to E (correct). – Alto moves B to C (correct). – Soprano moves D to G (correct). This is also a correct resolution, though the soprano has a larger leap. Option (c): Bass: G, Tenor: B, Alto: D, Soprano: F. Resolution to C major: Bass: C, Tenor: G, Alto: E, Soprano: C. – Bass moves G to C (correct). – Tenor moves B to G (incorrect, leading tone should resolve up to C). – Alto moves D to E (correct). – Soprano moves F to C (incorrect, seventh should resolve down to E). This option violates fundamental voice leading principles for the leading tone and the seventh. Option (d): Bass: G, Tenor: D, Alto: G, Soprano: F. Resolution to C major: Bass: C, Tenor: G, Alto: E, Soprano: C. – Bass moves G to C (correct). – Tenor moves D to G (correct). – Alto moves G to E (incorrect, G is the fifth of the dominant, it can stay or move to C or E, but here it moves to E, which is acceptable, but the F is the issue). – Soprano moves F to C (incorrect, seventh should resolve down to E). This option also violates the resolution of the seventh. Therefore, option (a) represents the most stylistically sound and commonly taught resolution of a G7 chord to C major in four-part harmony, adhering strictly to the principles of voice leading taught in classical harmony and counterpoint, which are foundational at Kunitachi College of Music. The explanation focuses on the specific voice leading of the leading tone and the seventh, which are critical elements in achieving a smooth and consonant progression. The analysis of each option demonstrates how adherence to these rules, particularly the upward resolution of the leading tone and the downward resolution of the seventh, distinguishes correct harmonic practice from incorrect practice. This understanding is crucial for developing a strong foundation in Western classical music composition and performance, areas of significant emphasis at Kunitachi.

The question probes the understanding of harmonic progression and voice leading principles within a specific compositional context relevant to advanced music theory studies at Kunitachi College of Music. The scenario describes a progression that, while seemingly standard, contains a subtle voice-leading issue when analyzed through the lens of traditional counterpoint and harmonic function. Consider a four-part chorale texture. The progression is given as: I – V6/4 – I6 – IV. In C major, this would be: C-E-G – G-B-D (in first inversion) – C-E-G (in first inversion) – F-A-C. Let’s analyze the voice leading from V6/4 to I6. The V6/4 chord (G-B-D) in first inversion typically resolves to I6 (C-E-G in first inversion). In a standard resolution, the bass note of the V6/4 (D) would move to the root of the I6 (C). The other voices should move smoothly. If the V6/4 chord is voiced G-B-D (from bottom to top in the middle voices, with the bass D), and it resolves to I6 (C-E-G), the common issue arises in the movement of the leading tone (B) and the tendency tone (D). A common error in resolving V6/4 to I6 is when the leading tone (B) in the V6/4 chord moves to the tonic (C) in the I6 chord, and the fifth of the V6/4 chord (D) moves to the third of the I6 chord (E). This is generally acceptable. However, the specific issue often tested at this level relates to parallel motion or awkward leaps. Let’s consider a specific voicing of V6/4 to I6: V6/4: Bass D, Tenor G, Alto B, Soprano D. I6: Bass C, Tenor G, Alto E, Soprano C. In this voicing: Bass: D -> C (step down) – acceptable. Tenor: G -> G (common tone) – acceptable. Alto: B -> E (leap down a fifth) – this is a significant leap and potentially problematic if it creates awkwardness or violates other principles. Soprano: D -> C (step down) – acceptable. The problematic aspect, often highlighted in advanced counterpoint, is the leap of a fifth in the alto voice from B to E. While not strictly forbidden in all contexts, it is considered less smooth than stepwise motion or smaller leaps, especially in a chorale setting where Kunitachi College of Music emphasizes refined voice leading. More importantly, if the V6/4 chord is voiced such that the leading tone (B) is in an inner voice and resolves to the tonic (C) in the I6 chord, and the root of the V6/4 (G) is also in an inner voice, the resolution of the leading tone to the tonic in an inner voice can sometimes lead to a less desirable melodic contour or harmonic implication, especially if it creates a diminished interval with another voice. A more subtle issue, and the one that makes this question challenging for advanced students, is the potential for a diminished interval to be created or emphasized. If the inner voices of the V6/4 are G and B, and they resolve to E and G in the I6, the B to E leap is a descending fifth. However, if the V6/4 is voiced D (bass), G, B, D, and resolves to C (bass), G, E, C, the B to E leap is a descending fifth. The critical point is the implied harmonic progression and the smoothness of melodic lines. The resolution of the leading tone (B) to the tonic (C) in the soprano or alto is generally fine. The issue arises when the *combination* of movements creates a less than ideal melodic contour or harmonic implication. The most common subtle error in this progression, particularly in a strict chorale style as often analyzed at Kunitachi College of Music, is the potential for a diminished interval to be formed or emphasized due to the leap of a fifth in an inner voice, particularly the leap from the leading tone to the third of the tonic chord. The leap of a fifth from B to E (a diminished fifth) in the alto voice, while not always strictly forbidden, is often avoided in favor of smoother voice leading, especially when the leading tone is involved. This is because it can create a less melodically pleasing line and potentially lead to awkward harmonic implications if not handled with extreme care. The resolution of the leading tone in an inner voice to the tonic is generally acceptable, but the leap of a fifth associated with it is the point of contention. Therefore, the most accurate description of the potential issue is the awkward melodic contour created by the leap of a fifth in an inner voice, specifically from the leading tone to the third of the tonic chord. The final answer is $\boxed{The potential for an awkward melodic contour due to a leap of a fifth in an inner voice}$.

The question probes the understanding of harmonic function and its application in compositional analysis, specifically within the context of Western classical music traditions that Kunitachi College of Music Entrance Exam University emphasizes. The scenario describes a progression that moves from a tonic chord (implied as C major for simplicity in analysis, though the question is abstract) to a dominant seventh chord, then to a subdominant chord, and finally back to the tonic. This is a fundamental I-V7-IV-I progression. In functional harmony, the tonic (I) chord establishes the tonal center. The dominant seventh (V7) chord creates a strong tension that strongly resolves to the tonic. The subdominant (IV) chord, while also a diatonic chord, has a different function. It typically moves towards the dominant or resolves to the tonic, but its characteristic movement is often to the V chord. The progression I-V7-IV-I, while not as common as I-IV-V7-I or I-V7-I, is a valid, albeit less conventional, harmonic movement. The core of the question lies in identifying the function of the IV chord in this specific sequence. The IV chord, when followed by the I chord, can be seen as a form of plagal cadence (IV-I). However, the presence of the V7 chord before the IV chord alters the typical expectation. The V7 chord strongly pulls towards the tonic. When the progression then moves to the IV chord, it momentarily delays the expected resolution to the tonic. The IV chord, in this context, acts as a pre-dominant chord, preparing the eventual return to the tonic. It doesn’t function as a dominant (which would be the V or V7), nor is it the tonic itself. Its role is to lead towards the tonic, often after a dominant preparation. Therefore, its function is best described as a pre-dominant preparation for the final tonic resolution. The calculation here is not numerical but analytical. We are analyzing the harmonic function of each chord in relation to the implied tonic. 1. Tonic (I): Establishes the key. 2. Dominant Seventh (V7): Creates tension, strongly implies resolution to I. 3. Subdominant (IV): In this sequence, it follows V7, which is unusual. Typically, IV precedes V. However, IV can lead to I. When V7 precedes IV, and IV leads to I, the IV chord acts as a chord that delays the tonic resolution after the dominant tension has been established, and then it facilitates the final tonic arrival. This delaying and preparing function is characteristic of a pre-dominant chord. 4. Tonic (I): Final resolution. The sequence I-V7-IV-I is analyzed as: Tonic – Dominant – Pre-dominant – Tonic. The subdominant chord (IV) in this specific context, following a dominant seventh and preceding the tonic, serves to prolong the harmonic journey before the final resolution, thus acting as a pre-dominant.

The core of this question lies in understanding the principles of harmonic progression and voice leading within a contrapuntal context, specifically as applied to the stylistic conventions expected at Kunitachi College of Music. A perfect cadence in a minor key, such as A minor, typically involves the progression V-i. The dominant chord in A minor is E major (or E7), and the tonic is A minor. Consider a two-part invention in A minor. If the first voice (soprano) is on the note E5, and the second voice (alto) is on the note G#4, this creates an interval of a major tenth. For a perfect cadence (V-i), the dominant chord (E major) would typically consist of the notes E, G#, and B. The tonic chord (A minor) would consist of A, C, and E. If the alto voice, currently on G#4, needs to resolve to the tonic chord, it must move to a note that is part of the A minor triad. The most common and stylistically appropriate resolution for the leading tone (G#) in a minor key is to the tonic note (A). Therefore, the alto voice should move from G#4 to A4. This movement creates a smooth melodic line and supports the harmonic resolution to the tonic. The question asks about the *most stylistically appropriate* resolution for the alto voice, given its position on G#4 and the implied harmonic context of a perfect cadence in A minor. The leading tone (G#) in the dominant chord strongly pulls towards the tonic (A). Therefore, the resolution of G#4 to A4 is the most direct and conventional harmonic and melodic movement in this scenario, aligning with the principles of voice leading taught at institutions like Kunitachi College of Music, which emphasize clarity and functional harmony. The resolution of the leading tone to the tonic is a fundamental tenet of Western tonal music.

The core of this question lies in understanding the principles of counterpoint and harmonic progression as applied in the late Baroque period, a cornerstone of the Kunitachi College of Music’s curriculum. Specifically, it probes the student’s ability to identify the most harmonically sound and contrapuntally correct resolution of a dominant seventh chord in a minor key, considering voice leading and cadential function. A V7 chord in A minor is E-G-B-D. The tonic chord in A minor is A-C-E. The dominant seventh chord (E7) has a leading tone (G# in harmonic minor, which is often used in V7 chords to strengthen the pull to the tonic) and a tritone (G-D). When resolving to the tonic chord (Am), the G# should resolve upwards to A, and the D should resolve downwards to C. The E in the dominant chord typically stays on E or moves to A. The B typically moves to A or C. Let’s analyze the options for resolution to an A minor chord (A-C-E): Option 1: E7 (E-G#-B-D) to Am (A-C-E-A) – E to A (stays or moves up) – acceptable – G# to A (upward resolution of leading tone) – correct – B to A (downward resolution) – acceptable – D to C (downward resolution) – correct This represents a standard and harmonically sound resolution. Option 2: E7 (E-G#-B-D) to Am (C-E-A-C) – E to C (downward resolution) – acceptable – G# to E (downward resolution) – incorrect, the leading tone should resolve upwards. – B to A (downward resolution) – acceptable – D to C (downward resolution) – correct The incorrect resolution of the leading tone makes this option less ideal. Option 3: E7 (E-G#-B-D) to Am (E-A-C-E) – E to E (stays) – correct – G# to A (upward resolution of leading tone) – correct – B to C (upward resolution) – acceptable – D to E (upward resolution) – acceptable This is also a harmonically sound resolution, with all voices moving correctly. However, the question asks for the *most* harmonically sound and contrapuntally correct resolution, implying a standard practice. While this is correct, the common practice resolution often involves the leading tone resolving upwards and the seventh resolving downwards. Option 4: E7 (E-G#-B-D) to Am (A-E-C-A) – E to A (upward resolution) – acceptable – G# to E (downward resolution) – incorrect, the leading tone should resolve upwards. – B to C (upward resolution) – acceptable – D to A (downward resolution) – acceptable The incorrect resolution of the leading tone makes this option less ideal. Comparing Option 1 and Option 3, both are technically correct. However, Option 1 (E-G#-B-D to A-C-E-A) represents a more typical and pedagogically emphasized resolution in late Baroque counterpoint, particularly in cadential contexts. The downward resolution of the seventh (D to C) is a strong characteristic, and the upward resolution of the leading tone (G# to A) is paramount. The movement of B to A is also a common and smooth voice leading. Option 3’s D to E is also valid, but the overall progression in Option 1 is often considered the archetypal resolution. The question emphasizes “most harmonically sound and contrapuntally correct,” and the standard resolution of the V7 to i in minor, with the leading tone ascending and the seventh descending, is the benchmark. Therefore, the resolution of E-G#-B-D to A-C-E-A is the most representative of the principles taught at Kunitachi College of Music for late Baroque harmony and counterpoint.

The question probes the understanding of harmonic progression and its application in compositional techniques, specifically focusing on the concept of a plagal cadence. A plagal cadence, often referred to as the “Amen” cadence, typically involves a progression from the subdominant chord (IV) to the tonic chord (I). In a major key, this is a IV-I progression. If we consider the key of C major, the subdominant chord is F major (IV), and the tonic chord is C major (I). The progression from F major to C major is a fundamental example of a plagal cadence. This type of cadence is characterized by its gentle, resolving quality, often used for concluding phrases or sections. The explanation of why this is the correct answer lies in recognizing the specific harmonic function of the subdominant chord leading to the tonic, which is the defining characteristic of a plagal cadence. This understanding is crucial for analyzing and composing music, particularly within the Western classical tradition that Kunitachi College of Music emphasizes. The other options represent different harmonic movements or cadences that do not fit the description of a plagal cadence. For instance, a dominant cadence (V-I) is a much stronger and more common way to conclude a musical phrase. A deceptive cadence (V-vi) subverts the expected resolution. A secondary dominant, while a common chromatic device, does not inherently describe the IV-I movement. Therefore, the direct IV-I progression in a major key is the accurate representation of a plagal cadence.

The question probes the understanding of harmonic function and voice leading within a specific contrapuntal context, a core element of advanced music theory at institutions like Kunitachi College of Music. The scenario presents a progression from a dominant seventh chord in second inversion (V6/5) to a tonic chord. The key is C major. The V6/5 chord in C major is G7/B. The root position tonic chord is C major (C-E-G). The progression is: G7/B (G-B-D-F) to C major (C-E-G). Let’s analyze the voice leading for each voice, assuming standard SATB (Soprano, Alto, Tenor, Bass) voicing, and considering the typical resolution of a dominant seventh chord. Bass: Moves from B to C. This is a standard leading tone resolution to the tonic. Tenor: Let’s assume the tenor is holding the root of the V6/5 chord, which is G. In the resolution to C major, the G can move to either C or E. A common and smooth resolution would be to move G down to E, creating a third in the tonic chord. Alto: Let’s assume the alto is holding the third of the V6/5 chord, which is B. In the resolution to C major, the B must resolve upwards to C, the tonic. This is the leading tone resolving to the tonic. Soprano: Let’s assume the soprano is holding the seventh of the V6/5 chord, which is F. The seventh of a dominant seventh chord typically resolves downwards by step to the third of the tonic chord. In C major, the third of the tonic chord is E. Therefore, F resolves to E. Now, let’s consider the resulting chord in the tonic. If the Bass is C, Tenor is E, Alto is C, and Soprano is E, the resulting chord is C-E-C-E, which is a C major chord with doubled root and doubled third. This is a perfectly acceptable voicing for a tonic chord. The question asks about the *most appropriate* resolution for the seventh of the dominant seventh chord. In the given scenario (V6/5 to I), the seventh of the dominant chord (F in G7) is in the soprano voice. The standard resolution for the seventh of a dominant seventh chord is to descend by step to the third of the tonic chord. In C major, the tonic chord is C-E-G. The third of the tonic chord is E. Therefore, the F in the soprano should resolve to E. This creates a smooth melodic line and a consonant interval (a third) between the soprano and the tenor (which we assumed moved from G to E). This resolution is fundamental to tonal harmony and is a key concept taught in music theory at Kunitachi College of Music, emphasizing smooth voice leading and the resolution of dissonances. The avoidance of parallel fifths and octaves, and the proper handling of the leading tone and chordal seventh, are paramount in developing a strong harmonic foundation.

The question probes the understanding of harmonic progression and its application in compositional techniques, specifically focusing on voice leading and the avoidance of parallel perfect intervals. In a four-part chorale setting, the progression from a dominant seventh chord (V7) to a tonic chord (I) is fundamental. When the bass voice moves from the root of the V7 chord to the root of the I chord, and the soprano voice moves from the third of the V7 chord to the root of the I chord, the inner voices (alto and tenor) must be carefully managed to prevent parallel octaves or fifths. Consider the V7 chord in C major: G7 (G-B-D-F). The I chord is C major (C-E-G). If the bass moves from G to C, and the soprano moves from B to C, we have the following potential voice leading for the inner voices: Bass: G -> C Soprano: B -> C To complete the C major chord (C-E-G), the alto and tenor must provide E and G. Scenario 1: Alto has D, Tenor has F (from G7) Alto: D -> E Tenor: F -> G In this case, the alto moves D to E, and the tenor moves F to G. Let’s examine the intervals between voices: Soprano-Alto: B-D (minor third) -> C-E (major third) – No parallel intervals. Soprano-Tenor: B-F (tritone) -> C-G (perfect fifth) – No parallel intervals. Alto-Tenor: D-F (minor third) -> E-G (minor third) – No parallel intervals. Bass-Alto: G-D (perfect fifth) -> C-E (major third) – No parallel intervals. Bass-Tenor: G-F (minor seventh) -> C-G (perfect fifth) – No parallel intervals. This voice leading is acceptable. Scenario 2: Alto has F, Tenor has D (from G7) Alto: F -> E Tenor: D -> G In this case, the alto moves F to E, and the tenor moves D to G. Let’s examine the intervals between voices: Soprano-Alto: B-F (tritone) -> C-E (major third) – No parallel intervals. Soprano-Tenor: B-D (minor third) -> C-G (perfect fifth) – No parallel intervals. Alto-Tenor: F-D (minor sixth) -> E-G (minor third) – No parallel intervals. Bass-Alto: G-F (minor seventh) -> C-E (major third) – No parallel intervals. Bass-Tenor: G-D (perfect fifth) -> C-G (perfect fifth) – **Parallel perfect fifths occur between the bass and tenor.** This is forbidden in traditional chorale writing. Scenario 3: Alto has D, Tenor has G (from G7) Alto: D -> E Tenor: G -> C In this case, the alto moves D to E, and the tenor moves G to C. Let’s examine the intervals between voices: Soprano-Alto: B-D (minor third) -> C-E (major third) – No parallel intervals. Soprano-Tenor: B-G (major sixth) -> C-C (octave) – No parallel intervals. Alto-Tenor: D-G (perfect fourth) -> E-C (major sixth) – No parallel intervals. Bass-Alto: G-D (perfect fifth) -> C-E (major third) – No parallel intervals. Bass-Tenor: G-G (octave) -> C-C (octave) – **Parallel octaves occur between the bass and tenor.** This is forbidden. Scenario 4: Alto has G, Tenor has D (from G7) Alto: G -> E Tenor: D -> G In this case, the alto moves G to E, and the tenor moves D to G. Let’s examine the intervals between voices: Soprano-Alto: B-G (major sixth) -> C-E (major third) – No parallel intervals. Soprano-Tenor: B-D (minor third) -> C-G (perfect fifth) – No parallel intervals. Alto-Tenor: G-D (perfect fifth) -> E-G (minor third) – No parallel intervals. Bass-Alto: G-G (octave) -> C-E (major third) – No parallel intervals. Bass-Tenor: G-D (perfect fifth) -> C-G (perfect fifth) – **Parallel perfect fifths occur between the bass and tenor.** This is forbidden. Therefore, the only acceptable voice leading for the inner voices, given the specified soprano and bass movement, is to have the alto move from D to E and the tenor move from F to G. This results in the correct answer. The question tests a fundamental principle of counterpoint and harmony taught at institutions like Kunitachi College of Music, emphasizing the importance of smooth voice leading and the avoidance of forbidden parallels. Understanding these rules is crucial for developing a strong foundation in Western classical music composition and arrangement. The ability to analyze and correct flawed voice leading demonstrates a candidate’s grasp of harmonic function and contrapuntal texture, essential skills for any aspiring musician at Kunitachi College of Music. This specific scenario, involving a V7-I progression with specific soprano and bass motion, is a common pedagogical exercise designed to highlight the challenges and solutions in achieving a well-crafted harmonic progression. The correct answer reflects a deep understanding of how individual melodic lines interact within a harmonic framework to create a coherent and aesthetically pleasing musical texture, a core tenet of music education at Kunitachi College of Music.

The question probes the understanding of harmonic progression and voice leading within a specific musical context relevant to advanced music theory studies at Kunitachi College of Music. The scenario describes a progression from a dominant seventh chord in second inversion to a tonic chord in root position. Specifically, it implies a movement from a V\(_6/4\) to a I chord. In standard four-part harmony, when a V\(_6/4\) chord resolves to I, the bass note moves from the fifth of the dominant chord (which is in the bass, hence the \(_6/4\) inversion) to the root of the tonic chord. The upper voices, typically soprano, alto, and tenor, must resolve according to voice-leading principles. Consider the V\(_6/4\) chord. If the tonic is C Major, the V chord is G Major (G-B-D-F). In second inversion, the D is in the bass. So, the chord tones are G, B, D, F. The resolution to I (C Major: C-E-G) requires careful handling of the F (the seventh of the dominant seventh chord, even if not explicitly stated as a seventh chord, the context of V\(_6/4\) to I often implies it or a similar tension). The F, being a dissonant tone against the tonic, must resolve downwards by step. In this case, F resolves to E. The G in the V\(_6/4\) chord (often in the soprano or tenor) can remain as a common tone or move to C. The B (leading tone) must resolve upwards to C. The question asks about the *most appropriate* voice leading for the *leading tone* in the V\(_6/4\) chord when resolving to I. The leading tone (B in C Major) is the third of the dominant chord. Standard voice-leading rules dictate that the leading tone must resolve upwards by a semitone to the tonic. Therefore, in a progression from G Major (or G7) in second inversion to C Major, the leading tone (B) must move to C. This upward resolution is crucial for establishing the tonic’s stability and is a fundamental principle taught and expected at institutions like Kunitachi College of Music. The other options would involve either a descending resolution (which is incorrect for a leading tone) or a resolution to a non-tonic note, which would weaken the cadential effect. The explanation focuses on the inherent function of the leading tone within harmonic progressions.

The question probes the understanding of harmonic progression and its application in compositional techniques, specifically focusing on the concept of voice leading and the avoidance of parallel perfect intervals. In a four-part chorale setting, the progression from a dominant chord (V) to a tonic chord (I) in a minor key typically involves a dominant seventh chord (V7) resolving to the tonic triad (i). Let’s consider a progression in A minor: E7 (V7) to Am (i). The E7 chord consists of the notes E, G#, B, D. The Am chord consists of A, C, E. A common and stylistically appropriate resolution of the V7 to i in a minor key involves the leading tone (G# in E7) resolving upwards to the tonic (A). The seventh of the dominant seventh chord (D in E7) typically resolves downwards by step to the third of the tonic chord (C in Am). The specific issue of parallel perfect fifths arises when two voices move in the same direction, maintaining a perfect fifth interval between them. For instance, if the bass voice moves from E to A, and the tenor voice simultaneously moves from B to E, this creates parallel perfect fifths (E-B to A-E). To avoid this, composers must carefully manage the movement of each voice. Consider the following voice leading for V7 to i in A minor: Bass: E -> A Tenor: B -> C Alto: G# -> A Soprano: D -> C In this example: – Bass (E to A) is a perfect fifth. – Tenor (B to C) is a step. – Alto (G# to A) is a step. – Soprano (D to C) is a step. Let’s examine the intervals between voices: – Soprano-Alto: D-G# (diminished fifth) to C-A (major sixth). No parallel fifths or octaves. – Soprano-Tenor: D-B (major sixth) to C-C (octave). No parallel fifths or octaves. – Alto-Tenor: G#-B (minor third) to A-C (minor third). No parallel fifths or octaves. – Bass-Tenor: E-B (perfect fifth) to A-C (minor third). This is the crucial interval. The bass moves E to A. The tenor moves B to C. The interval E-B is a perfect fifth. The interval A-C is a minor third. Therefore, no parallel perfect fifths are created between the bass and tenor. Now, let’s consider a scenario that *would* create parallel fifths. If the bass moved E to A, and the tenor moved G# to A, this would create parallel octaves. If the bass moved E to A, and the tenor moved B to E, this would create parallel fifths. The question asks about the *most critical* consideration when moving from a dominant seventh chord to a tonic chord in a minor key, specifically concerning voice leading errors. The avoidance of parallel perfect fifths and octaves is paramount in traditional tonal harmony, as these intervals were considered disruptive to the smooth flow of independent melodic lines. While other voice leading rules exist (e.g., resolving the leading tone, resolving the seventh), the prohibition against parallel perfect intervals is a foundational principle for maintaining contrapuntal integrity. Therefore, ensuring that no two voices move in parallel perfect fifths or octaves during this crucial harmonic transition is the most critical aspect of proper voice leading.

The question probes the understanding of harmonic function and voice leading within a specific contrapuntal context, a core element of advanced music theory at Kunitachi College of Music. The scenario presents a progression that requires careful consideration of voice leading principles to resolve dissonances and maintain smooth melodic lines. Consider the progression from a V chord to a I chord in a minor key. A common and effective resolution involves the leading tone in the dominant chord resolving upwards to the tonic. If the dominant chord is a V7, the seventh of the chord typically resolves downwards by step. In the given scenario, the progression implies a need to resolve a potentially dissonant interval or to create a specific melodic contour. Let’s analyze a hypothetical progression: in C minor, a G7 chord (G-B-D-F) moving to C minor (C-Eb-G). The leading tone, B, in the G7 chord should resolve to C. The seventh of the G7 chord, F, should resolve down to E (in a C minor chord). If the dominant chord is presented with a doubled root (G-G-B-D), and the subsequent tonic chord is C-Eb-G-C, the voice leading must ensure that all dissonances are resolved according to established practice. Specifically, if the dominant chord is presented as G-B-D-F, and the target tonic chord is C-Eb-G-C, the B must move to C, and the F must move to E. If the dominant chord were G-D-F-B, the resolution would still follow these principles. The question implicitly asks about the most stylistically appropriate way to voice the tonic chord following a dominant seventh, considering the resolution of the leading tone and the seventh. The most stylistically sound resolution of a V7 to I in a minor key, particularly in the context of classical harmony often studied at Kunitachi College of Music, involves the leading tone (the third of the V7 chord) resolving upwards to the tonic. The seventh of the V7 chord resolves downwards by step to the third of the tonic chord. Therefore, if the dominant chord contains a leading tone and a seventh, the resulting tonic chord’s voicing will be dictated by these resolutions. For instance, in G7 to Cm, B resolves to C, and F resolves to E. This leads to a tonic chord where the root is C, the third is E, and the fifth is G. The specific voicing of the tonic chord will depend on how the dominant chord was voiced and which notes are present in each voice. The question tests the understanding of these fundamental voice-leading rules and their application in creating a stylistically coherent harmonic progression, emphasizing the importance of smooth melodic lines and proper dissonance resolution as taught at Kunitachi College of Music. The correct option will reflect a voicing of the tonic chord that arises directly from the correct resolution of the leading tone and seventh of the preceding dominant seventh chord.

The question probes the understanding of harmonic progression and its application in compositional techniques, specifically focusing on the concept of a plagal cadence. A plagal cadence is characterized by the progression from the subdominant chord (IV) to the tonic chord (I). In the key of C major, the subdominant chord is F major (F-A-C), and the tonic chord is C major (C-E-G). A common and effective way to voice a plagal cadence is to move from an F major chord to a C major chord. Considering the provided options, we need to identify the progression that most accurately represents a plagal cadence in C major, with a focus on voice leading principles often emphasized in advanced music theory and composition studies at institutions like Kunitachi College of Music. Let’s analyze the harmonic movement: A plagal cadence in C major involves the progression from the IV chord to the I chord. The IV chord in C major is F Major (F-A-C). The I chord in C major is C Major (C-E-G). We are looking for a progression that moves from an F-based harmony to a C-based harmony. The options will likely present different chord voicings and inversions. The core concept is the IV-I movement. Option a) presents a progression from an F major chord in first inversion (F-A-C, with A in the bass) to a C major chord in root position (C-E-G, with C in the bass). This is a direct IV6-I progression, a clear example of a plagal cadence. The voice leading would typically involve smooth stepwise motion or common tones. For instance, the A in the bass of the F chord could move to G or E in the C chord, the F could move to E, and the C could remain a common tone. Option b) presents a progression from a G major chord (V) to a C major chord (I). This is an authentic cadence, not a plagal cadence. Option c) presents a progression from an F minor chord (iv) to a C major chord (I). While a iv-I progression can occur, the question implies a standard plagal cadence, which typically uses the major subdominant (IV). Furthermore, the harmonic quality of the subdominant is crucial for the characteristic sound of the plagal cadence. Option d) presents a progression from a C major chord (I) to an F major chord (IV). This is a subdominant progression, the reverse of a plagal cadence. Therefore, the progression that most accurately and characteristically represents a plagal cadence in C major, aligning with the principles of harmonic function and voice leading taught in advanced music theory, is the movement from an F major chord to a C major chord. The specific voicings and inversions in option a) are designed to be musically sound and illustrative of this concept.

The core of this question lies in understanding the principles of counterpoint and harmonic progression as applied in Baroque compositional techniques, a cornerstone of the Kunitachi College of Music’s curriculum. Specifically, it probes the student’s ability to identify the most harmonically sound and contrapuntally correct resolution of a given melodic fragment within a specific stylistic context. Consider a two-voice setting where the upper voice presents a melodic line. The lower voice must provide a harmonic and contrapuntal foundation. The scenario describes a point where the upper voice is on the third scale degree of a minor key (e.g., E in A minor). The implied harmony at this point is likely a dominant chord (E major or E7 in A minor) or a related chord. The question asks for the most appropriate continuation for the lower voice, assuming it has just completed a perfect fifth above the tonic. If the lower voice is on the dominant note (E in A minor), and the upper voice is on the mediant (C in A minor), this creates an interval of a minor third. To resolve this harmonically and contrapuntally, the lower voice should move to the tonic (A) to complete the tonic chord, while the upper voice should move to the supertonic (B) to create a more consonant interval with the tonic in the bass, or to the dominant (E) to create a perfect fifth. However, the question specifically focuses on the lower voice’s movement. If the lower voice is on E (the dominant of A minor) and the upper voice is on C (the mediant), and the goal is to resolve to the tonic chord (A minor), the lower voice should move to A. This creates a root position tonic chord. The upper voice, currently on C, could move to B (supertonic) or E (dominant). The question asks for the *lower* voice’s movement. If the lower voice has just completed a perfect fifth above the tonic (meaning it is on E, assuming the tonic is A), and the upper voice is on the mediant (C), the most logical and stylistically appropriate resolution for the lower voice to support a tonic chord is to move to the tonic note itself, which is A. This completes the tonic triad. Therefore, the calculation is conceptual: 1. Identify the implied key: A minor. 2. Identify the position of the upper voice: Mediant (C). 3. Identify the position of the lower voice: Dominant (E), having previously formed a perfect fifth above the tonic. 4. Determine the target harmony: Tonic chord (A minor). 5. Determine the correct movement for the lower voice to achieve the tonic chord in root position: E (dominant) moves to A (tonic). The correct answer is the movement of the lower voice from the dominant note to the tonic note. This question tests a fundamental understanding of voice leading and harmonic resolution within the context of tonal music, a skill heavily emphasized in Kunitachi College of Music’s composition and performance programs. Mastery of such principles is crucial for analyzing and creating music that adheres to established stylistic conventions, particularly those of the Baroque era, which often serve as a foundation for advanced harmonic and contrapuntal studies. The ability to predict and execute correct resolutions demonstrates a deep internalization of harmonic function and voice-leading smoothness, essential for both performers interpreting historical repertoire and composers engaging with traditional compositional techniques. It requires not just rote memorization but an analytical understanding of how melodic and harmonic elements interact to create coherent musical progressions, reflecting Kunitachi’s commitment to rigorous theoretical training.

The core of this question lies in understanding the principles of counterpoint and harmonic progression as applied in Baroque compositional techniques, a cornerstone of study at Kunitachi College of Music. Specifically, it tests the ability to identify a melodic line that, when placed against a given bass line, creates a harmonically sound and contrapuntally correct progression, adhering to the voice-leading rules prevalent in the era. Consider a simple two-part setting. The given bass line is C – G – Am – F. For the first chord (C major), the bass is C. A common and harmonically sound melodic note would be E or G. Let’s consider E. For the second chord (G major), the bass is G. A common melodic note would be B or D. If the melody moved from E to D, this creates a smooth descending line. For the third chord (Am), the bass is A. A common melodic note would be C or E. If the melody moved from D to C, this creates a stepwise descent. For the fourth chord (F major), the bass is F. A common melodic note would be A or C. If the melody moved from C to A, this creates a descending leap. The resulting melodic line would be E – D – C – A. Let’s check the harmonic implications: C (bass) + E (melody) = C major triad (root, third) G (bass) + D (melody) = G major triad (root, fifth) A (bass) + C (melody) = Am triad (root, third) F (bass) + A (melody) = F major triad (root, third) This progression is harmonically coherent and demonstrates good voice leading (stepwise motion or small leaps, avoiding parallel octaves and fifths between the melody and bass). The melodic contour is also pleasing. Other options might create dissonances, awkward leaps, or violate fundamental contrapuntal rules. For instance, a melody that jumped to a dissonant interval with the bass on a strong beat, or created parallel perfect intervals, would be incorrect. The chosen melody emphasizes consonant intervals and smooth transitions, reflecting the pedagogical approach to counterpoint at Kunitachi College of Music, which often begins with the study of two-part writing. This exercise is fundamental to understanding how melodic lines interact with harmonic foundations, a skill crucial for composers, theorists, and performers alike.

The question probes the understanding of harmonic function and its application in compositional techniques, specifically within the context of late Romantic or early 20th-century harmonic language, which is a significant area of study at Kunitachi College of Music. The core concept tested is the resolution of a Neapolitan chord. A Neapolitan chord is a major chord built on the lowered second scale degree. In C minor, the lowered second scale degree is Db. Therefore, the Neapolitan chord is Db major (Db-F-Ab). The typical resolution of a Neapolitan chord in a minor key is to the dominant chord. In C minor, the dominant chord is G major (G-B-D). The Neapolitan chord (Db major) functions as a pre-dominant harmony, leading to the dominant. The characteristic voice leading involves the root of the Neapolitan chord (Db) moving down by a semitone to the leading tone of the dominant (B in G major, or Cb in C minor’s dominant, which is G major in practice). The third of the Neapolitan chord (F) typically moves to the fifth of the dominant (D). The fifth of the Neapolitan chord (Ab) typically moves to the root of the dominant (G). Therefore, the most conventional and harmonically sound resolution of a Db major chord in C minor is to a G major chord. This resolution emphasizes the chromatic descent of the bass line (Db to C, or Db to B if considering the leading tone of the dominant) and the characteristic movement of the Neapolitan sixth (often in first inversion, F-Ab-Db) to the dominant. The question requires identifying this standard resolution within a given harmonic context. The options provided are different chord progressions. Option (a) presents the Db major chord resolving to G major, which is the correct harmonic function. Option (b) presents a resolution to Eb major, which is the tonic minor, an unusual and less common resolution for a Neapolitan chord. Option (c) suggests resolution to Ab major, the subdominant, which is also not the typical pre-dominant function of the Neapolitan. Option (d) proposes resolution to F minor, the submediant, which is harmonically distant and not a standard resolution. The explanation of why this is important for Kunitachi College of Music students lies in understanding the evolution of harmony and the sophisticated chromaticism employed by composers studied at the institution, such as Brahms or Wagner, who frequently utilized Neapolitan progressions. Mastering these resolutions is crucial for analysis, performance, and composition within the Western classical tradition.

The question probes the understanding of harmonic function and voice leading principles within a specific contrapuntal context, relevant to advanced music theory studies at Kunitachi College of Music. The scenario presents a progression from a dominant seventh chord to a tonic chord in a minor key. Specifically, the progression is from a V7 chord to a I chord. In A minor, the V7 chord is E7 (E-G#-B-D) and the I chord is Am (A-C-E). The core of the question lies in identifying the most appropriate resolution of the leading tone (G# in the E7 chord) and the seventh of the chord (D in the E7 chord). The leading tone (G#) typically resolves upwards by a half step to the tonic (A). The seventh of the chord (D) typically resolves downwards by step to the third of the tonic chord (C). Let’s analyze the options in relation to a standard four-part texture (Soprano, Alto, Tenor, Bass): Consider the progression: E7 (Bass note E) to Am (Bass note A). A common and harmonically sound realization of E7 in root position would have E in the bass, G# in the tenor, B in the alto, and D in the soprano. When resolving to Am: – The Bass moves from E to A. – The Tenor (G#) should resolve to A. – The Alto (B) can move to A or E. – The Soprano (D) should resolve to C. Therefore, a correct resolution would involve the leading tone (G#) moving to A, and the seventh (D) moving to C. This creates a complete Am chord (A-C-E) with potentially doubled roots or thirds. Let’s evaluate the options based on this: Option a) describes a resolution where the leading tone (G#) moves to A, and the seventh (D) moves to C. This is the most harmonically and contrapuntally correct resolution, adhering to standard voice-leading practices for dominant seventh chords. The G# resolves to A, and the D resolves to C, forming a stable tonic chord. Option b) might suggest the leading tone resolving incorrectly or the seventh resolving in an unusual manner, potentially creating parallel octaves or fifths, or an unresolved dissonance. For instance, if the leading tone moved down, or the seventh moved up. Option c) could involve a less conventional resolution, perhaps a deceptive cadence or an altered chord, which deviates from the expected V7-I resolution in a minor key. Option d) might present a situation where the chord tones are not correctly distributed or where a forbidden interval is created. The question emphasizes the *most appropriate* resolution, implying adherence to fundamental principles of tonal harmony as taught at Kunitachi College of Music. The correct resolution ensures smooth voice leading and a clear harmonic progression. The explanation focuses on the function of the leading tone and chordal seventh in a dominant-tonic relationship, which are foundational concepts in Western tonal music theory and essential for any aspiring composer or performer. Understanding these principles is crucial for analyzing and creating music that adheres to established stylistic norms, a key aspect of the curriculum at Kunitachi College of Music.

The question probes the understanding of harmonic function and voice leading principles within a specific contrapuntal context, a core area of study at Kunitachi College of Music. The scenario describes a progression that, while seemingly conventional, contains a subtle harmonic ambiguity that requires careful analysis of voice leading and implied harmonic function. Consider the progression: A minor (i) to E major (V). In a typical minor key context, the dominant chord (E major) would strongly lead back to A minor. However, the question introduces a specific melodic line in the soprano voice: C♯ – D – E. When this melodic line is placed over an E major chord (E-G♯-B), the C♯ creates a potential dissonance. If we analyze the E major chord as a dominant (V) in A minor, the G♯ is the leading tone. The melodic progression C♯ – D – E over this chord needs to be evaluated for its harmonic implications and voice leading. Let’s consider the E major chord as the primary harmonic entity. The notes are E, G♯, and B. The soprano line is C♯, D, E. When the soprano sings C♯ over the E major chord, it forms a major seventh interval with the root E (C♯-E). This interval, while dissonant, can function in specific contexts, such as an appoggiatura or a passing tone. However, the question implies a more fundamental harmonic interpretation. The progression A minor to E major is a standard i-V in minor. The E major chord contains G♯, which functions as the leading tone to A. The soprano’s C♯, when heard against the E major chord, creates a complex harmonic color. Let’s re-examine the progression from a functional perspective, considering the implied harmonic movement. The E major chord is clearly functioning as a dominant. The soprano’s C♯, in relation to the E major chord (E-G♯-B), creates an interval of a major seventh (C♯-E). This C♯ is a semitone below the tonic of the implied resolution (A). However, the question is about the *harmonic interpretation* of the E major chord itself in this context, and how the melodic line interacts with it. The C♯ in the soprano, when the underlying harmony is E major, creates a chordal sonority that is not simply E major. It suggests an E major chord with an added seventh (D) and a ninth (F♯), or more specifically, an E7 chord with an altered ninth. However, the question is focused on the *function* of the E major chord and the soprano’s role. The crucial point is the relationship of the C♯ to the E major chord. If we consider the E major chord as V in A minor, the G♯ is the leading tone. The soprano’s C♯ is a semitone below the tonic A. When C♯ is sung over E major, it creates a dissonant interval. Let’s consider the possibility of an E7 chord. An E7 chord is E-G♯-B-D. The soprano’s C♯ is a semitone above the D. This C♯, in relation to the E major chord (E-G♯-B), creates a major seventh (C♯-E). This is a dissonant interval. The question asks about the most appropriate harmonic interpretation of the E major chord in this context, given the soprano’s melodic line. The C♯ in the soprano, when the underlying harmony is E major, creates a sonority that implies a dominant seventh chord with an altered ninth. Specifically, the E major chord (E-G♯-B) combined with the soprano’s C♯ suggests an E7 chord (E-G♯-B-D) where the C♯ is a chromatic alteration. The C♯ is a semitone below the tonic A, and it is also a major seventh above the root of the dominant chord (E). The most accurate harmonic interpretation of the E major chord in this specific melodic context, considering the C♯ in the soprano, is that it functions as a dominant seventh chord with an altered ninth. The E major chord (E-G♯-B) combined with the C♯ in the soprano creates a sonority that strongly implies an E7 chord (E-G♯-B-D) where the C♯ is functioning as a chromatic passing tone or an appoggiatura leading to the D, or more directly, as an altered ninth (F) in a hypothetical E9 chord, but the question focuses on the E major chord itself. The C♯ is a semitone below the tonic A, and its presence over the E major chord creates a tension that is characteristic of a dominant seventh chord with an altered ninth, or a chord that is preparing a resolution to A minor. The G♯ in the E major chord is the leading tone to A. The C♯, being a semitone below A, also contributes to this leading tendency. Therefore, the E major chord, in conjunction with the soprano’s C♯, functions as a dominant chord that is enriched with chromaticism, specifically hinting at a dominant seventh with an altered ninth. The most fitting description for this enriched dominant function, given the options, is a dominant seventh chord with an altered ninth. The core concept being tested is the understanding of how melodic lines can color or alter the perceived harmonic function of underlying chords, particularly in the context of dominant preparation in minor keys. The C♯ in the soprano, when the harmony is E major, creates a dissonance that, when resolved or understood in context, points towards a more complex dominant function than a simple triad. The G♯ in the E major chord is the leading tone to A. The C♯ is a semitone below A. This C♯, when played over an E major chord, creates a major seventh interval with the root E. This interval, along with the G♯, strongly suggests a dominant seventh chord (E7: E-G♯-B-D). The C♯ is a semitone above the D, the seventh of the E7 chord. Therefore, the E major chord, in this specific melodic context, is best understood as implying a dominant seventh chord with an altered ninth. The C♯ functions as a chromatic neighbor to the D, or as an altered ninth. This enriches the dominant function, creating a stronger pull towards the tonic. This is a fundamental concept in advanced harmony and counterpoint, crucial for understanding sophisticated tonal progressions as taught at Kunitachi College of Music. Final Answer: The final answer is $\boxed{Dominant seventh chord with an altered ninth}$