Harmony

OCR

GCSE

Candidates must demonstrate command over functional tonality, distinguishing between diatonic stability and chromatic tension within the Western Classical Tradition. Mastery requires the accurate application of Roman numeral analysis to identify chord functions, inversions, and cadential points, alongside the practical execution of SATB part-writing rules. Examiners expect precise terminology when describing modulations and the structural role of harmony in defining musical form, moving beyond simple chord labelling to an understanding of harmonic syntax.

Objectives

Exam Tips

Pitfalls

Key Terms

Mark Points

Subtopics in this area

Harmony

What You Need to Demonstrate

Key skills and knowledge for this topic

Credit accurate identification of cadences (Perfect, Plagal, Imperfect, Interrupted) specifically linking the aural effect to the technical name.
Award marks for precise recognition of harmonic devices such as pedal notes (tonic/dominant), drones, and ostinato patterns in listening excerpts.
In composition (AO2), credit the use of extended chords (7ths, sus4) and smooth voice leading that avoids parallel 5ths and 8ves.
Assess the ability to identify modulation relationships, specifically distinguishing between the Dominant and Relative Major/Minor keys.
Award marks for the correct identification of cadence types (Perfect, Plagal, Imperfect, Interrupted) based on aural evidence, specifically noting bass line movement.
Credit responses that distinguish between diatonic and chromatic harmony, specifically identifying devices such as diminished sevenths or Neapolitan chords in relevant Areas of Study.
In composition (AO2), marks are awarded for the handling of harmonic progression; credit smooth voice leading and appropriate use of inversions over root position block chords.
For comparative questions, candidates must link harmonic choices (e.g., static harmony vs. rapid harmonic rhythm) to the specific genre or dramatic intent of the extract.

Marking Points

Key points examiners look for in your answers

Credit accurate identification of cadences (Perfect, Plagal, Imperfect, Interrupted) specifically linking the aural effect to the technical name.
Award marks for precise recognition of harmonic devices such as pedal notes (tonic/dominant), drones, and ostinato patterns in listening excerpts.
In composition (AO2), credit the use of extended chords (7ths, sus4) and smooth voice leading that avoids parallel 5ths and 8ves.
Assess the ability to identify modulation relationships, specifically distinguishing between the Dominant and Relative Major/Minor keys.
Award marks for the correct identification of cadence types (Perfect, Plagal, Imperfect, Interrupted) based on aural evidence, specifically noting bass line movement.
Credit responses that distinguish between diatonic and chromatic harmony, specifically identifying devices such as diminished sevenths or Neapolitan chords in relevant Areas of Study.
In composition (AO2), marks are awarded for the handling of harmonic progression; credit smooth voice leading and appropriate use of inversions over root position block chords.
For comparative questions, candidates must link harmonic choices (e.g., static harmony vs. rapid harmonic rhythm) to the specific genre or dramatic intent of the extract.

Examiner Tips

Expert advice for maximising your marks

💡When identifying cadences, isolate the bass line; a leap of a 4th or 5th usually indicates Perfect or Plagal, while step-wise motion suggests Imperfect or Interrupted.
💡Memorise the sound of the Dominant 7th (V7) chord; it is the primary signifier of an approaching Perfect cadence or modulation to the dominant.
💡In the listening exam, if asked to describe harmony, always check if the excerpt is diatonic or chromatic first, then look for specific devices like pedals.
💡When identifying cadences, focus exclusively on the bass line for the final two chords; a leap of a 5th down or 4th up strongly suggests a Perfect or Plagal cadence.
💡Use Roman numeral analysis (e.g., Ib - V7 - I) in composition planning to ensure functional progressions before elaborating textures.
💡In Film Music (AoS 4), listen for non-functional harmony or whole-tone scales and link these explicitly to the creation of tension or ambiguity.

Common Mistakes

Pitfalls to avoid in your exam answers

Confusing the sound of Plagal and Perfect cadences due to a failure to track the bass line movement (IV-I vs V-I).
Describing harmony using non-technical emotive language (e.g., 'scary' or 'happy') instead of 'dissonant', 'chromatic', 'major', or 'minor'.
In composition, writing chord progressions that lack harmonic direction or resolution, often resulting in aimless wandering rather than established tonality.
Confusing 'Imperfect' and 'Interrupted' cadences due to a failure to listen to the resolution chord (V vs. vi).
Describing harmony using non-technical descriptors like 'clashing' or 'dark' instead of 'dissonant', 'atonal', or 'minor'.
In composition, failing to resolve dominant seventh chords correctly, leading to stylistic inconsistencies in Western Classical tradition tasks.

Study Guide Available

Comprehensive revision notes & examples

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Key Terminology

Essential terms to know

Functional Tonality and Cadential Progressions

Voice Leading and Part-Writing Conventions (SATB)

Chromaticism, Dissonance, and Resolution

Modulation and Tonal Structure

Functional Tonality and Cadential Progressions

Chromaticism, Dissonance, and Extended Chords

Voice Leading and Part-Writing Conventions

Modulation and Tonal Structure

Likely Command Words

How questions on this topic are typically asked

Identify

Describe

Compare

Suggest

Analyse

Compose

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