ABSTRACT
This chapter is entirely committed to harmonic dictation including listening for the 2-3 (bass), 4-3, 7-6, and 9-8 suspensions as well as the 2-3 and 7-8 retardations. The simplest way to prolong a single harmony is arpeggiation. A harmony can be prolonged by placing the V 6/4 between two tonics. This is the function of the passing six-four chord. The arpeggiating six-four is a single harmony that moves to its second inversion from root position and/or first inversion, sometimes in a complete arpeggiation in the bass. As in any third inversion harmony, the dominant in third inversion yields the 7th of the chord in the lowest voice (the bass). The chapter provides an example that illustrates how the bottom voice in the V 4/2 is approached by leap, the same note, or approached and left as a passing 7th.
