How do I build, label and write chords and harmonic progressions, including cadences and figured-bass realisations, for the music literacy paper?
Construct, identify and notate triads, seventh chords, inversions, cadences and harmonic progressions using Roman numeral and figured-bass labelling
A focused answer to the WACE Year 12 Music literacy requirement on chords and harmonic progressions. Covers triad and seventh-chord construction, inversions, Roman numerals, figured bass, cadences and voice-leading conventions for harmony writing.
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What this dot point is asking
SCSA wants you to label what you hear and see, and to write idiomatic four-part harmony. This dot point is the engine room of the aural and theory paper, because harmonic analysis, dictation and chorale-style writing all draw on it.
Triads and seventh chords
A triad stacks two thirds above a root. The quality comes from those intervals:
- Major triad: major third plus minor third (for example C E G).
- Minor triad: minor third plus major third (C E flat G).
- Diminished triad: two minor thirds (C E flat G flat).
- Augmented triad: two major thirds (C E G sharp).
A seventh chord adds another third on top. The dominant seventh (a major triad plus a minor seventh, for example G B D F) is the most important, because it drives strongly to the tonic.
Inversions and labelling
The bass note determines the inversion. Root position has the root in the bass; first inversion has the third in the bass; second inversion has the fifth in the bass. For seventh chords there is also a third inversion with the seventh in the bass.
Two labelling systems run in parallel:
- Roman numerals show the chord's scale degree and function. Upper case is major (I, IV, V), lower case is minor (ii, iii, vi), and the diminished chord on the seventh degree is vii with a small circle.
- Figured bass shows intervals above the bass note. A root-position triad is 5/3 (usually unmarked), first inversion is 6, second inversion is 6/4. A dominant seventh in root position is 7, first inversion 6/5, second inversion 4/3, third inversion 4/2.
Cadences
A cadence is the harmonic punctuation at the end of a phrase. The four standard cadences are:
- Perfect (authentic): V to I, a strong full stop.
- Plagal: IV to I, the amen cadence.
- Imperfect (half): any chord to V, a comma that leaves the phrase open.
- Interrupted (deceptive): V to vi, a surprise that avoids the expected resolution.
Recognising cadences by ear is a common dictation and analysis task, so practise hearing the difference between a phrase that closes (perfect or plagal) and one that hangs (imperfect or interrupted).
Voice-leading conventions
When writing four-part (SATB) harmony, the marker rewards smooth, idiomatic part writing:
- Keep common tones in the same voice and move other parts by the smallest interval.
- Resolve the leading note up to the tonic in a perfect cadence, and resolve the seventh of a dominant seventh down by step.
- Avoid consecutive (parallel) fifths and octaves between any two voices.
- Keep voices within a comfortable range and avoid voice crossing.
Why this matters for the exam
Harmonic dictation asks you to notate a progression by ear; analysis asks you to label cadences and chords in a score; harmony writing asks you to complete a chorale. All three reward the same fluency. Build it by sight-reading progressions, singing bass lines, and writing the chords of a key from memory until Roman numerals come without counting.
Exam-style practice questions
Practice questions written in the style of SCSA exam questions on this dot point, with worked answer explainers. The year tag is the paper they imitate, not the source.
WACE 20228 marksFrom the printed four-part excerpt in G major, label the four boxed chords with Roman numerals including inversion, and name the cadence formed by the final two chords.Show worked answer →
Work each chord in two steps: stack the notes into thirds to find the root and quality, then read the bass note to find the inversion.
For one chord, suppose the notes are B, D and G with G in the bass. Stacked in thirds that is G B D, a G major triad, which is chord I in G major. The root G is in the bass, so root position: label it I.
Suppose the next boxed chord is C, E, A with C in the bass. Stacked it is A C E, an A minor triad, chord ii in G major, with the third (C) in the bass, so first inversion: ii6.
For the cadence, identify the last two chords by function. If they are D major (V) moving to G major (I), it is a perfect (authentic) cadence. State both the chords and the cadence name; a bare "perfect cadence" without the to labels earns fewer marks.
Markers want inversion figures correct: a 6 means first inversion (third in the bass), 6/4 means second inversion (fifth in the bass).
WACE 20216 marksRealise the given figured bass in four parts (SATB) for the progression and identify any one voice-leading rule you applied. The bass and figures are: G (no figure), C (6), D (7), G (no figure).Show worked answer →
Translate each figure to a chord, then voice it smoothly.
G with no figure is a root-position triad: G B D, chord I in G major. C with a 6 is a first-inversion triad whose bass is C, so the chord is A C E sounding as A minor, but more usually in G major a bass C with 6 gives the chord F sharp A C, a first-inversion of the chord built a third below; safest is to read it as the triad a sixth and third above C, namely C E A, an A minor triad in first inversion (ii6). D with a 7 is a dominant seventh: D F sharp A C, chord V7. G returns to I.
Voice-leading rule applied: resolve the chordal seventh down by step. The seventh of V7 is C, which must fall to B (the third of the tonic chord) in the next chord. Also resolve the leading note F sharp up to G.
Markers reward a named rule plus its correct application, and they penalise consecutive fifths or octaves between any pair of voices, so check adjacent chords.