What harmony is highlighted in the box?

Question

BlackTom AI · Accepted Answer

The sonority is A–C–E♭–G, which is a half‑diminished seventh built on scale degree 2 (iiø7), and the third (C) is in the bass — therefore iiø6/5.

1) Relevant concepts
- Key signature (two flats) fits G minor (relative minor of B♭ major); scale degrees in G minor: G(1) A(2) B♭(3) C(4) D(5) E♭(6) F(7).
- A half‑diminished seventh chord (ø7) is built as root–minor third–diminished fifth–minor seventh.
- Seventh‑chord inversions: 6/5 indicates the third of the seventh chord is in the bass.

2) Identification of the pitches (step‑by‑step)
- Inspect the boxed vertical sonority: the four chord tones read A (upper), C (in the bass of the sonority), E♭, and G.
- Map these to G minor scale degrees: A = 2 (supertonic), C = 4, E♭ = 6, G = 1 (tonic). But taken as a chord with root A they spell A–C (minor 3rd), A–E♭ (diminished 5th), A–G (minor 7th).

3) Interval and quality check (intermediate steps)
- A → C = minor third
- A → E♭ = diminished fifth (tritone)
- A → G = minor seventh
These intervals define a half‑diminished seventh (Aø7).

4) Inversion analysis
- The bass note of the vertical sonority is C, which is the third of an A‑root chord. A seventh chord with its third in the bass is in the 6/5 inversion. Hence the correct figured label is iiø6/5 (supertonic half‑diminished seventh, 6/5 inversion).

5) Why the other options are incorrect
- iiø4/3 would have the fifth in the bass (4/3 inversion), but the bass here is the third (C), not the fifth.
- iv7 would be a seventh chord built on scale degree 4 (C–E♭–G–B♭) — the actual chord contains A and G, not B♭, so it is not iv7.
- iv°7 would be a fully diminished seventh on scale degree 4 (a diminished triad plus diminished 7th), which doesn’t match the A–C–E♭–G sonority (that is half‑diminished on A, not fully diminished on C).

Conclusion: the boxed harmony is iiø6⁵ (iiø6/5), matching the provided correct answer.

What harmony is highlighted in the box? 单项选择题

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