Unit 5: Harmony and Voice Leading II: Chord Progressions and Predominant Function

Adding Predominant Function IV (iv) and ii (ii0) to a Melodic Phrase

Predominant Function

Predominant function - A chord or group of chords that lead to the dominant chord in a musical composition. * It is also known as the "pre-dominant" function because it prepares the listener for the dominant chord.
The predominant function is achieved through the $use of chords that are harmonically related to the dominant chord,$ such as the subdominant and supertonic chords.

Subdominant Chord

Subdominant chord - The chord built on the fourth scale degree of a major or minor key. * In a major key, the subdominant chord is usually a $major chord,$ while in a minor key, it is usually a $minor chord.$
It is often used to create tension and release in a composition.
It is also commonly used in chord progressions that lead to the dominant chord, such as the ii-V-I progression.

Supertonic Chord

Supertonic chord - The chord built on the second scale degree of a major or minor key. * In a major key, the supertonic chord is usually a $minor chord,$ while in a minor key, it is usually a $diminished chord.$
Used in chord progressions that lead to the dominant chord, such as the ii-V-I progression.
It can also be used to create $tension$ and release in a composition, especially when it is used in combination with the subdominant chord.

Voice Leading from the Predominant to the V7 Chord

Predominant chords - Chords that typically come before the dominant chord in a progression. They include chords such as ii, IV, and ii6.
When moving from a predominant chord to a V7 chord, there are a few guidelines to follow for good voice leading: * The leading tone (7th scale degree) should resolve up to the t $onic (1st scale degree)$ of the V7 chord. * The 5th of the predominant chord should $move down to the 3rd$ of the V7 chord. * The other voices (3rd and root) can move to the $nearest chord tone$ of the V7 chord.
<<Example:<< * ii6 (F A D) to V7 (G B D F) * A resolves up to B * D moves down to B * F can stay the same or move down to E

The vi (VI) Chord

Submediant as a Tonic Expansion and Weak Predominant Chord

Submediant - The sixth degree of the scale. * It can be used as a tonic expansion, meaning it can be used to prolong the tonic chord by using the submediant chord (vi) as a substitute for the tonic chord (I). * This creates a sense of $stability$ and prolongs the tonic harmony.
Submediant can also be used as a weak predominant chord meaning it can be used to lead to the dominant chord (V).
The submediant chord (vi) can be followed by the dominant chord (V) to create a sense of $tension and resolution.$

Deceptive Cadences

Deceptive cadence - A chord progression that creates a sense of resolution but ends on a chord other than the expected tonic chord.
Most common deceptive cadence - V-vi progression.
This creates a sense of $surprise$ and can be used to create a sense of tension and release in music.

Contextual Analysis

Contextual analysis - The process of analyzing a piece of music in its entirety, taking into account its historical, cultural, and social context. * This involves analyzing the melody, harmony, rhythm, and form of the music, as well as the lyrics (if applicable).

Predominant Seventh Chords

Subdominant Triad

Subdominant triad - Built on the fourth scale degree of a major scale.
Used as a chord of $tension and release$ , leading to the dominant chord. * In the key of C major, the subdominant triad is an F major chord (F-A-C).

Supertonic Triad

Supertonic triad - Built on the second scale degree of a major scale. * Used as a chord of resolution, leading to the tonic chord. * It can also be used in minor keys, where it is built on the raised second scale degree (e.g. E-F#-G# in A minor).
In the key of C major, the supertonic triad is a D minor chord (D-F-A).

The iii (III) Chord

The Mediant

Mediant - The third degree of a diatonic scale.
Located halfway between the tonic and dominant degrees.
In a $major scale,$ the mediant is a $minor third above the tonic$ , while in a $minor scale$ , it is a $major third above the tonic.$

Mediant as a Weak Predominant

When it functions as a weak predominant chord, it can $lead to the dominant or subdominant chords.$ * In this role, the mediant chord is used in a deceptive cadence, where it is substituted for the expected dominant chord.

Mediant as a Dominant Chord

In some cases, it can also function as a dominant chord.
This is common in minor keys, where the mediant chord is often used to lead to the subdominant or tonic chords. * Here, the mediant chord is often used in a minor plagal cadence, where it is substituted for the expected subdominant chord.

Mediant in Minor Keys

In minor keys, the mediant chord is often used to $create a sense of harmonic ambiguity$ because the mediant chord can be either major or minor, depending on whether the scale is natural or harmonic minor. * In natural minor, it is minor. * In harmonic minor, it is major. * This ambiguity can be used to create $tension$ and interest in the music.
Modulation - The process of moving from one tonal center to another, with or without changing the key signature. * Usually occurs to closely related keys because they have common chords between them. * Occurs within a phrase by using a chord common to both the old and new key or by changing tonal centers directly as a new phrase or section begins.
Tonicization - When we have a region of a new key or experience a temporary sense of a new tonic by the occurrence of one or two non-diatonic chords.
$The difference between modulation and tonicization$ is the occurrence of a convincing cadence and significant time in the new key.
Common modulations: * From major to relative minor (the submediant) is one of the most common ones. * Modulation to the dominant * Modulation to the subdominant * Modulation from major to parallel minor

Cadential 6/4 Chords

6/4 Chord Function

6/4 chord - A chord that has its fifth replaced with a fourth, resulting in the intervals of a root, fourth, and sixth. It is also known as an $"inverted triad" or "second inversion triad".$
The 6/4 chord has several functions in music, including: * Pedal 6/4 chords - Used as a harmonic pedal point, where the bass note remains the same while the upper voices move around it. * Passing 6/4 chords - Used to connect two chords that are a third apart, often in a stepwise motion. * Arpeggiating 6/4 chords - Used to create a broken chord effect, where the notes of the chord are played one at a time. * Cadential 6/4 chords - Used to create a sense of resolution and finality, often leading to a cadence.

Cadential 6/4 Chords

Cadential 6/4 chord - Functions as a dominant chord and resolves to a tonic chord. It is often used in $cadences$ .
The cadential 6/4 chord is typically used in the following way: * The chord is preceded by a dominant chord (V). * The bass note of the 6/4 chord is the same as the root of the dominant chord. * The upper voices move in contrary motion to the bass, resolving to the tonic chord (I).

Pedal 6/4 Chords

Pedal 6/4 chord - Functions as a harmonic pedal point. The bass note remains the same while the upper voices move around it. * Often used to create $tension$ and release, as the upper voices move away from and back to the pedal note.

Passing 6/4 Chords

Passing 6/4 chord - Used to connect two chords that are a third apart, often in a stepwise motion. * Used to create a smooth harmonic progression, as they provide a smooth transition between two chords.

Arpeggiating 6/4 Chords

Arpeggiating 6/4 chord - Chord in which the notes are played one at a time in a specific order, rather than all at once. * Used to create a sense of tension or anticipation, and is commonly found in classical and baroque music.

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