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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 tonic (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.
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 tonic (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.
