Chapter 7 - Harmonic Organization 3: Functions and Cadences

Chord Function

  • Function - The placement of the chord within the key.
  • The most active tones have the most musical energy to move to resolve.
    • The two most active scale degrees (4 and 7) resolve to the most stable scale degrees (1 and 3).
  • Tendency tones - Tones that have the tendency to resolve by half step.
    • ^^Ex. →^^ The most active tones have half relationships to the most stable ones.
  • Resolution tones - The notes to which the active tones move.
  • The amount of tension within the chord is determined by the stability or activity of the chord members.
  • Families according to functions:
    • Tonic - I i and vi VI
    • Subdominant (Predominant) - IV iv and ii ii°
    • Dominant - V and vii°
  • The tonic family chords are the most stable.
  • Dominant family chords are the most active and move music forward with energy to resolve.
  • The subdominant family is considered as transition chords. Their job is to connect stable and active chords.
  • Function is altered when a seventh is added because it creates more tension and need to resolve.

Cadences

  • Cadence - The harmonic, melodic, and rhythmic conclusion to a phrase. It helps to establish the tonal center.
    • They end with only three chords: I (i), vi (VI), or V (v).
  • Authentic cadence - The most common phrase-ending chord progression that uses the dominant chord to set up the tension and the tonic for the release.
  • ^^Ex. →^^ The V-I chord progression, where the dominant chord (V) resolves to the tonic chord (I). In the key of C major, this would be the G7 chord resolving to the C chord.
    • Perfect Authentic (PAC) - Concluding cadence that requires both dominant and tonic chords to be in root position.
    • Authentic refers to the harmonic process of V-I.
    • The tonic chord must double the root of the chord in the soprano.
    • ^^Ex. →^^ In the key of C major, it would be the chord progression G7-C. The G7 chord is the dominant chord in the key of C major, and the C chord is the tonic chord.
    • Imperfect Authentic (IAC) - Weaker authentic cadence that has either chord inverted, or has a chord member other than the root in the soprano of the tonic chord.
    • ^^Ex. →^^ V6-I, where the V chord is in first inversion.
  • Plagal Cadence (PC) - Weaker progression using the subdominant to tonic to provide the resting point.
    • Often called “Amen cadence”.
    • ^^Ex. →^^ The IV-I progression, where the subdominant chord (IV) resolves to the tonic chord (I).
  • Deceptive cadence (DC) - Ending progression where the dominant chord is unexpectedly resolved to the submediant instead of the tonic.
    • ^^Ex. →^^ The "V-vi" progression in a major key, where the dominant chord (V) resolves to the relative minor (vi) instead of the expected tonic (I) chord.
  • Half Cadence (HC) - Unresolved tension used especially in the middle of a melody.
    • Ends on the dominant.
    • ^^Ex. →^^ A phrase ending on a V chord, such as a G chord in the key of C major.
  • Phrygian Half Cadence (PHC) - Occurs in a harmonic minor. The dominant chord is preceded by the minor subdominant in first inversion and the descending bass line is approached from above by a half step.
    • ^^Ex. →^^ Found in the song "Greensleeves" where the phrase "Alas, my love, you do me wrong" ends with the chords Em-G-Am.

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