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.