AP Music Theory Unit 5 Harmony and Voice Leading II

Unit Five: Harmony and Voice Leading II: Chord Progressions and Predominant Function Lesson One: Adding Predominant Function IV (iv) and ii (ii*) to a Melodic Phrase ● Tonic Function (abbreviated “ton.”): The II chord has tonic function, which is a state of stability and rest. Tonic chords do not demand progression to other chords ● Dominant function (abbreviated “dom.”): The VV and vii∘ (chords containing the leading tone ^77^ and supertonic ^22^) tend to progress to tonic (II). Special note: The I/5thI/5th chord has dominant function when it resolves to the VV chord. ● Pre-dominant function (abbreviated “pre-dom.”): The IVIV and ii (chords containing the subdominant ^44^ and submediant ^66^) tend to progress to chords of dominant function. ● Tonic prolongation function (abbreviated “ton. prol.”): The vi and iii (chords that share two common tones with ^11^ –^33^ –^55^ from the tonic triad) tend to occur after the tonic chord and progress to chords of pre-dominant function. Lesson Two: The vi (VI) Chord ● The submediant chord functions as a weak pre-dominant. Its most typical role is leading from the tonic to a strong pre-dominant (such as IV or ii). The common tones between the submediant and all of these chords allow for smooth and easy voice-leading. Lesson Three: Predominant Seventh Chords ● A Predominant seventh chord in any chord that resolves to a seventh. They drive resolution back to the tonic due to lack of stability. Lesson Four: The iii (III) Chord ● The strongest way to get to the iii chord is a circle progression from the vii* Lesson Five: Cadences and Predominant Functions ● Tonic function: represented by consonant triad on scale degree 1. doesn't need to resolve or go anywhere, complete ● Dominant function: represented by either the dominant triad or the dominant 7th. always needs to resolve to the tonic (3rd is LT) ● Cadences: Perfect authentic cadence, imperfect authentic cadence, half cadence ● Authentic cadences: dom (maybe 7) to tonic, all root position ● Perfect authentic cadence (PAC): dom (maybe 7) to tonic, all root position, stepwise motion in sop to scale degree 1 ● Imperfect authentic cadence (IAC): dom (maybe 7) to tonic, all root position, no stepwise to tonic in sop (can do whatever) ● Half cadence (HC): whatever chord to a dom triad, sounds weird because there is LT Lesson Six: Cadential 6/4 Chords ● The cadential 6/4 is an expansion of the dominant area of a phrase, as its name implies that has a function at the cadence. It is a chord that precedes the dominant harmony and resolves to it. The notes of the chord are a second inversion tonic triad. Lesson Seven: Other 6/4 Chords ● The Passing six-four: This type of 6/4 chord is used much like the non-chord tone called a passing tone. The bass note of this six-four chord behaves just like a passing tone - in other words, this bass note, the note before it, and the note after it will make a three notes stepwise line, either ascending or descending. ● The Pedal or Neighboring six-four: In this type of 6/4 chord, the bass note sustains like a pedal tone, or conversely you might say that two of the upper voices behave like neighbor tones. With a pedal six-four, the bass stays on the same note for three chords in a row the six-four chord is the middle chord of the three. The bass note is doubled in all three chords. ● Arpeggiated six-four chords: These are chords where the bass is arpeggiating the SAME triad. Since there is no change of chord here, there is no worry about approach or resolution, and leaps are fine. The notes are just moved around on the same chord, and at a certain point, the fifth of the chord might occur in the bass, making a 6/4 chord. This type of 6/4 chord can be used without the above restrictions on leaps or doubling, since it is the same chord throughout.