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Cesar Torruella

Cesar Torruella

Cesar Torruella

Cesar Torruella

In unit 5.1, we talked about how to use triads to develop the predominant section of a chord progression. Can we also use in the predominant section? Absolutely! 

Review of Predominant Triads

Before diving into , let’s first remind ourselves what the primary predominant chords are and how they are used in music. 

There are several different chords that can function as predominant chords, depending on the specific context and musical style. In tonal music, the ii chord (the minor chord built on the second scale degree of the key) and the (the major chord built on the fourth scale degree of the key) are often used as predominant chords.

Predominant harmonies (ii and IV) – and their minor keys equivalents- are so named because they LEAD to the dominant. Just like dominant chords have a strong tendency to resolve to the tonic, predominant chords have a strong tendency to move towards the dominant. It is also easy to move from tonic chords to predominant chords. 

That is, phrases that were just I-V-I can now become I-ii-V-I or I-IV-V-I. Think of the predominant section of a phrase as a preparation of the dominant. Its function is to expand the basic phrase going from T-D-T to T- PD- D- T. This type of phrase is more used than T-D-T.

You’ve probably heard this progression several times. If you have a piano or a keyboard near you, play a really quickly. Have you heard these harmonies before? Chances are, it sounds familiar! The is really common in both popular and classical music. 

Let’s talk about how to use the IV and the ii chords in chord progressions, and how to incorporate proper into and out of the predominant section. 

The Subdominant Triad (IV or iv) 

The subdominant chord (the in Major, and the in minor) is very commonly used as the first predominant chord in a chord progression. Why? Because it is a perfect fifth below the tonic, meaning that if you are moving down the circle of fifths, you will end up going from the tonic to the

Using the also makes it easy to move stepwise when moving from the tonic to the subdominant. Take, for example, a tonic chord in the key of F Major. The I chord will have the notes F-A-C. And, the will have the notes Bb-D-F. We retain the tonic note F, which allows us to still hang on to some of the tonic-centered sounds in the chord progression, but we also move away from the tonic section of the phrase. 

Let’s look at an example derived from one of the past AP Music Theory exams: 

https://firebasestorage.googleapis.com/v0/b/fiveable-92889.appspot.com/o/images%2FScreenshot%202023-01-09%201.23-NeyEdF7emfK3.png?alt=media&token=fe4eaf45-611f-4274-9cb0-22b068580ab4

Notice that the is inverted to a iv6 chord in first inversion. Let’s walk through a scenario in which the chord was in root position. This is perhaps more common than a subdominant chord in first inversion, especially if we were in Major key, because the root position emphasizes the predominant function of the

If we had left the in first inversion, then we would have to put the C in the bass. Since we don’t want to move from a perfect fifth to a perfect octave we would have to put an E in the tenor. It makes sense to leave the alto voice as a G, and let the soprano voice be a C so we can double the root.

The Supertonic Triad (ii or iio)

While IV chords are great as predominant chords, sometimes we just want to spice things up a little bit and add some more harmonic interest. It would be quite boring if all of the phrases in a piece were just I-IV-V-I or I-IV-vii-I phrases. Another great option for a chord with a predominant harmonic function is the supertonic chord, which is ii in Major and iio in minor.

 Just like the viio chord is a weaker substitute for the V chord in the dominant section of a phrase, the ii chord is a weaker substitute for the . It is sufficient to have only a ii chord in the predominant section, but the ii chord also often comes after the to expand the predominant section. If you have both a and a ii chord in the predominant section, always put the first! 

As a triad, ii chords in the predominant section are usually in first inversion (ii6 and iio6). In first inversion, the bass note will be the subdominant, which emphasizes the predominant function of the ii chord. If you want to emphasize the subdominant even more, you can also double the third in ii6 and iio6 chords. 

Voice Leading from the Predominant to the V7 Chord

As you are figuring out now, will help us most of the time, however, there are still rules we need to double-check when writing harmonies. When a predominant chord moves to a V⁷, the (the seventh of the chord) needs to be prepared by a . In order for that to happen, you must choose carefully which chord is appropriate while keeping in mind that a V⁷ chord has 4 notes. To avoid parallel 5ths, you must always go in and keep common tones when possible.

Using Seventh Chords in the Predominant Section

Why did we spend so much time reviewing predominant function triads in this section? Well, the short answer is that we can cross apply most of the things we know about to predominant

There are a few special cases we should talk about: 

Let’s start by covering the . Usually, we see the show up in root position (ii7) or in first inversion (ii 6/5). 

Here are examples of this being done in both Major and minor:

https://firebasestorage.googleapis.com/v0/b/fiveable-92889.appspot.com/o/images%2F-IMbFD7zZsIbl.png?alt=media&token=df4ef70d-a898-4d3f-b7b8-b2d114ebf41e

Examples (a) and (b) shows each pre-dominant seventh chord spelled completely with four notes each. Image from: The Muscicians Guide for Theory and Analysis. Third edition.

When we want a stronger predominant, we prefer using a first inversion supertonic chord, because the bass will be the fourth scale degree (the subdominant) which will help us transition into the dominant section. However, ii7 chords in root position also provide a strong predominant harmony, especially when the ii7 leads to a V7 in a harmonic chord progression. 

In other inversions, the might not have a predominant function at all. For example, the ii 4/2 chord is commonly used as a to expand the tonic area of a phrase. For example, you might have a I-ii 4/2-I chord progression, which retains the tonic as the bass note, but allows the upper notes to change slightly, creating some harmonic interest in the tonic section of a phrase. 

However, the ii 4/2 can be used as a predominant chord. You will probably see it in a I-ii 4/2-V 6/5-I chord progression if it is being used as a predominant chord. 

🦜 Polly wants a progress tracker: Can you write a I-ii 4/2-V 6/5=I chord progression in Ab Major using proper ? Remember to resolve correctly! 

We usually don’t see subdominant : it is a little rare to see a IV7 or a iv7 chord in music in the style of the Common Practice Period. However, if they do come up, they most likely will be in root position, and they are more common in minor than in Major. Here is an example;

https://firebasestorage.googleapis.com/v0/b/fiveable-92889.appspot.com/o/images%2F-xYHfHM4es4w8.png?alt=media&token=58d4cd43-2fb7-4db3-8e15-d6aced839f9b

Voice Leading with Predominant Seventh Chords 

In general, with in the predominant section is quite similar to with in other instances. Remember that in root position, it is okay to remove the fifth in . This is also true for predominant

If you do choose to remove the fifth in a , you should double the 3rd – just like in triads. The reason for this is that the third in a is the 4th scale degree, so doubling the third will give the chord a stronger subdominant sound. 

Remember to always resolve the down! In a , the will be the tonic. At first, you might think: why should I resolve the tonic down to the leading tone – shouldn’t be the other way around? While it is true that you should resolve the leading tone up, resolving the tonic down in this case is helpful when moving from a ii7 to a V or a V7 chord, since the leading tone is the 3rd in a dominant chord. Then, the leading tone will resolve back up when the dominant resolves to the tonic. This leaves beautiful stepwise motion in that voice 🙂

The one exception to resolving the down is when we write , which we will cover in Unit 5.6! Here, we will retain the for one more chord before resolving it down. 

Key Terms to Review (18)

Cadential 6/4 chords

: Cadential 6/4 chords are chord progressions commonly used in music to create a sense of resolution and finality. They typically occur at the end of a phrase or musical section.

Chordal Fifth

: The chordal fifth refers to the note that is a perfect fifth above the root of a chord. It is an important harmonic interval that helps define the quality and stability of a chord.

Chordal Seventh

: A chordal seventh refers to adding a seventh note above a triad, creating a four-note chord. This type of seventh can be major or minor depending on its distance from the root note.

Common Tone

: A common tone refers to a note that is shared between two different chords. It remains the same while other notes change.

Contrary motion

: Contrary motion refers to melodic lines or voices that move in opposite directions. When one line ascends, the other descends, creating a pleasing and balanced musical effect.

I-ii-V-I progression

: The I-ii-V-I progression is a common chord progression in music theory that consists of the tonic (I), supertonic (ii), dominant (V), and back to the tonic (I) chords. It is often used in various genres of music to create a sense of resolution and musical tension.

I-IV-V-I progression

: The I-IV-V-I progression is another common chord progression that follows a similar structure as the I-ii-V-I, but replaces the supertonic chord with subdominant (IV). This progression is widely used in many popular songs across different genres.

ii7 chord

: The ii7 chord is a four-note chord built on the second scale degree of a major or minor key. It consists of a root, a minor third, a perfect fifth, and a minor seventh.

iv chord

: The iv chord is a minor triad built on the fourth scale degree of a major key. It adds a touch of melancholy or tension to the music.

Pedal Tone

: A pedal tone is a sustained or repeated note, usually in the bass, while the harmonies above it change. It creates a sense of stability and can add tension or release depending on how it interacts with the changing harmonies.

Predominant Triads

: Predominant triads are chords that create a sense of tension and instability, preparing the listener for resolution to the tonic chord. They are typically used in the middle section of a musical phrase.

Seventh Chords

: Seventh chords are four-note chords consisting of a triad (three notes stacked in thirds) and an additional note called the seventh. They add richness and tension to music.

Subdominant Seventh Chord

: The subdominant seventh chord is a four-note chord built on the fourth scale degree of a major or minor key. It consists of a root, a major or minor third, a perfect fifth, and a minor seventh.

Supertonic Seventh Chord

: The supertonic seventh chord is built on the second scale degree and consists of four notes arranged in thirds - root, major third, perfect fifth, and minor seventh.

Tendency Tones

: Tendency tones are specific notes within a musical phrase that have a natural inclination to resolve to another pitch. They create tension and resolution, adding emotional depth to music.

Tonicization

: Tonicization refers to temporarily emphasizing or treating another scale degree as the tonic within a piece of music, creating tension and leading to eventual resolution back to the original key.

V⁷ Chord (Dominant Seventh Chord)

: The V⁷ chord, also known as the dominant seventh chord, is a four-note chord consisting of a major triad with an added minor seventh above its root. It has a strong tendency to resolve to the tonic chord.

Voice Leading

: Voice leading refers to how individual melodic lines (voices) move from one chord to another, creating smooth and coherent musical transitions.
Cesar Torruella

Cesar Torruella

Cesar Torruella

Cesar Torruella

In unit 5.1, we talked about how to use triads to develop the predominant section of a chord progression. Can we also use in the predominant section? Absolutely! 

Review of Predominant Triads

Before diving into , let’s first remind ourselves what the primary predominant chords are and how they are used in music. 

There are several different chords that can function as predominant chords, depending on the specific context and musical style. In tonal music, the ii chord (the minor chord built on the second scale degree of the key) and the (the major chord built on the fourth scale degree of the key) are often used as predominant chords.

Predominant harmonies (ii and IV) – and their minor keys equivalents- are so named because they LEAD to the dominant. Just like dominant chords have a strong tendency to resolve to the tonic, predominant chords have a strong tendency to move towards the dominant. It is also easy to move from tonic chords to predominant chords. 

That is, phrases that were just I-V-I can now become I-ii-V-I or I-IV-V-I. Think of the predominant section of a phrase as a preparation of the dominant. Its function is to expand the basic phrase going from T-D-T to T- PD- D- T. This type of phrase is more used than T-D-T.

You’ve probably heard this progression several times. If you have a piano or a keyboard near you, play a really quickly. Have you heard these harmonies before? Chances are, it sounds familiar! The is really common in both popular and classical music. 

Let’s talk about how to use the IV and the ii chords in chord progressions, and how to incorporate proper into and out of the predominant section. 

The Subdominant Triad (IV or iv) 

The subdominant chord (the in Major, and the in minor) is very commonly used as the first predominant chord in a chord progression. Why? Because it is a perfect fifth below the tonic, meaning that if you are moving down the circle of fifths, you will end up going from the tonic to the

Using the also makes it easy to move stepwise when moving from the tonic to the subdominant. Take, for example, a tonic chord in the key of F Major. The I chord will have the notes F-A-C. And, the will have the notes Bb-D-F. We retain the tonic note F, which allows us to still hang on to some of the tonic-centered sounds in the chord progression, but we also move away from the tonic section of the phrase. 

Let’s look at an example derived from one of the past AP Music Theory exams: 

https://firebasestorage.googleapis.com/v0/b/fiveable-92889.appspot.com/o/images%2FScreenshot%202023-01-09%201.23-NeyEdF7emfK3.png?alt=media&token=fe4eaf45-611f-4274-9cb0-22b068580ab4

Notice that the is inverted to a iv6 chord in first inversion. Let’s walk through a scenario in which the chord was in root position. This is perhaps more common than a subdominant chord in first inversion, especially if we were in Major key, because the root position emphasizes the predominant function of the

If we had left the in first inversion, then we would have to put the C in the bass. Since we don’t want to move from a perfect fifth to a perfect octave we would have to put an E in the tenor. It makes sense to leave the alto voice as a G, and let the soprano voice be a C so we can double the root.

The Supertonic Triad (ii or iio)

While IV chords are great as predominant chords, sometimes we just want to spice things up a little bit and add some more harmonic interest. It would be quite boring if all of the phrases in a piece were just I-IV-V-I or I-IV-vii-I phrases. Another great option for a chord with a predominant harmonic function is the supertonic chord, which is ii in Major and iio in minor.

 Just like the viio chord is a weaker substitute for the V chord in the dominant section of a phrase, the ii chord is a weaker substitute for the . It is sufficient to have only a ii chord in the predominant section, but the ii chord also often comes after the to expand the predominant section. If you have both a and a ii chord in the predominant section, always put the first! 

As a triad, ii chords in the predominant section are usually in first inversion (ii6 and iio6). In first inversion, the bass note will be the subdominant, which emphasizes the predominant function of the ii chord. If you want to emphasize the subdominant even more, you can also double the third in ii6 and iio6 chords. 

Voice Leading from the Predominant to the V7 Chord

As you are figuring out now, will help us most of the time, however, there are still rules we need to double-check when writing harmonies. When a predominant chord moves to a V⁷, the (the seventh of the chord) needs to be prepared by a . In order for that to happen, you must choose carefully which chord is appropriate while keeping in mind that a V⁷ chord has 4 notes. To avoid parallel 5ths, you must always go in and keep common tones when possible.

Using Seventh Chords in the Predominant Section

Why did we spend so much time reviewing predominant function triads in this section? Well, the short answer is that we can cross apply most of the things we know about to predominant

There are a few special cases we should talk about: 

Let’s start by covering the . Usually, we see the show up in root position (ii7) or in first inversion (ii 6/5). 

Here are examples of this being done in both Major and minor:

https://firebasestorage.googleapis.com/v0/b/fiveable-92889.appspot.com/o/images%2F-IMbFD7zZsIbl.png?alt=media&token=df4ef70d-a898-4d3f-b7b8-b2d114ebf41e

Examples (a) and (b) shows each pre-dominant seventh chord spelled completely with four notes each. Image from: The Muscicians Guide for Theory and Analysis. Third edition.

When we want a stronger predominant, we prefer using a first inversion supertonic chord, because the bass will be the fourth scale degree (the subdominant) which will help us transition into the dominant section. However, ii7 chords in root position also provide a strong predominant harmony, especially when the ii7 leads to a V7 in a harmonic chord progression. 

In other inversions, the might not have a predominant function at all. For example, the ii 4/2 chord is commonly used as a to expand the tonic area of a phrase. For example, you might have a I-ii 4/2-I chord progression, which retains the tonic as the bass note, but allows the upper notes to change slightly, creating some harmonic interest in the tonic section of a phrase. 

However, the ii 4/2 can be used as a predominant chord. You will probably see it in a I-ii 4/2-V 6/5-I chord progression if it is being used as a predominant chord. 

🦜 Polly wants a progress tracker: Can you write a I-ii 4/2-V 6/5=I chord progression in Ab Major using proper ? Remember to resolve correctly! 

We usually don’t see subdominant : it is a little rare to see a IV7 or a iv7 chord in music in the style of the Common Practice Period. However, if they do come up, they most likely will be in root position, and they are more common in minor than in Major. Here is an example;

https://firebasestorage.googleapis.com/v0/b/fiveable-92889.appspot.com/o/images%2F-xYHfHM4es4w8.png?alt=media&token=58d4cd43-2fb7-4db3-8e15-d6aced839f9b

Voice Leading with Predominant Seventh Chords 

In general, with in the predominant section is quite similar to with in other instances. Remember that in root position, it is okay to remove the fifth in . This is also true for predominant

If you do choose to remove the fifth in a , you should double the 3rd – just like in triads. The reason for this is that the third in a is the 4th scale degree, so doubling the third will give the chord a stronger subdominant sound. 

Remember to always resolve the down! In a , the will be the tonic. At first, you might think: why should I resolve the tonic down to the leading tone – shouldn’t be the other way around? While it is true that you should resolve the leading tone up, resolving the tonic down in this case is helpful when moving from a ii7 to a V or a V7 chord, since the leading tone is the 3rd in a dominant chord. Then, the leading tone will resolve back up when the dominant resolves to the tonic. This leaves beautiful stepwise motion in that voice 🙂

The one exception to resolving the down is when we write , which we will cover in Unit 5.6! Here, we will retain the for one more chord before resolving it down. 

Key Terms to Review (18)

Cadential 6/4 chords

: Cadential 6/4 chords are chord progressions commonly used in music to create a sense of resolution and finality. They typically occur at the end of a phrase or musical section.

Chordal Fifth

: The chordal fifth refers to the note that is a perfect fifth above the root of a chord. It is an important harmonic interval that helps define the quality and stability of a chord.

Chordal Seventh

: A chordal seventh refers to adding a seventh note above a triad, creating a four-note chord. This type of seventh can be major or minor depending on its distance from the root note.

Common Tone

: A common tone refers to a note that is shared between two different chords. It remains the same while other notes change.

Contrary motion

: Contrary motion refers to melodic lines or voices that move in opposite directions. When one line ascends, the other descends, creating a pleasing and balanced musical effect.

I-ii-V-I progression

: The I-ii-V-I progression is a common chord progression in music theory that consists of the tonic (I), supertonic (ii), dominant (V), and back to the tonic (I) chords. It is often used in various genres of music to create a sense of resolution and musical tension.

I-IV-V-I progression

: The I-IV-V-I progression is another common chord progression that follows a similar structure as the I-ii-V-I, but replaces the supertonic chord with subdominant (IV). This progression is widely used in many popular songs across different genres.

ii7 chord

: The ii7 chord is a four-note chord built on the second scale degree of a major or minor key. It consists of a root, a minor third, a perfect fifth, and a minor seventh.

iv chord

: The iv chord is a minor triad built on the fourth scale degree of a major key. It adds a touch of melancholy or tension to the music.

Pedal Tone

: A pedal tone is a sustained or repeated note, usually in the bass, while the harmonies above it change. It creates a sense of stability and can add tension or release depending on how it interacts with the changing harmonies.

Predominant Triads

: Predominant triads are chords that create a sense of tension and instability, preparing the listener for resolution to the tonic chord. They are typically used in the middle section of a musical phrase.

Seventh Chords

: Seventh chords are four-note chords consisting of a triad (three notes stacked in thirds) and an additional note called the seventh. They add richness and tension to music.

Subdominant Seventh Chord

: The subdominant seventh chord is a four-note chord built on the fourth scale degree of a major or minor key. It consists of a root, a major or minor third, a perfect fifth, and a minor seventh.

Supertonic Seventh Chord

: The supertonic seventh chord is built on the second scale degree and consists of four notes arranged in thirds - root, major third, perfect fifth, and minor seventh.

Tendency Tones

: Tendency tones are specific notes within a musical phrase that have a natural inclination to resolve to another pitch. They create tension and resolution, adding emotional depth to music.

Tonicization

: Tonicization refers to temporarily emphasizing or treating another scale degree as the tonic within a piece of music, creating tension and leading to eventual resolution back to the original key.

V⁷ Chord (Dominant Seventh Chord)

: The V⁷ chord, also known as the dominant seventh chord, is a four-note chord consisting of a major triad with an added minor seventh above its root. It has a strong tendency to resolve to the tonic chord.

Voice Leading

: Voice leading refers to how individual melodic lines (voices) move from one chord to another, creating smooth and coherent musical transitions.


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AP® and SAT® are trademarks registered by the College Board, which is not affiliated with, and does not endorse this website.


© 2024 Fiveable Inc. All rights reserved.

AP® and SAT® are trademarks registered by the College Board, which is not affiliated with, and does not endorse this website.