In unit 5.1, we talked about how to use triads to develop the predominant section of a chord progression. Can we also use seventh chords in the predominant section? Absolutely!
Review of Predominant Triads
Before diving into seventh chords, 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 IV chord (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 I-IV-V-I progression really quickly. Have you heard these harmonies before? Chances are, it sounds familiar! The I-IV-V-I progression 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 voice leading into and out of the predominant section.
The Subdominant Triad (IV or iv)
The subdominant chord (the IV chord in Major, and the iv chord 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 IV chord.
Using the IV chord 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 IV chord 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:
Notice that the iv chord 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 IV chord.
If we had left the iv chord 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 IV chord. It is sufficient to have only a ii chord in the predominant section, but the ii chord also often comes after the IV chord to expand the predominant section. If you have both a IV chord and a ii chord in the predominant section, always put the IV chord 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, contrary motion 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 chordal seventh (the seventh of the chord) needs to be prepared by a common tone. 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 contrary motion 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 predominant triads to predominant seventh chords.
There are a few special cases we should talk about:
Let’s start by covering the supertonic seventh chord. Usually, we see the ii7 chord 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:
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 supertonic seventh chord might not have a predominant function at all. For example, the ii 4/2 chord is commonly used as a pedal tone 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 voice leading? Remember to resolve tendency tones correctly!
We usually don’t see subdominant seventh chords: 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;
Voice Leading with Predominant Seventh Chords
In general, voice leading with seventh chords in the predominant section is quite similar to voice leading with seventh chords in other instances. Remember that in root position, it is okay to remove the fifth in seventh chords. This is also true for predominant seventh chords.
If you do choose to remove the fifth in a ii7 chord, you should double the 3rd – just like in triads. The reason for this is that the third in a ii7 chord is the 4th scale degree, so doubling the third will give the chord a stronger subdominant sound.
Remember to always resolve the chordal seventh down! In a ii7 chord, the chordal seventh 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 chordal seventh down is when we write cadential 6/4 chords, which we will cover in Unit 5.6! Here, we will retain the chordal seventh for one more chord before resolving it down.
Frequently Asked Questions
What's the difference between a predominant seventh chord and a regular predominant triad?
A predominant seventh chord and a regular predominant triad perform the same harmonic role (they lead away from tonic toward dominant), but the difference is the extra chordal seventh. That seventh creates a dissonance that must be prepared and resolve by downward step (CED: PIT-4.A.13). Practically, ii7 or IV7 → V (or → cadential 6/4) adds voice-leading requirements: you must resolve the 7th down, avoid doubling the 7th or leading-tone incorrectly, and consider common-tone retention (the seventh can be held in the same voice before stepping down in some progressions, e.g., ii7 → cadential 6/4). Triads don’t require that specific dissonance resolution, so they’re simpler to double/voice-lead. On the exam you may be asked to ID seventh chords and show correct part-writing (realize/resolution rules matter). Review Topic 5.3 on Fiveable (study guide: https://library.fiveable.me/music-theory/unit-5/predominant-seventh-chords/study-guide/HtMsIFkpBnOwGkqOvqlQ), the whole Unit 5 overview (https://library.fiveable.me/music-theory/unit-5), and try practice problems (https://library.fiveable.me/practice/music-theory).
How do I identify predominant seventh chords when I'm analyzing a Bach chorale?
Scan for chords whose function is subdominant/predominant (ii, IV) and see if they have a seventh above the root (ii7, IV7). In a Bach chorale you’ll often find ii7 (or iiø7 in minor) or IV7 preparing V or a cadential 6/4. Steps to ID quickly: - Label the chord tones and inversion (root position seventh = 7th chord; check bass). - Check function: does it move to V or cadential 6/4? That suggests predominant function (CED: PIT-4.A.13). - Verify voice-leading: the chordal seventh should resolve down a step (or be retained briefly then resolve down), and the leading tone/third resolve correctly into V or I (watch soprano leading-tone behavior). - Look for common-tone retention or contrary motion into the next chord—typical 18th-century part-writing. On the exam you’ll need to show this in score analysis and part-writing. For more examples and practice, see the Topic 5.3 study guide (https://library.fiveable.me/music-theory/unit-5/predominant-seventh-chords/study-guide/HtMsIFkpBnOwGkqOvqlQ), the unit overview (https://library.fiveable.me/music-theory/unit-5), and 1,000+ practice problems (https://library.fiveable.me/practice/music-theory).
I'm confused about voice leading - does the seventh in a predominant chord always have to go down by step?
Short answer: usually, yes—the chordal seventh of a predominant seventh chord should resolve down by step. The CED spells this out: “As with most seventh chords, the chordal seventh should resolve by a descending step” (PIT-4.A.13). Two important qualifiers to remember for AP part-writing: (1) you may keep the seventh in the same voice for one chord before it resolves down (common-tone retention)—for example ii7 can keep its seventh into a cadential 6/4 and then resolve down. (2) In exam scoring rules, unresolved or incorrectly resolved sevenths are voice-leading errors and cost points, so don’t leave the seventh hanging. For more examples and practice, see the Topic 5.3 study guide (https://library.fiveable.me/music-theory/unit-5/predominant-seventh-chords/study-guide/HtMsIFkpBnOwGkqOvqlQ) and the Unit 5 overview (https://library.fiveable.me/music-theory/unit-5). For extra drills, try the 1,000+ practice problems (https://library.fiveable.me/practice/music-theory).
What happens when ii⁷ goes to a cadential 6/4 chord and the seventh doesn't resolve right away?
Normally the chordal seventh resolves down by step, but the CED explicitly allows one exception: when ii7 moves to a cadential 6/4, the chordal seventh can be retained as a common tone and not resolve immediately (PIT-4.A.13). Practically, that means one voice may hold the seventh through the cadential I6/4 as the bass prepares the V, and then resolve down by step into the following V chord. Don’t leave the seventh unresolved past the V—it must still resolve correctly (otherwise it’s a voice-leading error on the exam). For more examples and practice of this exact voice-leading, see the Topic 5.3 study guide (https://library.fiveable.me/music-theory/unit-5/predominant-seventh-chords/study-guide/HtMsIFkpBnOwGkqOvqlQ) and the Unit 5 overview (https://library.fiveable.me/music-theory/unit-5). If you want extra drills, try the practice problems (https://library.fiveable.me/practice/music-theory).
How do I write predominant seventh chords without making voice leading errors?
Write the seventh so it has to move: the chordal seventh should resolve down by step (PIT-4.A.13). That’s your first rule—if the 7th is in any voice, plan a stepwise descent on the next chord (e.g., ii7 → V or IV7 → V). You can keep the 7th in the same voice for one beat before resolving (common-tone retention), especially in ii7 → cadential 6/4, but it still must go down by step when it resolves. Practical checks to avoid AP-credit losses: - Don’t leave the seventh unresolved. - Don’t double the leading tone or the seventh. - Avoid parallel fifths/octaves between any voices, and avoid hidden/direct perfects in outer voices when approaching V. - Space upper voices within an octave and keep contrary motion where possible. Doubling: prefer the root (or soprano if melody dictates); omit the fifth if needed. For more examples and practice problems, see the Topic 5.3 study guide (https://library.fiveable.me/music-theory/unit-5/predominant-seventh-chords/study-guide/HtMsIFkpBnOwGkqOvqlQ), the Unit 5 overview (https://library.fiveable.me/music-theory/unit-5), and over 1,000 practice items (https://library.fiveable.me/practice/music-theory).
Can someone explain what "chordal seventh" means in simple terms?
A "chordal seventh" is just the seventh note inside a seventh chord—the note a seventh above the chord’s root. In simple terms: when you build a seventh chord (like ii7 or V7), one voice is the seventh of that chord, and that note usually behaves like a dissonance that needs to move down by step to resolve. The CED spells this out: “As with most seventh chords, the chordal seventh should resolve by a descending step” (PIT-4.A.13). Sometimes you can keep that voice the same for a beat and then let it step down later (common-tone retention), like ii7 moving to a cadential 6/4. For AP practice, study how the seventh resolves in examples and try part-writing exercises in Topic 5.3 (study guide: https://library.fiveable.me/music-theory/unit-5/predominant-seventh-chords/study-guide/HtMsIFkpBnOwGkqOvqlQ). For extra drills, use the practice problems at (https://library.fiveable.me/practice/music-theory).
I don't understand why the seventh has to resolve down - what's the theory behind this?
The seventh of a seventh chord must resolve down because it’s a dissonance that wants stepwise resolution in 18th-century voice leading. That interval (a chordal seventh above the bass) creates tension against the chord’s triadic core, so the conventional rule is: the voice with the seventh moves down by step to form a consonant chord tone. The CED calls this out explicitly (PIT-4.A.13) and even flags unresolved or incorrectly resolved sevenths as part-writing errors on the AP free-response (you can lose credit if the seventh isn’t resolved down by step). There are prepared exceptions: you can retain a common tone and then resolve the seventh later (e.g., ii7 → cadential 6/4), but the eventual downward step is expected. For more examples and practice, see the Topic 5.3 study guide (https://library.fiveable.me/music-theory/unit-5/predominant-seventh-chords/study-guide/HtMsIFkpBnOwGkqOvqlQ) and Unit 5 overview (https://library.fiveable.me/music-theory/unit-5). For lots of part-writing drills, try the practice bank (https://library.fiveable.me/practice/music-theory).
What are the most common predominant seventh chords I need to know for the AP exam?
For the AP exam you should know two predominant seventh types above all: the ii⁷ (supertonic seventh) and the IV⁷ (subdominant seventh). Both serve the same predominant/subdominant function as ii and IV triads but include a chordal seventh that normally resolves down by step (CED: PIT-4.A.13). In part-writing expect: prepare common tones, resolve the 7 downward, keep contrary motion to the bass where possible, avoid parallel 5ths/8ves, and know that the seventh may be retained briefly (e.g., ii⁷ → cadential 6/4). You’ll see these in figured-bass/roman-numeral and harmonization free-response tasks (Section II, PIT-4.A). Review the Topic 5.3 study guide for examples and exercises (https://library.fiveable.me/music-theory/unit-5/predominant-seventh-chords/study-guide/HtMsIFkpBnOwGkqOvqlQ), skim the whole unit for context (https://library.fiveable.me/music-theory/unit-5), and practice with the 1,000+ problems available (https://library.fiveable.me/practice/music-theory).
How do I hear the difference between predominant triads and predominant sevenths in listening exercises?
Predominant sevenths sound like triads plus an extra, restless tone that wants to move down by step. In listening practice, focus on two things: (1) texture/dissonance—a ii7 or IV7 will usually add a chordal seventh (a dissonance) above the bass that feels unstable compared with a plain ii or IV triad; (2) resolution motion—that seventh typically resolves down by step into the next harmony (often toward V or a cadential 6/4). So when you hear an extra “clash” that then descends by step, you’re hearing a predominant seventh. Also listen for common-tone retention (one voice holds while the seventh resolves) and for the longer-span preparation before a cadential 6/4—sevenths often precede cadences on the exam’s harmonic-dictation/audio tasks. Practice by comparing paired examples (ii vs. ii7, IV vs. IV7) and train your ear to identify the resolving downward step. More guidance is in the Topic 5.3 study guide (https://library.fiveable.me/music-theory/unit-5/predominant-seventh-chords/study-guide/HtMsIFkpBnOwGkqOvqlQ); for broader review and lots of practice problems see Unit 5 (https://library.fiveable.me/music-theory/unit-5) and the practice bank (https://library.fiveable.me/practice/music-theory).
My voice leading always sounds wrong when I use seventh chords - what am I doing wrong?
Most likely you’re breaking one of the basic 18th-century voice-leading rules for seventh chords. Common mistakes: - Not resolving the chordal seventh down by step. The 7th is a dissonance and should descend (except in the ii7 → cadential 6/4 case, where you may temporarily retain it)—CED PIT-4.A.13. - Doubling errors: don’t double the leading tone or the chordal seventh in seventh-chords. - Outer-voice problems: if the soprano has the leading tone, it must resolve up to tonic; if it’s an outer voice, avoid unresolved leading tones. - Parallels/hidden parallels and spacing: avoid parallel 5ths/8ves and direct perfects into V unless the upper voice steps. Use contrary or oblique motion when possible. - Voice crossing/large leaps: keep mostly stepwise lines, common-tone retention when helpful. Check examples and exercises in the Topic 5.3 study guide (https://library.fiveable.me/music-theory/unit-5/predominant-seventh-chords/study-guide/HtMsIFkpBnOwGkqOvqlQ) and drill part-writing practice (https://library.fiveable.me/practice/music-theory) to internalize these rules.
Do predominant seventh chords have the same harmonic function as predominant triads or are they different?
They have the same harmonic function. According to the CED (PIT-4.A.13), predominant seventh chords (like ii7 or IV7) fulfill the same subdominant/predominant role as their triad versions—they prepare the dominant and lead toward a cadence. The main difference is voice-leading: the chordal seventh is a dissonance that should resolve down by step (though you can sometimes keep the seventh in the same voice for a beat before it resolves, e.g., ii7 → cadential 6/4). AP tasks that test this include part-writing from figured bass and Roman-numeral/voice-leading free-response items, so be ready to show correct spelling, doubling, and resolution of the seventh. Review Topic 5.3 on Fiveable for examples and voice-leading tips (https://library.fiveable.me/music-theory/unit-5/predominant-seventh-chords/study-guide/HtMsIFkpBnOwGkqOvqlQ), and practice problems at (https://library.fiveable.me/practice/music-theory).
How do I know when to use a predominant seventh instead of just a triad in my compositions?
Use a predominant seventh when you want more voice-leading activity or stronger pull to the dominant; use a triad when you want a simpler, quieter preparation. Seventh chords (ii7, IV7) have the same predominant function as ii or IV (CED PIT-4.A), but the chordal seventh is a dissonance that should resolve down by step—so pick a seventh when you need that stepwise resolution or a specific common-tone retention (e.g., ii7 → cadential 6/4 can keep the seventh in place before it resolves). In practice: choose ii or IV triads for smoother, less directional motion; choose ii7/IV7 when you want a clearer approach to V, more inner-voice motion, or to set up a cadential 6/4. For AP free-response/part-writing, always show correct resolution of the seventh and avoid doubling the seventh or leading tone (see PIT-4.A.13). For more examples, check the Topic 5.3 study guide (https://library.fiveable.me/music-theory/unit-5/predominant-seventh-chords/study-guide/HtMsIFkpBnOwGkqOvqlQ) and try practice problems (https://library.fiveable.me/practice/music-theory).
What does it mean when the chordal seventh is "retained in the same voice" before resolving?
It means you keep the note that forms the seventh of the chord in the same voice into the next chord instead of moving it immediately, and then let it resolve down by step on the following beat. In 18th-century voice leading the chordal seventh normally resolves down by step, but PIT-4.A.13 allows “common-tone retention” or delayed resolution—for example ii7 moving to a cadential 6/4 while the seventh stays in the same voice and then steps down afterward. That retained seventh functions as a held dissonance or passing tone until its proper resolution; it’s still required to resolve downward by step to avoid voice-leading errors on the AP exam. Practice recognizing/writing this in part-writing tasks (see Topic 5.3 study guide) (https://library.fiveable.me/music-theory/unit-5/predominant-seventh-chords/study-guide/HtMsIFkpBnOwGkqOvqlQ). For more review and problems, check the unit overview (https://library.fiveable.me/music-theory/unit-5) and practice sets (https://library.fiveable.me/practice/music-theory).
I keep getting marked down for incorrect seventh chord resolutions - how do I fix this?
You’re probably losing points because the chordal seventh isn’t being resolved correctly. Quick checklist to fix it every time: - Identify the chordal seventh (the 7th above the bass) and mark its voice. The CED rule: the chordal seventh should resolve down by step. - Don’t leave sevenths unresolved or make them leap—they must move down by step (exception: a retained seventh may stay in the same voice for one chord before resolving down, e.g., ii7 → cadential 6/4). - Check outer-voice rules: leading tones in outer voices must resolve up to tonic; avoid doubled leading tones and parallel 5ths/8ves when resolving the seventh. - Use contrary/smooth motion where possible and double appropriate chord tones (not the third or leading tone). - Practice: do figured-bass part-writing exercises and score-check against AP rubrics (FRQ 5 style). For targeted help, review Topic 5.3 study guide (https://library.fiveable.me/music-theory/unit-5/predominant-seventh-chords/study-guide/HtMsIFkpBnOwGkqOvqlQ), the Unit 5 overview (https://library.fiveable.me/music-theory/unit-5), and drill 1000+ practice problems (https://library.fiveable.me/practice/music-theory).
Can predominant seventh chords move to chords other than V or cadential 6/4?
Short answer: yes—predominant seventh chords aren't locked to V or the cadential 6/4. They most commonly progress to V or the cadential 6/4 in cadential contexts, but in 18th-century voice leading they can move to other predominants, tonic substitutes, or even prolongations so long as you respect the CED rules (especially the chordal seventh resolving down by step). Examples and guidelines to keep in mind: - ii7 frequently moves to V, but can also move to IV, I6, vi, or be followed by a cadential 6/4 after passing/neighbor motion. - IV7 can lead to I (a plagal motion) or to ii (subdominant → predominant), again with the 7th resolving down. - You may retain a common tone or keep the seventh in the same voice for one chord before resolving (e.g., ii7 → cadential 6/4), as PIT-4.A.13 permits. - Always check doubling, spacing, contrary motion, and resolution of the leading tone in outer voices per AP part-writing rules (these show up on Free-Response tasks like Part Writing). For a focused review, see the Topic 5.3 study guide (https://library.fiveable.me/music-theory/unit-5/predominant-seventh-chords/study-guide/HtMsIFkpBnOwGkqOvqlQ), the Unit 5 overview (https://library.fiveable.me/music-theory/unit-5), and practice problems (https://library.fiveable.me/practice/music-theory).