Predominant chord

In music theory, a predominant chord (also pre-dominant^[1]) is any chord which normally resolves to a dominant chord^[1]. Examples of predominant chords are the subdominant (IV), supertonic (ii), Neapolitan sixth and German sixth^[1]. Other examples are the submediant (vi), secondary dominant (V/V), iv and ii°. The predominant harmonic function is part of the fundamental harmonic progression of many classical works.

The dominant preparation is a chord or series of chords that precedes the dominant chord in a musical composition. Usually, the dominant preparation is derived from a circle of fifths progression. The most common dominant preparation chords are the supertonic, the subdominant, the V7/V, the Neapolitan chord (N⁶ or ♭II⁶), and the augmented sixth chords (e.g., Fr⁺⁶).

In sonata form, the dominant preparation is in the development, immediately preceding the recapitulation. Ludwig van Beethoven's sonata-form works generally have extensive dominant preparation — for example, in the first movement of the Sonata Pathétique, the dominant preparation lasts for 29 measures (mm. 169-197).

Sources

^ ^a ^b ^c Benward & Saker (2009). Music in Theory and Practice: Volume II, Glossary, p.359. Eighth Edition. ISBN 978-0-07-310188-0.

Chords

By type

Triad	Major Minor Augmented Diminished Suspended

Seventh	Major Minor Dominant Dominant seventh flat five Diminished Half-diminished Diminished major Minor-major Augmented major Augmented minor Nondominant Harmonic seventh chord

Extended	Ninth Eleventh Thirteenth Upper structure

Added / omitted	Sixth Minor sixth Augmented sixth Power chord Lydian chord Seven six chord

By function

Diatonic	Tonic Dominant Subdominant Supertonic Mediant Submediant Leading / Subtonic

Altered	Approach Borrowed Chromatic mediant Neapolitan chord Passing

Secondary	Secondary dominant Secondary leading-tone Secondary supertonic

With names

Other

Predominant chord

See also

Sources