Predominant chord

From Wikipedia, the free encyclopedia
Look up predominant chord in Wiktionary, the free dictionary.
V of V in C, four-part harmony  Play (help·info).
A cadential {}_{4}^{6} progression[1] showing I6
4 as a predominant chord.[2]  Play (help·info)

In music theory, a predominant chord (also pre-dominant[3]) is any chord which normally resolves to a dominant chord.[3] Examples of predominant chords are the subdominant (IV), supertonic (ii), Neapolitan sixth and German sixth.[3] 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).

The circle progression features a series of chords derived from the circle of fifths preceding the dominant and tonic.

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)[citation needed].

List

  • First inversion augmented mediant
    • ♭III+6
      3      [2]  Play (help·info)
  • Augmented dominant
  • Augmented sixths
    • Fr4
      3      [citation needed]  Play (help·info)
    • Ger6
      5      [3]  Play (help·info)
    • ♭II6[3]  Play (help·info)
  • Second inversion tonic
    • I6
      4      [2]  Play (help·info)
    • i6
      4      [2]  Play (help·info)
  • Subdominant
    • IV[3]  Play (help·info)
    • iv[citation needed]
  • Submediant
    • vi[citation needed]
  • Supertonic and secondary dominant
    • ii[3]  Play (help·info)
    • II (V/V)[citation needed]  Play (help·info)
    • iio[citation needed]

Gallery

ii-V-I turnaround in C ( Play (help·info)): the supertonic (dm) leads to the dominant (G7), which leads to the tonic (C).
The French sixth chord; distinguishing tone highlighted in blue.  Play (help·info)
The German sixth; the distinguishing tone is highlighted in blue.  Play (help·info)
♭II6-V64-I  Play midi (help·info) or  Play ogg (help·info) ( Play ogg (help·info) of IV-V-I progression as usual, without Neapolitan sixth chord in place of IV).

See also

Sources

  1. ↑ Adapted from Piston W (1962) Harmony, 3rd ed., NY, Norton, p. 96.
  2. ↑ 2.0 2.1 2.2 2.3 2.4 Berry, Wallace (1987). Structural Functions in Music, p.54. ISBN 0-486-25384-8.
  3. ↑ 3.0 3.1 3.2 3.3 3.4 3.5 3.6 Benward & Saker (2009). Music in Theory and Practice: Volume II, Glossary, p.359. Eighth Edition. ISBN 978-0-07-310188-0.


This article is issued from Wikipedia. The text is available under the Creative Commons Attribution/Share Alike; additional terms may apply for the media files.