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PRE-DOMINANTSCOMPLETING THE PHRASE MODEL
TH101 - Seth Monahan
2. PRE-DOMINANT TRIADS
Pre-dominant triads are built on three bass notes: ^4, ^6, and
^2. The first two approach the cadential dominant in the bass by
step; the third moves by a leap of a fourth or fifth.
1. THE PRE-DOMINANT FUNCTION
The phrase model is a paradigmatic, unidirectional sequence of
harmonic/functional regions outlined by countless musical phrases.
It begins with a zone of tonic (T) function and concludes with
either a dominant (D) or tonic function, depending on whether it
ends on an HC or a PAC/IAC. There is a third function, however,
that often precedes the dominant: the pre-dominant function (PD),
represented by four structural chords shown below.
3. VOICE-LEADING ISSUES
Unfortunately, pre-dominants are not governed by a strict rubric
of scale-degree behaviors. However, there are a number of points to
keep in mind, above and beyond the usual rules of good
voice-leading:
Next semester, you will form additional pre-dominants by adding
chordal sevenths to the subdominant (IV) and supertonic (ii)
triads.
^6 DESCENDS:
CONTRARY MOTION:
DISSONANCE PREP:
In minor, ^6 must descend by step when moving to V, to avoid the
augmented-second step to ^7.
Parallel fifths/octaves are a special risk in the PDD motion.
Whenever possible, move your upper voices in contrary motion to the
bass.
Wherever possible, hold ^4 as a common-tone in a single voice
when moving from pre-dominants into V7.
It is often easier to lead pre-dominants into an incomplete V7
(one lacking a chordal fifth). Go for it.
INCOMPLETE CHORDS:
BASS CHORD(S) OTHERDOUBLE*
major keys only! supertonic triad in minor is diminished
especially common in minor as part of the Phrygian HC (soprano
moves ^4^5)
2^ 2^ii
IVfl, ivfl
IV, iv, iifl, iifl4^ 4^
6^ 1^
* These doublings are only recommended. Other scenarios are
possible, but may create unnecessary hassles.
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DPD TT
PRE-DOMINANTS COMPLETING THE PHRASE MODELTH101 - Seth
Monahan
TONIC DOMINANTPRE-DOMINANT
4. MIXING PRE-DOMINANT HARMONIES
IV and IV6 may be paired freely in any key; the same is true in
major for ii and ii6. But when combining supertonic (ii) and
subdominant (IV/iv), the subdominant should come first. In other
words, do not proceed from ii or ii6 to any inversion of IV or
iv.
The basic functional skeleton of the phrase model is shown
below. The boxes enclose structural harmonies that can be
elaborated or embellished by any number of expansion strategies.
See sections 6-9 below.
The boxes in the diagram above show a bare-bones recipe for the
phrase model, using only structural chords. But it is best to
understand each box representing (more abstractly) a functional
zone or region in which the given structural harmonies can be
embellished with a wide range of contrapuntal and auxiliary chords.
Of these zones, the tonic tends often to be the most broadly and
diversely expanded. The lists below summarize the expansion
techniques you know at this point in the course, and add two more
(under tonic expansion) explained on the next page.
5. FLOW CHART OF STRUCTURAL HARMONIES
6. EXPANSION STRATEGIES YOU KNOW
- Motion between I and I6.- Embellishing progressions using
6/3-chords.- Embellishing progressions using contrapuntal V7
inversions.- Motion to and from root-position IV [see below]-
Non-cadential PDDT motions [see below]
EXPANDING TONIC
EXPANDING PREDOMINANT
EXPANDING DOMINANT*
- Motion between pre-dominant chords built on bass notes ^4, ^6,
and ^2.
- Expansion by chordal skip in the bass (VV6; V7V#, etc.).-
Passing motion using IV6.
MAY SKIP PRE-DOMINANT
STOPS HEREFOR HC
...OR PROCEEDS TO TONIC FOR IAC/PAC
I(6)IV(6)
(6)iiV(7)
TONIC
I
* Remember that a true cadential dominant approaches tonic with
^5 in the bass, and that one should not proceed from V7 or its
inversions to a triadic V.
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PRE-DOMINANTS COMPLETING THE PHRASE MODELTH101 - Seth
Monahan
8. NEW TONIC EXPANSION (II): THE IV CHORD AS SUBDOMINANT
This excerpt from Schumanns Faschingschwank aus Wien presents a
familiar scenario: IV is used to expand the tonic without moving to
the dominant. Motions from I or I6 to a root-position IV and back
again or quite common; in some cases, the IV is even embellished by
a motion to IV6. In either case, such a IV does not function as a
pre-dominant, since it doesnt go to dominant. Rather, it is simply
an auxiliary chord on the subdominant.
7. NEW TONIC EXPANSION (I): SUBSIDIARY PDD PROGRESSIONS
Pre-dominant harmonies can often be found outside the
pre-dominant functional zone on the flow chart above. Composers
often use them in tonic expansion zones, where they embellish that
function by under-taking localized, less rhetorically conclusive
TPDDT motions. Laitz calls these local T PDDT units embedded phrase
models (EPTs); they employ non-cadential PDs and Ds, which extend
the phrase forward in time rather than close it.
The cadential power of these local D functions is often
undermined through the use of inverted rather than root-position
dominants. For example, in a tonic-prolonging PDD progression we
might have ii6 move to V% instead of V7, as shown below. Such
progressions reproduce the directed, purposeful sound of the PDD
relationship, but without creating the impression of impending
closure.
I B: I Ifl Ifl IV V iiflV%viifl
TEmbedded phrase model:(prolongs tonic)
GLOBAL PHRASE MODEL: T PD D T
PD D T
PHRASE MODEL: T D T
I I IVIVB:
Note that the supertonic (ii) is not typically used in this way;
it must function as a pre-dominant, moving ahead to dominant. In
short: do not embellish tonic with ii chords!
Button 2: Button 3: