Predominant chord
Page Module:Side box/styles.css has no content.Page Template:Sister project/styles.css has no content.
4 as a predominant chord.[2][failed verification] Audio file "Common cadential progression alt.mid" not found
In music theory, a predominant chord (also pre-dominant[3]) is any chord with predominant (subdominant) function, normally resolving to a dominant chord.[3] Examples of predominant chords are the subdominant (IV, iv), supertonic (ii, ii°), Neapolitan sixth and German sixth.[3] Other examples are the secondary dominant (V/V) and secondary leading tone chord.[citation needed] Predominant chords may lead to secondary dominants.[4] Predominant chords both expand away from the tonic and lead to the dominant, affirming the dominant's pull to the tonic.[5] Thus they lack the stability of the tonic and the drive towards resolution of the dominant.[5] The predominant harmonic function is part of the fundamental harmonic progression of many classical works.[6] The submediant (vi) may be considered a predominant chord or a tonic substitute.[7]
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)[citation needed].
List
Page Template:Col-begin/styles.css has no content.
|
|
Gallery
4–I Audio file "Neapolitan V I.mid" not found or Audio file "Neapolitan V I.ogg" not found (Audio file "IV V I without Neapolitan.ogg" not found of IV–V–I progression as usual, without Neapolitan sixth chord in place of IV). | |||
See also
Sources
Page Template:Reflist/styles.css has no content.
- ^ Adapted from Piston W (1962) Harmony, 3rd ed., NY, Norton, p. 96.
- ^ a b c d e Berry, Wallace (1987). Structural Functions in Music, p.54. Template:ISBN.
- ^ a b c d e f g Benward & Saker (2009). Music in Theory and Practice: Volume II, Glossary, p.359. Eighth Edition. Template:ISBN. "Any chord in functional harmony that normally resolves to the dominant chord."
- ^ Benjamin, Thomas; Horvit, Michael; Koozin, Timothy; and Nelson, Robert (2014). Techniques and Materials of Music, p.149, 176. Cengage Learning. Template:ISBN.
- ^ a b Cleland, Kent D. and Dobrea-Grindahl, Mary (2013). Developing Musicianship Through Aural Skills: A Holistic Approach to Sight Singing and Ear Training, p.255. Routledge. Template:ISBN.
- ^ Bartlette, Christopher, and Steven G. Laitz (2010). Graduate Review of Tonal Theory, pp.73–6. New York: Oxford University Press. Template:ISBN
- ^ a b Caplin, William E. (2013). Analyzing Classical Form: An Approach for the Classroom, p.10. Oxford. Template:ISBN.
- ^ Benjamin, Horvit, Koozin, and Nelson (2014), p.253.
- ^ Forte, Allen (1979). Tonal Harmony in Concept and Practice, p.95. 3rd edition. Holt, Rinehart, and Winston. Template:ISBN. "Similarly, VI often serves as a stepwise dominant preparation."
- ^ Benjamin, Horvit, and Nelson (2007), p.239. "A progression analogous to IV-V."
- ^ Caplin, William E. (1998). Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven, p.23. Oxford. Template:ISBN.
Lua error in package.lua at line 80: module 'Module:Navbox/configuration' not found.
