Pre Dominants

TH101 - Seth Monahan

PRE-DOMINANTS COMPLETING THE “PHRASE MODEL” 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.

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.

BASS

CHORD(S)

DOUBLE*

2^

ii

2^

4^

IV, iv, iifl, iiøfl

4^

6^

IVfl, ivfl

1^

OTHER

major keys only!

supertonic triad in minor is diminished

especially common in minor as part of the “Phrygian HC” (soprano moves ^4Å^5)

Next semester, you will form additional pre-dominants by adding chordal sevenths to the subdominant (IV) and supertonic (ii) triads.

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: CONTRARY MOTION: Parallel fifths/octaves are a special risk in the PDÅD motion. Whenever possible, move your upper voices in contrary motion to the bass. DISSONANCE PREP: Wherever possible, hold ^4 as a common-tone in a single voice when moving from pre-dominants into V7. ^6 DESCENDS: In minor, ^6 must descend by step when moving to V, to avoid the augmented-second step to ^7. INCOMPLETE CHORDS: It is often easier to lead pre-dominants into an incomplete V7 (one lacking a chordal fifth). Go for it.

* These doublings are only recommended. Other scenarios are possible, but may create unnecessary hassles.

PRE-DOMINANTS COMPLETING THE PHRASE MODEL TH101 - Seth Monahan

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.

5. FLOW CHART OF STRUCTURAL HARMONIES 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.

T

PD

D

T

TONIC

PRE-DOMINANT

DOMINANT

TONIC

ii(6) IV(6)

V(7)

I

(6)

I

STOPS HERE FOR HC

...OR PROCEEDS TO TONIC FOR IAC/PAC

MAY SKIP PRE-DOMINANT

6. EXPANSION STRATEGIES YOU KNOW 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. EXPANDING DOMINANT*

EXPANDING TONIC - 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 PDÅDÅT motions [see below]

- Expansion by chordal skip in the bass (VÅV6; V7ÅV#, etc.). - Passing motion using IV6.

EXPANDING PREDOMINANT - Motion between pre-dominant chords built on bass notes ^4, ^6, and ^2.

* 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.

PRE-DOMINANTS COMPLETING THE PHRASE MODEL TH101 - Seth Monahan

7. NEW TONIC EXPANSION (I): SUBSIDIARY PDÅD 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 undertaking localized, less rhetorically conclusive TÅPDÅDÅT motions. Laitz calls these local TÅ PDÅDÅT 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 PDÅD progression we might have ii6 move to V% instead of V7, as shown below. Such progressions reproduce the directed, purposeful sound of the PDÅD relationship, but without creating the impression of impending closure.

      CLICK TO PLAY

      B:

I

Embedded phrase model:

T

GLOBAL PHRASE MODEL:

T

(prolongs tonic)

 

 

iifl

V ‡

I

PD

D

T











viiøfl Ifl

IV

V%

Ifl

PD

D

T

  

 

 

 

 

 

 



8. NEW TONIC EXPANSION (II): THE IV CHORD AS “SUBDOMINANT” This excerpt from Schumann’s “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 doesn’t go to dominant. Rather, it is simply an auxiliary chord on the subdominant.

CLICK TO PLAY

                Bß:

PHRASE MODEL:

I

T

  

 

    IV

   I

                 

  



V‡

I



 

D T

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!