Student Note: In these 4 videos from 2 Minute Music Theory, Jesse Strickland uses the term "subdominant" rather than "predominant" to refer to the functional category of chords that precede dominant. This is a less common use of the term. Subdominant more often refers to the IV chord specifically, whereas predominant refers to the functional area of chords that includes IV along with other chords.  

• Analyzing Common Progressions: Once you've defined functional harmony and tonal areas, consider the chord progressions outlined in the reading "Frequently Used Progressions." In common-practice Western art music, chord progressions in which the root of the chord descends by 5th, descends by 3rd, or ascends by 2nd are more common than the reverse. 

  • • The following chord progressions include some combination of the root movements described above. They can also all be described in terms of functional regions that progress according to the T - PD - D - T phrase model. Analyze the root movements and function of chords in the following progressions. The first is provided as an example. 

      • • Ex: I - ii - V - I    =  T - PD - D - T   or   Asc. 2nd - Desc 5th - Desc 5th.  

        • I - vi - IV - ii - V - vi  

        • I - vi - IV - V - I

        • I - IV - ii - viiº6 - I

    • The following chord progressions are common in popular music, but wouldn't typically be described as functional harmonic progressions. They are also not typically found in common-practice Western art music. Why wouldn't these chord progressions be considered "functional" according to the definitions established in the reading? Look at the root movements between chords. How does these compare to the root movements commonly found in common-practice Western art music? Discuss some 

      • • I - V - IV - I (e.g. Pink, "Trouble")

        • I - V - ii - IV (e.g. Taylor Swift, "You Belong with Me")

        • i - bIII - bVII - IV (e.g. Gm - Bb - F - C in Katy Perry, "Wide Awake")

        • I - V - ii - I (e.g. Mazzy Star, "Fade into You")

• Why Learn Classical Harmony?: How might the study of common-practice harmonic syntax inform the composition or analysis of music in genres and styles outside the classical tradition?

Activities

• Group Analysis: Break into groups. Your instructor will select examples from the anthology that use I, ii, IV, V, and vi chords as part of a functional progression. Listen to each example, then complete the following: 

  • • Mark where each phrase begins and ends. Identify the cadences as open or closed. 

    • For each chord, identify the Roman numeral below the staff and the chord symbol above the staff using lead sheet notation. 

    • Describe the progression in terms of functional regions, noting T, PD, or D below each Roman numeral to show how the chord is functions within the phrase.

    • Identify any notable features in the progression. 

    • Present your analyses to the class and compare solutions. 

• Merging DAW and Analysis: Prepare a collection of musical excerpts from the anthology in digital audio format (MIDI files or audio recordings). Break into groups and analyze the harmonic progressions using a digital audio workstation (DAW) piano roll or MIDI editor. Once the analysis is complete, experiment with the harmonic progression by making modifications within the DAW and observe how these changes affect the overall sound of the music. Present your group's findings to the class. 

• Composing Progressions:  Work in groups or individually. Compose 4-bar functional harmonic progressions, assigning rhythmic values to each chord in the phrase. Identify T, PD, and D function within your chord progression. Listen and critique each progression as a class, listening carefully to the placement of chords within the measure and to the harmonic rhythm.  Adjust the progression until you like the way it sounds.