Embedded Files
Objectives
Objectives
By the end of this lesson, students will be able to:
Describe the harmonic characteristics of predominant functioning chords and their role within the phrase model.
Describe how predominant chords are used to strengthen cadences and how to avoid common voice-leading problems associated with ii6 and IV.
Analyze examples from the repertoire that incorporate ii, ii6, and IV; identifying Roman numerals, chord function, and cadence by type.
Compose a T-PD-D-T progression in 4-voice chorale and keyboard style using common-practice voice leading principles and I, ii, ii6, IV, V, and V7 chords.
Harmonize a given melody using a predominant chord at the cadence.
Preparation for Class
Preparation for Class
Read:
Read:
Strong Endings with Strong Predominants (John Peterson, OMT)
The Predominant Area (Kaitlin Bove) - Just read up to the section on "Embedded Phrase Model"
Harmonic Function (Robert Hutchinson, Music Theory for the 21st-Century Classroom)
Review the examples in the section: "9.4.3 Tonic-Predominant-Dominant-Tonic Progressions"
Watch
Watch
Pre-Dominant Chords (ii, ii6, IV)
Dr. Kati Meyer (9 mins)
Pre-Dominant Chords (ii, ii6, IV)
Dr. Kati Meyer (9 mins)
Optional: For an extended discussion also watch:
The Subdominant Function
Seth Monahan (25 mins)
Optional: For an extended discussion also watch:
The Subdominant Function
Seth Monahan (25 mins)
Partwriting IV to V
Sarah Louden (5 mins)
Partwriting IV to V
Sarah Louden (5 mins)
Study Aids
Study Aids
Handout: ii chords
Source: Nancy Rogers
Phrase Model with Predominant Chords
Source: Sarah Louden
Harmonic Flowcharts for Major and Minor
Source: Robert Hutchinson, Music Theory for the 21st Century Classroom
In-Class Activities
In-Class Activities
Discussion
Discussion
ii & IV: When two predominant chords occur together in a chord progression, which of the two progressions is most typical of the common-practice style: IV-ii or ii-IV? What was the reason provided in the reading?
Voice leading IV-V: What common voice leading problem occurs when writing a IV - V progression? What is the best way to avoid it?
Activities
Activities
Practice Worksheets:
Worksheet 1 (Doc | PDF): 4-part writing with IV and ii6 and an analysis of Francis Johnson's “Maria Caroline.” (Open Music Theory)
Worksheet 2: Short harmonization examples using ii, ii6, and IV. (San Francisco Conservatory)
Worksheet 3: Longer harmonization examples and "complete the composition" exercises using ii,ii6, and IV. (San Francisco Conservatory)
Worksheet 4: Analysis with ii, ii6, and IV in Mozart and Beethoven. (San Francisco Conservatory)
Harmonization: Harmonize the melodic opening from "Come on Eileen" using I, IV, ii, V, or V7 chords. Identify the Roman numeral on the blank below the staff and chord function below the Roman numerals (T, PD, D). Then, harmonize the progression using 4-part keyboard or chorale-style voicing. See the worksheet here: PDF | MuseScore.
Composition: Compose a 4-bar composition with a melody and rhythmic accompaniment that uses I, ii, ii6, IV, V, and V7 chords. (See the worksheet from Lesson 2-2 as a model). For extra practice with phrase models, extend your composition to 8 bars and try composing a sentence or a parallel period.
Analysis in Repertoire: See the anthology sections below for practice with analysis. For each example, identify the Roman numerals, cadences, and chord function (T, D, PD).
Repertoire for Practice
Repertoire for Practice
IV & ii at the Cadence: See the second section "T- PD - D - (T)" for examples that use IV and ii before the cadence in the phrase model. Examples include only I, ii, ii6, IV, V, V7.
Practice
Practice
Musition:
Chord Progressions: Level 4
Four-Part Writing: Levels 6a, 6b
Harmonization: Levels 3a, 3b
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