Music Theory II

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Music Theory II

• New York University

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Agenda

• Analysis 13.2A, B C
• Chapter 13 The Pre-Dominant Function (contd)

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13.2A
4
13.2B
5
13.2C
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Writing for Pre-Dominants

• Rule 1 - These chords do what their name
  suggests, I.e., they move directly to the
  dominant. Follow the model (I-PD-V-I) knowing
  that each function can be expanded by
  contrapuntal chords.
• Rule 2 - As the bass of the PD approaches the
  dominant, move the soprano voice in the opposite
  direction (see 13.8).

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Writing for Pre-Dominants (contd)

• Guideline 1 - Double PD roots when in root
  position (13.8A, B, D). When writing ii6,
  double the bass (4) (13.8E) (use iiº6 when
  writing in the minor mode.). When iv appears in
  1st inv. (phrygian cadence), it is usually
  easiest to double the third above the bass (1)
  and lead each third in contrary motion to 2 and 7
  (13.8C).

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Writing for Pre-Dominants (contd)

• Guideline 2 - Approach the leading tone from
  above. This is especially important when writing
  in minor, because the lowered 6 moving to raised
  7 results in the forbidden augmented second.

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Extending the Pre-Dominant The IV-ii Complex

• Progressions whose roots move by step (e.g.,
  IV-V) are especially vulnerable to parallel
  perfect intervals in voice leading, especially
  when the outer voices move in the same direction
  (13.10A)

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Helping Chords

• To avoid poor voice leading, composers often use
  what are called HELPING CHORDS, or more commonly,
  VOICE-LEADING CHORDS. The contrapuntal 5-6 motion
  suggests that two chords (1V and ii6) are
  extending the pre-dominant function (13.10B).

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Helping Chords (contd)

• This interpretation is reflected in the 2nd-level
  analysis, which groups the IV-ii under a single
  functional heading PD.
• In 13.10C, the bass falls to the root of the ii
  chord, and this is motivated by the same
  voice-leading concerns.
• The goal-oriented motion (IV-ii6) is very common
  the weaker motion of ii-IV is not.

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Extending the Phrase Postponing the Cadence

• Composers often extend phrases by converting
  potentially strong progressions that include a
  pre-dominant into weaker ones that postpone the
  actual cadence.
• A common technique is to follow IV or ii6 with
  V42, which maintains 4 in the bass as a common
  tone that must descend to 3.
• In 13.11, the tonic is extended by a
  mini-cadential progression that moves I-PD-V-I.

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Assignment (1/26/05)

• Page 226 - EXERCISE INTERLUDE 13.4 - Writing
  Pre-Dominants A.B.C.D. E.