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Unit 5: Harmony and Voice Leading II: Chord Progressions and Predominant Function

7 dot points across 7 inquiry questions. Click any dot point for a focused answer with worked past exam questions where available.

How do the IV and ii chords prepare the dominant, and how do we add them to a phrase?

Topic 5.1 Adding Predominant Function IV (iv) and ii (ii diminished): use the subdominant and supertonic chords to prepare the dominant and part-write them smoothly.
A focused answer to AP Music Theory Topic 5.1, covering predominant function, the IV (iv) and ii (ii diminished) chords, how they lead to the dominant, the use of ii6 and first-inversion predominants, and smooth part-writing, with a worked predominant progression.
9 min answer →

Besides the cadential type, how do passing and pedal six-four chords work?

Topic 5.7 Additional 6/4 Chords: identify and part-write the passing six-four and the pedal (neighbor) six-four as embellishing chords over a stationary or stepwise bass.
A focused answer to AP Music Theory Topic 5.7, covering the passing six-four (bass passes by step between two positions of a chord) and the pedal or neighbor six-four (over a held bass), how each is an embellishing rather than functional chord, the smooth voice leading they need, and contrasting them with the cadential six-four, with a worked example.
9 min answer →

How do predominant chords strengthen cadences, and how do we harmonise a melody to a cadence?

Topic 5.5 Cadences and Predominant Function: build complete cadential progressions with predominants and harmonise a given melody so it cadences correctly.
A focused answer to AP Music Theory Topic 5.5, covering full cadential progressions that include a predominant (such as I, IV or ii, V, I), how the predominant strengthens the approach to the cadence, and how to harmonise a given melody so the cadence lands correctly, with a worked harmonisation.
9 min answer →

What is the cadential six-four, and why does it behave like a delayed dominant?

Topic 5.6 Cadential 6/4 Chords: use the cadential six-four (I6/4 to V) and part-write its suspension-like resolution of the sixth and fourth above the bass.
A focused answer to AP Music Theory Topic 5.6, covering the cadential six-four chord (I6/4 over the dominant bass), why it behaves like a decorated dominant, the resolution of the sixth to the fifth and the fourth to the third above the bass, doubling the bass, and metrical placement, with a worked resolution.
9 min answer →

How do seventh chords on the predominant degrees work, and how do their sevenths resolve?

Topic 5.3 Predominant Seventh Chords: use ii7 (ii diminished 7) and IV7 as predominant sevenths and resolve their chordal sevenths down by step into the dominant.
A focused answer to AP Music Theory Topic 5.3, covering the predominant sevenths ii7 (ii diminished 7 in minor) and IV7, how the chordal seventh resolves down by step into the dominant, the popular ii6/5 voicing, and smooth part-writing, with a worked resolution.
9 min answer →

What is the function of the iii chord, and where does it fit in a progression?

Topic 5.4 The iii (III) Chord: use the mediant as a connecting chord between I and IV (or vi) and part-write it within a diatonic progression.
A focused answer to AP Music Theory Topic 5.4, covering the mediant iii (III in minor), its weak and ambiguous function, its common use to harmonise a descending scale degree 7 to 6 in the soprano or to connect I to vi or IV, and smooth part-writing, with a worked progression.
8 min answer →

What does the vi chord do, and how does it create the deceptive resolution?

Topic 5.2 The vi (VI) Chord: use the submediant as a tonic substitute and as the goal of a deceptive cadence, and part-write V to vi correctly.
A focused answer to AP Music Theory Topic 5.2, covering the submediant vi (VI) as a tonic substitute, its role in the deceptive cadence V to vi, the special doubling needed to avoid parallels in V to vi, and its use to extend a phrase, with a worked deceptive resolution.
9 min answer →