Chapter 9: The Pre-dominant Function And The Phrase Model Flashcards
(6 cards)
Pre-dominant
A chord that precedes the dominant and is the third and final harmonic function.
Phrygian half cadence
A kind of cadence when we move from iv^6 to V.
Phrase Model
The harmonic motion of tonic, through pre-dominant, to dominant and tonic at the cadence.
Voice-leading rules
Move the voices as little as possiblee when changing chords.
Rule 1: REsolve tendancy tones (7, chordal dissonances, or chromatically alterted tones by step. Exceptions: The leading tone, 7, does not need to resolve up to 1 when it is an inner voice, ora s part of the falling line 8-7,-6,5
Maintain teh INdependence and Musical Territory for EAch Voice
Rule 2: A pair of voices cannot move from one unision, octave, or perfect fifth to another interval of the same size in parallel or contrary motion.
Rule 3: Tendancy tones cannot be doubled. They are aurally marked and often require special treatement.
Rule 4: Keep agecent upper voices (S-A and A-T) within an octave of each other
Voice-leading and doubling rules for I6 and V6 (from chapter 7)
Keep common tones (unless you use a voice exchange, which often requires movement in multiple voices).
When possible, double the root (you can double the third or fifth if it smooths the voice leading).
Never double the leading tone, 7 (the third of the dominant chord).
If the bass is not doubled, choose one fo teh following spacing for first-inversion triads.
Double unison: Two voices share the same pitch at the unison.
Neutral position: two voices share the same pitch at the octave
Subordinate harmonies, especially those that neighbor, usually appear on metrically weak beats or parts of beats.
Part-writing pre-dominants Absolute necessities
Pre dominants move to V. The supertonic never moves to tonic. When gthe bass of a pre-dominant chord approaches the dominant by step, the soprano moves in contrary motion with the bass.
when writing in a minor key, approach th eleading tone in the V chord from above.
