Chord Progressions and Predominant Function
In a minor key, which diatonic triad functions as the predominant when leading into the V7 chord?
In a harmonic minor key, which predominant chord can be borrowed from the parallel major to precede the dominant in a melodic phrase?
What predominant function typically precedes V or V7 in classical four-part harmony?
In modulating from C major to c minor, what predominant function would most effectively precede G major, the new dominant?
When transitioning from a I to V7 chord in a major key, inserting which predominant chord would most effectively prolong the tension before resolving to the dominant?
What is the effect of using a variant of the predominant ii chord in a minor mode without the note B in the form of a ii diminished 7th onic substitution?
When composing a melodic phrase in C major, which chord would typically precede the dominant (V) to create a strong predominant function?
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When transitioning through closely related keys within one phrase how might one harmonically justify utilizing both II7 AND iv6 without jeopardizing functional coherency?
In a simple duple meter, which time signature could you expect to see written in a score that incorporates the predominant function IV (iv) and ii (iiĀ°)?
In what ways does a sequential progression using predominant functioning chords like I and ii affect a perception of tonal closure within a phrase?