Chord Progressions and Predominant Function

A resolution to the next chord without the sixth and fourth

An incorrect passage to relative minor key tonality

The addition of a seventh to the existing chord structure

An intentional silence designed to highlight dissonance

A second.

An octave.

A fourth.

A sixth.

Contrary motion between alto and soprano voices throughout the progression.

Lagging behind fifth, below tonic, after $I^{6}_{4}$ resolution.

Parallel fifths between bass and tenors voices from $I^{6}_{4}$ to $V$.

Leap larger than octave within inner parts during transition from $I^{6}_{4}$ to $V$.

Its presence typically indicates quick shift texture mode

It serves exclusively decorative purpose lacking any real harmonically functionality

It prolongs underlying harmony adding rhythmic interest

It always implies imminent modulation distant key areas

To highlight non-chromatic alterations within secondary dominants.

To introduce polyphonic textures paralleling Renaissance conventions.

To create sustained harmonic tension while other voices move freely.

To transition smoothly between remote key areas without obvious pivot chords.

Appoggiatura

Anticipation

Retardation

Pedal point

Nonharmonic tones displaced by octave leaps

Embellishment figures such as suspensions or appoggiaturas

Extended tertian structures like ninth, eleventh, and thirteenth chords

Complex polyrhythmic patterns

Illustrating an unprepared modulation to a secondary dominant key area.

Serving as a dramatic introduction before the exposition of the Sonata Allegro form.

Displaying a conclusive final cadence in linear counterpoint style.

Providing a momentary interlude between major sections within a rondò form.

Major scale

Whole-tone scale

Chromatic scale

Natural minor scale

The plagal cadence progression.

The deceptive cadence progression.

The half cadence progression.

The cadential six-four progression.