AP Music Theory: Predominant Chords - Your Ultimate Review 🚀

Hey there, future music maestro! Let's get you feeling super confident about predominant chords for your AP Music Theory exam. This guide is designed to be your go-to resource, especially the night before the big day. Let's dive in!

1. Harmonic Functions: The Big Picture 🎼

Before we zoom into predominant chords, let's quickly recap harmonic functions. These are the roles chords play in a musical piece. Think of it like characters in a story: some are the 'home' (tonic), others create tension (dominant), and some lead us to the tension (predominant).

• Tonic (T): The 'home' chord, providing stability. Examples: I, vi, and iii (major); i, VI, and III (minor).
• Dominant (D): Creates tension and pulls towards the tonic. Examples: V⁷ or viio.
• Predominant (PD): Creates a bridge between tonic and dominant, adding harmonic interest. Examples: ii, IV (major); ii°, iv (minor).

Visualizing Harmonic Functions

Here's a helpful image to visualize how these functions relate:

Caption: Chords are grouped by their function: Tonic, Dominant, and Predominant.

2. The Importance of Predominant Chords 💡

So, why do we need predominant chords? Well, a simple T-D-T (Tonic-Dominant-Tonic) phrase can feel a bit basic. Predominant chords add tension and harmonic interest by expanding the phrase to T-PD-D-T. They act as a 'preparation' for the dominant, making the resolution to the tonic even more satisfying.

Predominant chords are crucial for creating sophisticated and engaging chord progressions. They frequently appear in both multiple-choice and free-response questions.

From T-D-T to T-PD-D-T

• T-D-T: Basic phrase structure (Tonic - Dominant - Tonic).
• T-PD-D-T: Expanded phrase structure (Tonic - Predominant - Dominant - Tonic).

This expansion is super common in music, so understanding it is a must!

3. Common Predominant Chords

3.1. The Subdominant Chord (IV or iv)

The subdominant chord (IV in major, iv in minor) is a popular choice for the first predominant chord. It's a perfect fifth below the tonic, making it a smooth transition. Plus, it often allows for stepwise motion from the tonic.

• Major Key: IV (e.g., in C major: F-A-C)
• Minor Key: iv (e.g., in A minor: D-F-A)

Example

Caption: Notice the iv chord in first inversion (iv6). This is a common way to use the subdominant in a minor key.

3.2. The Supertonic Chord (ii or ii°)

The supertonic chord (ii in major, ii° in minor) adds a bit more spice. It's a 'weaker' substitute for the IV chord but still does the job of leading to the dominant. It often appears after the IV chord, further expanding the predominant section.

• Major Key: ii (e.g., in C major: D-F-A)
• Minor Key: ii° (e.g., in A minor: B-D-F)

Inversions

• ii6 and ii°6: Supertonic chords are often in first inversion. This emphasizes the subdominant function and creates a smoother bass line.

3.3. The ii7 Chord

• In a major scale, the ii7 chord is often used as a predominant chord, leading to the dominant chord.
• In a minor scale, the ii7 chord can be used as a tonic substitute or as a leading chord.

We'll get into more detail about predominant seventh chords in Unit 5.3!

4. Voice Leading: Smooth Transitions 🎶

Smooth voice leading is key to making your chord progressions sound great. When moving from a predominant chord to a V⁷, keep these points in mind:

• Common Tones: Keep common tones between chords in the same voice when possible.
• Contrary Motion: Move voices in contrary motion with the bass to avoid parallel fifths and octaves.
• Preparation of the 7th: The chordal seventh of the V⁷ must be prepared by a common tone.

Visualizing Voice Leading

Caption: This image shows how to transition from a predominant chord to a V7 chord, paying attention to voice leading.

5. Putting It All Together: T-PD-D-T 🧩

Now that we know about predominant chords, let's see how they fit into the overall phrase structure:

Major Key Template

Caption: A visual guide for constructing a T-PD-D-T phrase in a major key.

Minor Key Template

Caption: A visual guide for constructing a T-PD-D-T phrase in a minor key.

Key Points to Remember

• Placement: Predominant chords always come before the dominant section.
• Options:
  • Major: IV, ii6, or ii
  • Minor: iv or ii°6
• Voice Leading: Use contrary motion with the bass to avoid parallelism.

Visualizing Contrary Motion

Caption: Contrary motion with the bass helps you avoid voice-leading errors when working with pre-dominant chords.

6. Final Exam Focus 🎯

Okay, let's get down to the nitty-gritty. Here's what you absolutely need to nail for the exam:

• Harmonic Functions: Know the roles of tonic, dominant, and predominant chords.
• Predominant Chords: Be able to identify and use IV, ii, iv, and ii° chords in both major and minor keys.
• Voice Leading: Master the rules for voice leading, especially when moving from predominant to dominant chords.
• T-PD-D-T Structure: Understand how predominant chords expand the basic phrase structure.

Last-Minute Tips

• Time Management: Don't spend too long on any one question. If you're stuck, move on and come back later.
• Common Pitfalls: Watch out for parallel fifths and octaves. Double-check your voice leading!
• Strategies: Practice writing out chord progressions and analyzing examples. The more you do, the more comfortable you'll feel.

7. Practice Questions

You've got this! Review this guide, practice a bit, and go into the exam with confidence. You're well-prepared, and I'm cheering you on! 🎉