AP Music Theory: Submediant Chords & Contextual Analysis 🎶

Hey there, future music maestro! Let's dive into the submediant chord, a sneaky little chord with multiple personalities. You've already mastered the tonic, dominant, and predominant – now, let's add the submediant to your toolkit! This guide is designed to be your go-to resource for tonight's review, so let's make every second count! 🚀

Quick Review: Harmonic Functions

Before we get into the submediant, let's recap the basics. Remember, a chord's harmonic function isn't just about how it sounds; it's about how it behaves within a progression. Think of it like actors in a play—their roles depend on the scene!

Tonic (T): The home base. Stable, resolved, and where we feel at rest. (I or i)
Dominant (D): Creates tension and pulls us back to the tonic. (V and vii°)
Predominant (PD): Leads us away from the tonic and into the dominant. (ii and IV or ii° and iv)

Key Concept

Remember the typical phrase structure: T-PD-D-T. This is your roadmap for most progressions. 🗺️

Introducing the Submediant (vi/VI)

The submediant chord (vi in major, VI in minor) is a versatile chord with three main functions:

Tonic Expansion: Acts as a substitute for the tonic, extending the sense of home.
Weak Predominant: Creates a gentle pull away from the tonic, leading to the dominant.
Deceptive Cadence: Provides a surprising resolution after the dominant, avoiding the expected tonic.

Phrase Templates

Here are the phrase templates for Major and Minor:

Major:

Major Phrase Template

Minor:

Minor Phrase Template

Quick Fact

Notice the submediant (vi/VI) often appears before the predominant section. This is a common placement, but not a strict rule. 💡

1. Submediant as Tonic Expansion

The submediant is just a step away from the tonic, making it a great substitute. Think of it as a cozy room in the same house—it feels like home but with a slightly different vibe. A common progression is I-vi-V-I, where the vi chord extends the tonic area before moving to the dominant.

Common Mistake

Don't confuse tonic expansion with the predominant function. Tonic expansion doesn't pull strongly away from the tonic; it simply prolongs the feeling of stability. ⚠️

Key Points:

Usually in root position (it's a bit weak in inversions).
Rarely sandwiched between two tonic chords (unlike V or vii° inversions).

2. Submediant as a Weak Predominant

The submediant can also act as a gentle pull away from the tonic, leading to the dominant. It's not as strong as the typical predominant chords (ii, IV), but it still creates a sense of movement. A common progression is I-vi-ii6-V7-I.

Submediant as a Weak Predominant

Memory Aid

Think of the submediant as a 'gentle nudge' away from the tonic, not a 'hard push.' It's like a scenic detour on the way to the dominant. 🏞️

3. Deceptive Cadences

A deceptive cadence is a musical trick! It starts like an authentic cadence (V), but instead of resolving to the tonic, it goes to the submediant (vi/VI). It's like a musical 'plot twist' that keeps the listener engaged.

Deceptive Cadences

Exam Tip

Deceptive cadences are often used to extend phrases or lead into new sections. Look for V-vi (or V-VI in minor) at the end of a phrase. 👀

Contextual Analysis: The Big Picture

So, how do we categorize the submediant? It depends on the context! These categories (T, PD, D) are helpful guidelines, but the real function of a chord depends on its role within the progression. The key is to listen and analyze how the chord interacts with its neighbors.

Example: V4/3 Chord

Consider a I-V4/3-I6 progression. While it looks like T-D-T, the V4/3 doesn't function as a dominant chord. Instead, it acts as a transition between two tonic chords. So, the function is actually T-T-T. This is contextual analysis in action! 🕵️

Applying Contextual Analysis to the Submediant

Tonic Expansion: If the vi/VI is preceded by tonic chords and not followed by other predominant chords, it's likely a tonic expansion.
Weak Predominant: If it's followed by a ii or ii6 chord, it's acting as a weak predominant.
Deceptive Cadence: If it's preceded by a V chord at the end of a phrase, it's a deceptive cadence.

Mastering contextual analysis is crucial for AP Music Theory. Don't just memorize rules; understand how chords function in different situations. This skill is frequently tested. 🎯

Final Exam Focus 🎯

Alright, let's get down to the nitty-gritty. Here's what you need to nail on the exam:

Submediant Functions: Know the three roles of the vi/VI chord: tonic expansion, weak predominant, and deceptive cadence.
Contextual Analysis: Be able to analyze chord functions based on their role in a progression, not just by their label.
Cadences: Understand the difference between authentic and deceptive cadences, and how they affect phrase structure. Pay close attention to the end of phrases.
Phrase Structure: Be able to identify T-PD-D-T phrases and how the submediant fits into them.

Last-Minute Tips:

Time Management: Don't spend too long on one question. If you're stuck, move on and come back later.
Common Pitfalls: Be careful not to confuse tonic expansion with predominant function. Pay attention to the bass line.
Strategies: Practice identifying chord functions in different contexts. Listen to music and analyze the progressions.

Exam Tip

Remember, the AP exam often combines multiple concepts. Be prepared to integrate your knowledge of harmony, melody, and form. 🧠

Practice Questions

Practice Question

Multiple Choice Questions

In a major key, which of the following progressions best demonstrates the submediant chord functioning as a tonic expansion? a) I-V-I-V b) I-ii-V-I c) I-vi-V-I d) I-IV-V-I
A deceptive cadence typically involves which of the following chord progressions? a) V-I b) IV-I c) V-vi d) ii-V
In a minor key, which chord typically functions as a predominant? a) VI b) III c) iv d) V

Free Response Question

Analyze the following four-part harmony excerpt in C major. Identify the function of each chord, including inversions. Label the tonic, predominant, and dominant sections, and identify any cadences.

(Note: A musical excerpt would be included here, but for the sake of this example, we'll provide a theoretical progression instead)

Progression:

Measure	Bass	Soprano	Alto	Tenor	Chord	Function
1	C	E	G	C	I	T
2	A	C	E	A	vi	T
3	D	F	A	D	ii6	PD
4	G	D	B	G	V	D
5	C	E	G	C	I	T
6	G	B	D	G	V	D
7	A	C	E	A	vi	Deceptive Cadence

Scoring Breakdown

Correct Chord Identification (1 point per chord): 7 points
Correct Function Identification (1 point per chord): 7 points
Correct Section Labeling (T, PD, D): 3 points
Correct Cadence Identification: 1 point
Total: 18 points

Short Answer Question

Explain the concept of contextual analysis in music theory. Provide an example of a chord progression where a chord does not function as its typical label would suggest.

Answer:

Contextual analysis involves interpreting the function of a chord based on its role within a specific chord progression, rather than relying solely on its standard label (e.g., I, V, ii). A chord's function is determined by its relationship to the other chords around it. For example, in the progression I-V4/3-I6, the V4/3 chord does not function as a dominant chord, but as a transitional chord between two tonic chords. Thus, we would analyze it as T-T-T instead of T-D-T.

Alright, you've got this! Go ace that exam! 🎉

The vi (VI) Chord

Abigail Young