Pre-Cadential Chords 1. Deciding what chords to use as pre-cadential chords is determined by what chords go well together; what chords are implied by the melodic line; and personal taste. You must use good judgement and remember to follow voice-leading and harmonisation guidelines. FUNDAMENTAL HARMONY 2. First, work out what is the implied cadence from the melody, and where the pre-dominants begin. The remaining phrase is the pre-cadential material. Pre-Cadential Cadence Material with Pre-Dominants Dr. Declan Plummer 3 3 Lesson 5: Pre-Cadential Chords & Inverted Chord Progressions 2 Strong 3 - 2 - 3 in the soprano part prepared suggests a I - V - I chord progression.

6 I V I I ii5 V I

‘Normal’ Progressions using Circle of Fifths 3 2 1 Strong 3 - 2 - 1 in (Major Keys) the soprano part prepared suggests a I - V - vi chord progression.

6 o I V vi I ii 5 V I IV vii

3 3 2 iii vi I Strong 3 - 3 - 2 in the soprano part prepared ii V suggests a I - 1 - V chord progression. Pre-Dominant Dominant 6 Function Group Function Group I I V7 I ii5 V I ‘Normal’ Progressions using Circle of Fifths First Inversions (Minor Keys) V in 1. First inversion chords are used in pre-cadential material to: relative major • give a smoother voice-leading by o increase variety of bass pitches iv vii • avoid consecutives • provide more interesting music by VII III VI i creating instability in the bass line, o which is then resolved. ii V to lessen the importance of V and I Relative Major • when they are not part of cadences

Pre-Dominant Dominant I I6 V Function Group Function Group

First Inversions First Inversion Progressions 6 1. Passing 3 6 2. For a chord I in first inversion (I6) • A passing 3 chord harmonises a passing 3 2 1 it is possible to double the 3rd, note between a chord and its inversion. since the chord has a passing • It is a special type of pre-cadential function: the harmony is moving progression which mostly uses the leading note chord (viio), in first from chord I to chord V and chord inversion (viio6). I6 facilitates this movement! • It is used mostly with the tonic chord in a 1 - viio6 - I6 progression. 3. The doubled 3rds are moving in contrary motion • The bass note of chord viio6 functions as a passing note. The 3rd of the chord should be doubled! 4. No consecutives result from Never double the root of chord I viio6 I6 doubling the 3rd here! I I6 V viio.Why? Because the root of chord viio is the leading note of the key, which wants to rise (lead) to the tonic: doubling the root means both notes want to rise to the tonic and you have consecutive octaves! 3 2 3 8 7 8 2 1 1 First Inversion Progressions 6 2. Neighbouring 3 6 • A neighbour 3 chord harmonises a neighbour note between two 3 3 pitches that imply the same chord. 2 • It is a special type of pre-cadential progression which mostly uses the o 6 6 o6 6 o6 I vii I I vii I I vii I dominant (V), or tonic (I) chords in first inversion (V6 / I6). The standard passing 6-3 progression (I - viio6 - I6) can be reversed a) The Dominant chord is used with (I6 - viio6 - I) which can produce other strong soprano movements: the tonic chord (1 - V6 - I). • 3-2-1 = I - viio6 - I6 (standard passing 6-3) • Creates a strong 3 - 2 - 3 in the soprano part. Also works 6 o6 • 1-2-3 = I - vii - I (standard passing 6-3 reversed) with 3-2-1 soprano part. I V6 I • 8-7-8 = I6 - viio6 - I (always this order for 8-7-8 movement) • The bass note functions as a neighbour note.

First Inversion Progressions Second Inversion Progressions 6 1. Passing 4 6 3. Neighbouring 6 3 • A passing 4 chord harmonises a b) The Tonic chord is used with the passing note between a chord and 6 5 8 7 8 subdominant chord (IV - I6 - IV). 4 its inversion. • Creates a 6 - 5 - 4 in the • It is a special type of pre-cadential soprano part progression which mostly uses the dominant (V), or tonic (I) • Not as a strong as the 1 - V6 - I chords in second inversion progression, so it is not used (V 6 / I 6 ). as much. 4 4 a) The dominant chord is used with 6 6 • The bass note functions as a the tonic chord (1 - V 4 - I). neighbour note. • Creates a strong 8 - 7 - 8 in 6 6 I6 V I IV I IV the soprano part 4 • The bass note functions as a passing note. Second Inversion Progressions Second Inversion Progressions

8 8 8 8 7 7 2. Passing 6 4 b) The tonic chord is used with the 4 3 4 6 subdominant chord (IV - I 4 - IV). • Creates a 4 - 3 - 4 in the soprano part 6 6 • Not as a strong as the 1 - V 4 - I progression, so it is not used as much.

6 6 6 6 I V 4 I I V 4 I • The bass note functions as a passing note. 6 6 6 6 • Like the passing 3 progression, the passing 4 progression can also be IV I 4 IV reversed!

Second Inversion Progressions Second Inversion Progressions

6 3. Neighbouring 4 3 4 4 3 4 4 • The dominant chord bass note functions as a neighbour note between two tonic chords. • All the other notes except the d o m i n a n t a l s o m o v e i n neighbouring motion 6 Similar qualities to a pedal • 4 6 6 6 6 IV I 4 IV IV I 4 IV 6 I V 4 I 6 6 • Like the passing 3 progression, this passing 4 progression can also be reversed! 8 8 Second Inversion Progressions 7 3 2 3

6 Passing Neighbouring 4. Pedal 4 6-3 6-3 • Generally avoided in chorales! • The bass doesn’t move (like a pedal note) I6 viio6 I I V6 I • It usually appears as an elaboration 8 8 of a root position tonic chord 7 8 7 8 • Can create static outer voices • The middle voices (alto and Passing Neighbouring 6 6-4 tenor) function as a neighbour I IV 4 I 6-4 notes, rising and falling by step.

6 6 6 I V I I V 4 I 4

Cadences With Inversions Cadences With Inversions

1. The chords used at cadences should always be in root position. 6 4. The Cadential 4 2. In this course, there are only two exceptions to this rule: 6 3 6 • uses two chords: I 4 2 • the passing 3 progression 1 • the cadential 6 (frequently), and IV6 (rarely) 4 Leading Note IAC! 4 6 6 3. Passing at a • The cadential 4 chord is 3 8 8 cadence - we’ve 7 always followed by a root actually seen before! chord using the same bass note. • Chord viio6 acts as a 7 • The 6th moves to the 5th substitute to chord V 6 5 The 4th moves to the 3rd I 4 V 3 I • Described as a leading note IAC V IV I6 viio6 I Cadences With Inversions

6 5. The Cadential 4 6 • uses two chords: I 4 6 (frequently), and IV 4 (rarely) 6 • The cadential 4 chord is always followed by a root chord using the same bass note.

The 6th moves to the 5th 6 5 • V IV 4 I 3 The 4th moves to the 3rd