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Lesson 4 Cadences & Pre-Dominants.Key Dominant 7th Chord Scale Degree Major Keys Minor Keys Frequency 7 7 Most popular seventh chord Dominant V V because it defines keys! FUNDAMENTAL HARMONY Secondary 7th Chords 7 7 Not at all common, though occasionally Tonic I i occurs and almost always root position 7 ø7 Very common!! Almost always in Supertonic ii ii first inversion Dr. Declan Plummer 7 7 Very rare! When it does occur, almost Lesson 4: Cadences & Pre-Dominants Mediant iii III always in root position Not at all common, though occasionally 7 7 Subdominant IV iv occurs and almost always root position 7 7 Not at all common, though occasionally Submediant vi VI occurs and almost always root position 7 7 Common in minor keys, sounds like V Subtonic VII of the relative major! ø7 ø7 o7 vii is not unheard of, but it’s not very Leading-Note vii vii strong and is often replaced by viio7 Dissonance & Secondary 7th Chords Start The 7th in all secondary 7th chords needs preparation in previous chord 6 prepared E$ major: ii I 6 V7 I 5 4 0:14 6 I ii 5 • supertonic is in first inversion 4 4 A$ major: V viio V I6 3 2 • the 7th has been prepared • and (like all 7ths) the 7th also needs to fall Preparation in Secondary 7th Chords Resolution in Secondary 7th Chords The normal resolution of a Secondary 7th is by root movement up a 5ths of chords are sometimes omitted to assist in the preparation and resolution of the 7ths 4th or down a 5th to a triad or another 7th chord • All the 7ths have been prepared I7 IV(7) IV7 viio(7) but usually V(7) • All the 7ths also need to fall to resolve ii7 V(7) vi7 ii(7) • Even the dominant seventh has been prepared iii7 vi(7) viio7 iii(7) or I (perhaps via V7) 0:11 0:21 6 F major ii vi ii V7 I 5 Start 3:25 Start C major: I6 I6 ii7 viio6 I Drew 6 B$ major: vi6 IV I6 ii7 5 C minor: iv7 A major: iii vi7 ii7 V7 Pre-Dominants (Chord I/i) Pre-Dominants (Chord ii, /iio) 1. Pre-Dominants are, as the name suggests, chords that come before 1. The supertonic chord can also be used as pre-dominant with the tonic: the dominant at cadences. 3 2 2 1 2. The simplest way to expand authentic cadences is to introduce the 2. This leads to a strong 3 - tonic chord as a pre-dominant (I - V - I or i - V - i). 2 - 2 - 1 soprano part, but again this means the 3 3 2 1 2 1 leading note of the key needs to be resolved from the alto to soprano part. I ii V7 I 3 2 2 1 3. Cadences should be in root position, but pre-dominants 7 (especially the supertonic) can I V I I V I be inverted! 3. This leads to a strong 3-2-1 soprano part, but means the leading note of the key needs to be resolved from the alto to soprano part. I ii6 V7 I Pre-Dominants (Chord ii7/iiø7) Pre-Dominants (Chord ii7/iiø7) 7 6 7 4. Supertonic is better as a 7th chord ( ), usually in first inversion ( 5 ). 5. Supertonic with a 7th can be used as a predominant to a V chord. • the 7th of the supertonic chord (which is also the tonic note of the key), needs to be prepared in the same voice of the previous chord. 6 • Therefore, in a major key I - ii 5 is a good pre-dominant progression because the 7th (the tonic note of the key) is already present in chord I. prepared 3 2 2 1 prepared 6 8 7 I ii 5 V I • supertonic is in first inversion • the 7ths of supertonic and the • the 7th has been prepared dominant chords both fall • the leading note of the key • the 8th creates a smoother 6 rises (albeit to another voice) tenor line (from ii to V to I). I ii 5 V I Pre-Dominants (Chord IV/iv) Pre-Dominants (chord vi/VI) 1. The subdominant chord can also be used as a pre-dominant. 1. The submediant chord can also be used as a pre-dominant, 4 usually in collaboration with chord ii (see Cycle of Fifths) 3 2 1 2. This leads to a strong 3 - 2. This leads to a strong 4 - 2 - 1 soprano part, 3 3 2 2 but means the leading 1 3-3-2-2-1 soprano note of the key needs to be part, but means the resolved from the alto to leading note of the soprano part. key needs to be resolved I IV V I f r o m t h e alto to 3 4 2 1 soprano part. 3. The 7th of the chord must 3. The 7th of chord ii7 fall (as usual) and the 8th must be prepared and creates a smoother fall as usual. tenor line (IV - V to I). I IV V8 7 I Pre-Dominants in Minor Keys Pre-Dominants in Minor Keys 1. Just like in major keys, the most common pre-dominants in minor keys are the tonic, supertonic and the subdominant chords: • the tonic is now minor (i) and usually in root position • the supertonic is either diminished (iio) in root position or, if the 7th is used, half-diminished (iiø7) in first inversion (common) • the subdominant is now minor (iv) and usually in root position i V i i V7 i • it should be noted that in minor keys, if a pre-dominant chord (usually chords iio and iv), has the 6th degree of the scale it • Leading note of key must rise should move by falling to the 5th degree of the scale found in the next chord (chord V). This is done to avoid any augmented • 7th of chords must fall intervals that would otherwise occur. Pre-Dominants in Minor Keys Pre-Dominants in Minor Keys 6th to 5th 6th to 5th 6th to 5th 6th to 5th prepared o6 ø6 8 7 i iv V i i iv V8 7 i i ii V i i ii 5 V i • Leading note of key must rise • The 7th of iiø7 must be prepared • Leading note of key must rise• In minor keys, 6th degree of the scale must fall to the 5th • 7th of chords must fall • In minor keys, 6th degree of the • 7th of chords must fall scale must fall to the 5th degree degree of the scale of the scale.
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