| A | B |
|---|
| II[6/3] | Function is to lead from the extended tonic to the cadential dominant and to intensify the latter chord= Is an INTERMEDIATE HARMONY when it connects I and V in the progression I-II[6/3]-V-I |
| Intermediate Harmony | Connects the initial I and the V of the basic I-V-I progression= Although many chords can function as intermediate harmonies, IV, II, and their derivatives form the most important possibilities= REMEMBER: The function of these intermediate harmonies is to lead TOWARD V, not away from it= Thus, I-IV-V-I or I-II-V-I but not I-V-IV-I or I-V-II-I |
| Intermediate Harmony: IV and II (and their derivatives) | The lead into and intensify the dominant harmony= Their roots lie between s.d. 1 and 5= Both are active scalar elements (unlike s.d. 3, which has the stability of a tone belonging to tonic harmony) |
| [I-IV-V], [I-II-V], and [I-II^6-V] | I-IV-V and I-II-V are more intense progressions than I-I^6-V (whose bass arpeggiates the stable tones s.d.'s 1, 3, and 5)= Also, the three chords of these new progressions (II, II^6, IV) contain all the notes of the scale= This helps to express the key, as does the inevitable juxtaposition of s.d. 4 (in II or IV) and s.d. 7 (in V), which, between them , produce the key-defining interval of the diminished 5th |
| Moving from IV or II to V | We can easily use a descending soprano line, so often appropriate at cadences= IV stands on the scale step just below V and leads into it by stepwise bass motion= II is the upper 5th of V and moves to it through the fundamental harmonic progression of the falling 5th (or rising 4th) |
| IV and II can move to what? | A cadential V or a noncadential V |
| IV/II moving to a cadential V | Typically appear shortly before (often, immediately before) the cadential V...so they form part of the cadence (enables us to use an expanded cadence) |
| Subdominant Harmony: IV | IV lies a 4th above or a 5th below the tonic= The progression I-IV is analogous to V-I (falling 5th), the I moving easily/naturally to IV= IV lies a step below V= There is a strong melodic connection between the two chord roots |
| Two triads with roots a 2nd apart | Share no common tones |
| Moving from IV to V | All four voices must proceed to a new note= The absence of common tones makes it very easy to produce parallel 5ths and octaves= To avoid them, lead the upper voices in contrary motion to the bass= As with most [5/3] chords, the root is usually the best tone to double |
| 4 Part Writing: IV | Any of the three tones that belong to IV (s.d.'s 4, 6, 1) can appear in the soprano= At CADENCES, s.d. 4 (moving to s.d. 2 over dominant harmony) and s.d. 1 (moving to s.d. 7) are the most usable= The same melodic tones can occur when IV moves to a noncadential V |
| I-IV-V: What does IV often support? | IV supports s.d. 6 as upper neighbor to s.d. 5 in the progression I-IV-V |
| Supertonic Harmony: II | II lies a 5th above V and a step below I= Thus, its connection with V is a harmonic one (similar to V-I)= Its relation to I is melodic (similar to IV-V) |
| I and II | Like IV and V, I and II have no tones in common |
| I-II | To avoid bad parallels, you can lead the upper voices in contrary motion to the bass (just as with IV-V)= You can also use parallel 10th in the outer voices while the inner voices will move in contrary motion to the outer ones, and II will have a doubled third |
| II-V | II and V share s.d. 2 as a common tone= We can repeat the common tone in the same voice= The remaining two voices will normally move up by step= Very often however, the upper voices will all descend (much as with IV-V)= This allows s.d. 1 to be preceded by both its adjacent tones, scale degrees 2 and 7 |
| 4 Part Writing: II | Tends to support s.d.'s 2 and 4 in the soprano more often than it supports s.d. 6= THUS, Iv will harmonize s.d. 6 more frequently than II will= At cadences, the typical possibilities are scale degrees 2-7, 2-2, and 4-2, all over II-V |
| I-IV-V vs. I-II-V | I-II-V cannot harmonize the neighboring motion of scale degrees 5-6-5 because of the 5ths that would occur between I and II |
| II: Minor | In minor, II is a diminished triad= RESULT: Because of its unsatisfactory quality, II[5/3] in minor is usually avoided and the [6/3] position is used instead |
| II: Major | Presents no problems of doubling |
| II: Minor and doubling | In minor, doubling the 3rd of II[5/3] improves its sonority because the 3rd is the only tone that does not form a dissonance with one of the other chord members= However, if the soprano contains s.d. 2, the doubled root is the only possibility |
| II^6: When and what does it lead to? | (Is a cadential chord) Leads very convincingly to V (occurs often at cadences) |
| II^6: What is it related to? | Besides its obvious relation to II, it is also closely related to IV= THe progression II^6-V combines features of II-V and IV-V |
| II^6-V: What is it similar to? How/why? | Combines features of II-V and IV-V= This progression embodies the root progressions by falling 5th of II-V (though expressed less strongly) the root of II not being in the bass= And it has the stepwise bass line of IV-V |
| II^6: Minor | In minor, II^6 can occur freely= As with VII in major, the DIMINISHED triad sounds less harsh in [6/3] |
| I-II^6 vs. I-II^[5/3] | Moving from I to II^6 is often less problematic than moving to II^[5/3]= An exception would be when you have open position with s.d. 3 in the soprano (it is easy to get parallel 5ths between the inner voices) |
| II^6-V: Resolution | In II^6-V, the upper voices usually descend, s.d. 2 moving to s.d. 7= Very often, the progression scale degrees 2-7 occurs in the soprano= Retaining s.d. 2 in the soprano is usually avoided (especially in minor where you are likely to get a melodic augmented 2nd) |
| II^6-V: Resolution (in minor) | In moving from II^6 (or II) to V in minor, the diminished 5th or augmented 4th between scale degrees 2 and 6 CANNOT resolve normally= Scale degree 6 can (and usually should) descend to s.d. 5, but s.d. 2 cannot ascend to s.d. 3 (for the V chord does NOT contain that tone)= However, the harmonic force of the progression is sufficiently strong to offset the melodic irregularity |
| II^6: Doubling | The bass is very frequently doubled, both in major and (especially) in minor= In major, the doubling of s.d. 2 is also quite frequent= The doubling of s.d. 6 is less frequent (particularly in minor where it will probably produce a melodic augmented 2nd) |
| V^7: What chords move very easily to V^7 ? Why | IV, II, and I^6 all lead easily to V^7= All contain s.d. 4 (at the change of harmony, this tone becomes the 7th of V^7)= If we keep s.d. 4 in the same voice, first as a consonance, then as the dissonant 7th of V^7, the dissonance is said to be PREPARED |
| V^7: Prepared 7th | If the prepared 7th is metrically strong, it functions as a suspension= The good effect of preparing the 7th justifies irregular doubling, especially where the soprano moves away from s.d. 4 and cannot keep it as a common tone |
| V^7: Approaching the 7th | The 7th of V^7 can enter by leap (the preparation occurring in another voice) |
| IV-V^7 or II^(6)-V^7: Creating a beautiful soprano line | The melodic leap of a diminished 5th from s.d. 4 down to s.d. 7 (normally moving on to s.d. 1) can create a beautiful soprano for the progression from IV or II^(6) to V^7 |
| I^6: What can it lead to? | Can lead into IV and II^6 (especially at cadences) |
| I^6-IV or I^6-II^6: What type of progression guarantees a smooth and natural connection? | Stepwise bass progression (scale degrees 3-4) guarantees a smooth and natural connection between the I^6 (which represents tonic harmony) and the IV or II^6 |
| I^6-IV: When using a stepwise bass progression (s.d. 3-4), what should you be careful about? | Be careful about parallel octaves |
| What does a I^6 leading to IV or II^6 make possible? | Makes possible a great way of moving from the initial tonic of a phrase to the cadential dominant: Connecting these 2 chords by means of a bass rising by step from I to V= A passing V^[4/3] provides the stepwise link between I and I^6 (VII^6 would also be possible)= In general, II^6 lends itself to this progress more readily than IV does (there are more good possibilities for the soprano and fewer voice-leading difficulties)= Still, however, IV is also usable |
| Stepwise bass connecting I and V | I---V^[4/3]---I^6---II^6---V |
| VII^6, V^6, and the inversions of V^7: Describe | Can function as melodic, contrapuntal equivalents to root-position V= These inverted chords are particularly useful in avoiding an unwanted cadential effect |
| Moving to VII^6, V^6, and to the inversions of V^7 | IV, II, and II^6 can move to any of these chords= One of the most useful possibilities is IV or II^6 moving over a stationary bass to V^[4/2] |
| Moving from II to V^[6/5] | Produces a particularly smooth bass line (compared to with the much sharper effect of leading IV or II^6 to V^6 or V^[6/5]) |
| IV or II^6 moving to V^6 or V^[6/5] | These progressions often result in a dissonant leap= Of the two possibilities (augmented 4th or diminished 5th), the diminished 5th is almost always better because the subsequent motion to s.d. 1 changes direction and produces a more flowing bass line |
| Melodic progression ascending by step from scale degrees 5 to 8 | Might be encountered at the beginning or in the middle of a phrase (less often at the end)= What might seem the most likely harmonization (I-IV-V-I) is difficult to achieve without parallels= One way of averting them is to use descending leaps in both the inner voices |
| Melodic progression ascending by step from scale degrees 5 to 8: Best harmonization | By replacing V by VII^6, V^[4/3], or V^[4/2] (in the progression I-IV-V-I that might harmonize a melodic progression ascending by step from scale degrees 5 to 8), all difficulties of voice leading disappear= An because the line s.d.'s 5-6-7-8 usually occurs in places where a strong cadence is not needed (or might even be inappropriate), the absence of a root-position V is frequently an advantage= I^6 can replace I^[5/3] at the beginning or end of this progression, possibly preceded by V^[4/2] |
| Expanding Supertonic Harmony | Supertonic harmony is often expanded by moving from II to II^6 (or the reverse, in a manner exactly similar to the expansions of I and V by I^6 and V^6) |
| A passing "I^6" | (Expanding supertonic harmony) Often appears between II and II^6= Such a chord is a "tonic" in appearance only, not function (hence the quotation marks)= It is neither the beginning nor the goal of a harmonic motion but, rather, a detail within the unfolding of the II chord= Such "I^6" chords are usually in relatively weak rhythmic positions |
| Passing from II to II^6 | Gives us another possibility for a rising stepwise bass from I to V |
| IV-II^6 | IV and II share two common tones and are thus closely associated= The basis of this association is contrapuntal: a melodic motion above a sustained bass |
| IV-II^6: The 5-6 Technique | If we start with a IV chord and move its 5th up to a 6th (thus: F-A-C to F-A-D), we produce a II chord in [6/3] position, a procedure called the "5-6 Technique"= Sometimes, the bass will leap down a 3rd at the same time that the 5th of IV moves up to a 6th (this produces the succession IV-II) |
| 5-6 Technique: What happens when the bass leaps down a 3rd at the same time that the 5th of IV moves up to a 6th? | Produces the succession IV-II |
| II^[5/3]: Minor | Often, II^[5/3] hardly occurs in minor because of the harsh quality of the diminished triad in root position= HOWEVER, if it follows II^6 or IV and occurs without rhythmic stress, the chord loses much of its unpleasant quality |
| Harmonic Syntax | Refers to the arrangement of chords to form progressions |
| Harmonic Syntax Rules: The bass tones of V^6, VII^6, and the inversions of V^7 | The bass tones of V^6, VII^6, and the inversions of V^7 must continue by step to I or I^6 unless the bass tones occur within an arpeggiation that expands V or V^7 |
| Harmonic Syntax Rules: Intermediate Harmonies | Move to V, V^6, V^7 and its inversions, or VII^6= They DON'T FOLLOW these chords |
| Harmonic Syntax Rules: Intermediate Harmonies do not lead to... | I or I^6 |
| How can you contradict the meter (i.e. neutralize the metric accent)? | You can repeat a BASS TONE from a weak to a strong beat while changing the chord it supports (EX: IV-II^6) |
| Subordinate Progressions | Are (smaller) chord progressions within a larger progression (EX: in progression I-IV-V, you can expand the I of this progression through subordinate progressions) |
| Subordinate Progressions: Extending the initial tonic of a phrase | Can extend the initial tonic of a phrase through IV, II, or II^6 moving to a noncadential V^(7) |
| Subordinate Progressions: I-II^6-V^7-I | You can expand/extend the initial tonic through the subordinate progression [I-II^6-V^7-I]= This first succession of chords (expanding/extending the initial I-tonic of the larger phrase) is called a "SUBORDINATE HARMONIC PROGRESSION" |
| If the Subordinate Progression threatens to produce an inappropriate cadential effect... | I^6 can be used in place of the final I, or an inversion of V^(7) or VII^6 in place of the V, or both |
| Incomplete Harmonic Progression | Sometimes, IV, II, or II^6 will begin a phrase/piece= This type of chord progression (e.g. II^6-V^7-I)...or simply one that lacks an initial tonic) is called an "Incomplete Harmonic Progression" |
