| A | B |
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| IV: Expanding Tonic Harmony | I-IV-I= Instead of IV moving to V, IV moves back to I and thus is a great way to expand tonic |
| I-IV-I vs. I-IV-V | In I-IV-V, the temporary stop on V would introduce a much higher degree of tension= By extending tonic harmony without using V (or any chord containing the leading tone), I-IV-I serves an important source of variety= Through contrast, it enhances the directional pull of dominant harmony once it arrives |
| I-IV-I vs. I-V-I | Comparing the bases of I-IV-I and I-V-I (EX: in A major, A-D-A and A-E-A), we see that the latter unfolds the 5th of tonic harmony (A-E) whereas the former does not= Thus, I-IV-I does NOT express the key nearly as strongly as I-V-I does and is thus a distinctly SUBORDINATE PROGRESSION |
| When does I-IV-I generally occur? | Generally occurs either before or after a progression in which the tonic is securely established by a strong dominant (e.g. I-V-I) |
| I-IV-I: What is this progression often associated with? | Associated with a neighbor progression in the melody (e.g. the upper-neighbor figure s.d.'s 5-6-5)= IV, which contains the upper neighbors to s.d.'s 3 and 5 plus s.d. 1 as a common tone, works very well as a neighboring chord to I= (II also contains s.d.'s 4 and 6 as upper neighbors to s.d.'s 3 and 5, but the absence of a common tone makes it almost impossible to secure good voice leading for the progression I-II-I)= Another important neighboring motion, s.d.'s 3-4-3, can also be supported by I-IV-I= Although I-IV-I most often supports a neighboring motion in the soprano, other possibilities exist |
| I-IV-I: Neighboring motion that isn't in the soprano | Although I-IV-I most often supports a neighboring motion in the soprano, other possibilities exist= The neighbors could be in the middle voices while the melody stays around s.d. 1= Here, the effect is that of an incomplete progression IV-I rather than the usual I-IV-I |
| I-IV-I: What other chord can be used? | I^6 can represent either or both of the tonic chords, frequently with 10ths between bass and soprano |
| Plagal Cadence | The progression IV-I used as a cadential formula, is called a plagal cadence= Because motion between IV and I lacks the key-defining power of the V-I progression, plagal cadences have a much more limited function than do Authentic (V-I) cadences |
| Plagal Cadence: Where/when do they occur? | Typically occur at the very end of a composition (e.g. as in the Amen at the close of a hymn)= Emphasis on the subdominant can be very beautiful at the end of a piece because this chord (a 5th below the tonic) often generates a feeling of repose= In such cases, the "finality" of the closing tonic has already been established by stronger tonal forces earlier in the piece= Often, a plagal cadence follows immediately on an Authentic one and gives added emphasis to the tonic |
| IV^6 | Like IV, IV^6 can move within an expanded I, leading directly from one tonic to another= It does so in the context of the progression I-IV^6-I^6 |
| I-IV^6-I^6 | In this very important progression, IV^6 supports a passing tone ascending from s.d. 3 to 5= The bass moves from I to I^6 (NOT up a 3rd by step as is usual, but DOWN a 6th by LEAP)= (This is a characteristic function of IV^6) |
| Why/when is the characteristic function of IV^6 important? | Can be most valuable especially if a leading-tone chord (VII^6 or V^[4/3]) is not wanted as the support for s.d. 4= Resultingly, IV^5/3 does not work very well in this situation; the root-position chord following a large leap in the bass creates too heavy an effect for the passing function of the chord |
| Describe the bass motion between I and I^6 | Motion between I and I^6 with a stepwise bass works well in both directions (I-VII^6-I^6 or I^6-VII^6-I)= HOWEVER, the progression I-IV^6-I^6 is NOT reversible (I^6-IV^6-I does NOT occur)= Nor will I-IV^6-I^6 appear with the bass rising a 5th from IV^6 to I^6 |
| Why will I-IV^6-I^6 never appear with the bass rising a 5th from IV^6 to I^6? | The reason is that s.d. 6 between two tonic chords is heard as upper neighbor to s.d. 5= Now if s.d. 6, as bass tone of IV^6, leaps down to I^6, we hear it resolving to an inner-voice s.d. 5, either actually present or implied= But if s.d. 6 leaps up (either to I or I^6), it is left exposed and unresolved= On the other hand, a leap of a 6th from IV^6 down to I creates a needlessly discontinuous bass |
| What is another contrapuntal function of IV^6? | Is to move between the root position and first inversion ([6/3] or, more frequently, [6/5]) of DOMINANT HARMONY= IV^6 often introduces the 7th in an elaboration of V^[8-7] |
| VI and I | VI and I share two common tones (s.d.'s 1 and 3)= Therefore, VI can substitute for I where the latter might be expected (after V or V^7)= This substitution can forestall excessive repetitions of I |
| VI as a substitute for I: Example | The soprano descends from s.d. 4 (over V^7) to s.d. 3 (over VI), a frequent melodic patter which VI substitutes for I= Also, the VI can then go on to carrying the line on to the cadential II^6 (in contrast to I, which creates less forward motion)= You can also have the soprano for V^7-VI be the same for the V^7-I that may appear shortly after (both end on s.d. 1)= The two contrasting harmonizations of s.d. 1 create variety in a great way (and also, by using VI the first time prevents a cadential effect too early in the passage) |
| V(^7)-VI: Doubling | The 3rd of VI is doubled= This is usual for this progression because the doubled 3rd allows s.d. 7 to move to sd. 8 and prevents parallel 5ths or (in minor) an augmented 2nd |
| Deceptive Cadence | V-VI or V^7-VI= Simply put, is a progression where a VI is substituted for I where a cadence is expected= The deceptive effect is strongest if the soprano is the same as in a perfect authentic cadence (i.e. s.d.'s 2-1 or 7-1) |
| Deceptive Cadence: Effect | They are inconclusive= They create no sense of repose/peace: on the contrary, they produce a suspense that goes away only when the total stability is regained, usually through an authentic cadence= By delaying resolution to a goal tonic, they intensify the feeling of resolution when that tonic eventually arrives |
| Deceptive Cadence: Where might it be seen/used? | The deceptive cadence can form part of a rising-bass progression s.d.'s 5-6-7-8 that leads through V^[6/5] to I= This progression will NOT work in minor because of the augmented 2nd between s.d. 6 and s.d. #7, though a chromatic variant of it is quite feasible |
| IV^6 and VI | VI and IV^6 are closely related chords that frequently appear in similar situations= Thus, IV^6 will sometimes appear instead of VI at a deceptive cadence, where it has the effect of temporarily turning the 7th of V^7 into a consonance= Also, VI will sometimes replace IV^6 in leading down a 6th from I to I^6 |
| IV^6: What can it do | Can function as a passing chord between the root position and first inversion of V, but ONLY in MAJOR |
