Adding Predominant Function IV (iv) and ii (ii0) to a Melodic Phrase

Adding Predominant Function IV (iv) and ii (ii°) to a Melodic Phrase: AP Music Theory Study Guide

Welcome, harmony enthusiasts and chord progression wizards! 🎶✋ Get ready to dive into the mystical world of predominant functions in music theory, where IV and ii chords strut their stuff before handing the mic over to the dominant V chord. Think of them as the warm-up act that gets the crowd all hyped up for the main star! 🌟

Before we jump into the predominant party, let's brush up on the basics of harmonic functions. Each chord in tonal music plays a specific role:

• Tonic Chords (home base of the musical world): These chords include I, vi, and iii in major keys, and i, VI, and III in minor keys.
• Dominant Chords (the tension-building rollercoasters): These are typically V⁷ or vii° chords that steer the music back home to the tonic.

Tonic chords are the cozy sofas where the music rests, while dominant chords are like those suspenseful moments in a movie that make you want to throw your popcorn in the air!

Now, on to the real stars of today's lesson: Predominant Chords! Predominant chords (like IV and ii) serve as the musical middlemen that guide us from tonic tranquility to dominant drama. Picture them as the butter to your harmonic toast, smoothing the transition and adding flavor.

In tonal music, the IV chord (built on the fourth scale degree) and the ii chord (a minor or diminished chord on the second scale degree) are the predominant harmonies. Just like a good movie trailer, they build anticipation and lead directly to the main event: the dominant chord.

Consider a simple progression: I-IV-V-I (like the sonic equivalent of a Hollywood blockbuster trailer). By adding predominant chords, your progression could now become I-ii-V-I or I-IV-V-I, creating more intricate harmonic textures.

Here’s how these progressions typically look in major and minor keys:

Major Keys: Tonic (I) → Predominant (IV or ii) → Dominant (V) → Tonic (I).

Minor Keys: Tonic (i) → Predominant (iv or ii°) → Dominant (V) → Tonic (i).

Think of it like baking a delicious cake – you don't just throw in flour and sugar; you add eggs, butter, and a pinch of salt to make it all come together beautifully.

The subdominant chord (IV in major, iv in minor) is the reliable workhorse of predominant chords. It's a perfect fifth below the tonic, naturally gliding you down the music theory slide. For example, in F Major, the I chord is F-A-C, and the IV chord is Bb-D-F. Smooth as peanut butter, right? 🥜

Let's say we took this progression for a spin:

Imagine if our hearts skipped a beat when we flipped the iv chord to the iv6 inversion, giving off some extra oomph. This "first inversion" situation is like adding a plot twist mid-story, keeping things fresh and engaging.

For those who crave a bit of spice, the supertonic chord (ii in major, ii° in minor) is your go-to. It’s like swapping out vanilla for cinnamon. While the iv chord keeps things comfy, the ii chord adds an exciting zing.

Using ii chords in first inversion (ii6 or ii°6) makes the bass note the subdominant, emphasizing its predominant glory. You can also double the third for extra pizzazz. Just make sure if you’re going from IV to ii, the IV always comes first, like a proper sequence in a great TV show.

Now, let’s sprinkle in some extra magic with the ii7 chord. In major scales, ii7 is often a predominant chord that leads to the big, bold dominant (V). In minor scales, ii7 can moonlight as a tonic substitute, adding a dash of variety to your chordal show.

When predominant chords lead to V7, watch out for voice-leading tricks to keep things smooth. Move in contrary motion to avoid those pesky parallel fifths. The goal is harmony, not dissonance! 🎭

Let’s wrap this up with a quick harmonic checklist:

• Major Keys: Tonic (I) → Predominant (IV, ii6, ii) → Dominant (V) → Tonic (I).
• Minor Keys: Tonic (i) → Predominant (iv, ii°6, ii°) → Dominant (V) → Tonic (i).

Remember, predominant chords come before the dominant section. And always use contrary motion with the bass to avoid any musical mishaps.

Did you know that Mozart often used ii6/5 chords to add flair to his compositions? A little harmonic garnish makes all the difference!

• Cadence: The musical phrase that brings closure.
• Contrary Motion: Opposite-direction movement in melodic lines.
• Dominant Chords: Tension-building harmonies.
• Predominant Harmonies: Chords that set the stage for the dominant.
• Tonic Chords: The musical home base.

Armed with the knowledge of IV and ii chords, you're now ready to add some serious flair to your melodic phrases. Think of these chords as the secret sauce that adds depth and excitement to your music. So go ahead and experiment – your harmonic adventures await!🎵✨