Harmonic Progression, Functional Harmony, and Cadences

Harmonic Progression, Functional Harmony, and Cadences: AP Music Theory Study Guide

Welcome to the world of harmonic progressions, functional harmony, and cadences. Get ready for a musical journey where chords lead the way, creating paths to melodious destinations. Today, we're diving into the mystical land where scales and notes dance harmoniously around the one-and-only tonic. 🎶

So, what does it mean for music to be tonal? Imagine your piece of music has a BFF—the tonic pitch! This tonic is like the central character around which all other notes revolve. Think B-flat major and B-flat minor: both share the tonic, B-flat, but they have different sets of friends (notes) depending on their major or minor mood.

In the grand history of Western music, tonality emerged like the headliner at a major festival. Going way back to ancient Greece, their jams were mode-based. Medieval times brought church modes to the scene, changing things up. But the real party started during the Renaissance with more chromaticism and dissonance, setting the stage for the familiar major and minor keys.

The Baroque period (17th-18th centuries) was the golden age of tonal counterpoint, but it was the Classical period when music got transparent and rule-abiding. The Romantic period then spiced things up with more chromaticism and dissonance. Fast forward to the 20th century, some folks ditched tonality, but it remained crucial in genres like jazz and folk.

Every diatonic pitch and chord has a name—kinda like each student in Hogwarts belongs to a house. Whether you’re in Gryffindor (G Major) or Slytherin (D Minor), these chords often appear in predictable sequences known as harmonic progressions. These progressions map out the harmony, guiding your ears through the piece like a tour on a magical musical bus. 🚌

We use Roman numerals to label chords (I, IV, V, etc.), and these progressions often change rhythmically to keep things interesting. Harmonic rhythm, the pace at which these chords change, can drastically affect the feel of a piece. Picture it as speeding up the Hogwarts Express 🚂—same scenery but it all whooshes by faster.

The ultimate goal in tonal music is the tonic chord. For example, in E major, the tonic chord is E major, and we label it I. It's the home base, the place where musical folks like to hang out.

All other chords? They’re all about helping you get back to the tonic. They generally fall into two main camps: dominant and predominant.

Dominant chords (like the V and vii) are the eager-to-please wingmen of the tonic, always just a step away from delivering you home. In B-flat major, the V chord (consisting of scale degrees 5, 7, and 2) and the vii chord (degrees 7, 2, and 4) are like GPS signals guiding you straight to tonic town.

The V chord is a particularly strong guide because it contains what we call overtones (fancy talk for harmonically rich). Picture it as Gandalf shoving Frodo towards Mordor with a firm "You shall pass... to the tonic!" 🧙‍♂️

Predominant chords, on the other hand, are your intermediate guides, appearing before dominant chords. Think of IV and ii chords as the stepping-stones that make sure you don’t trip on your way to the final resolution.

The most basic and revered harmonic progression in the Common Practice Period (CPP) is tonic-dominant-tonic— the musical equivalent of "home-away-home." Typically, this progression shows up as I-V-I in major keys or i-V-i in minor keys. For instance, the "Happy Birthday" song often moves through a progression like I-V-I-IV-V-I, simplifying to I-V-I-IV-V-I over each phrase.

This I-V-I pattern is everywhere, from Bach’s intricate fugues to Taylor Swift's latest hits.

Just like sentences end with punctuation marks, musical phrases usually end with cadences. Four main types will be on your test:

• Half Cadence: Stops on a V chord, making you feel like the music is asking a question. It’s like reading a suspense novel and hitting an ellipsis... unfinished business awaits.

• Deceptive Cadence: The expected V to I is sneakily swapped out for, say, a vi. It’s the musical equivalent of someone saying “I have a surprise for you!” then handing you a potato instead of a present—still cool, but not what you expected. 🥔

• Plagal Cadence: Moves from IV to I, sometimes called the "Amen Cadence" because of its frequent appearance in hymns. It’s a peaceful, conclusive “end-of-prayer” resolution.

• Authentic Cadence: The dominant function V followed by a tonic I gives a powerful sense of closure. There are two types:

  • Perfect Authentic Cadence (PAC): Both chords are in root position, and the soprano voice ends on scale degree 1. Backstreet’s back, alright? 🎶
  • Imperfect Authentic Cadence (IAC): If either chord is inverted or the soprano ends on a non-tonic pitch, it’s like a PAC, but slouching—a bit of resolution, but not quite a standing ovation.

Classify these cadences as either conclusive (strong endings, the last chord in the concert) or inconclusive (leaves room for more).

And let's not forget the fan-favorite Picardy third! This guy is a major quality V-I cadence in a minor work, a final twist that brings a burst of unexpected sunshine 🎵☀️.

Did you know that the Happy Birthday song's harmonic progression mimics the journey of your actual birthday party? Think about it—the anticipation, the various peaks (presents, cake cutting), and the cheerful conclusion! 🎂

In the world of AP Music Theory, understanding harmonic progressions and cadences is like having the secret recipe to your favorite dish—it’s all about knowing the steps to bring flavors together. From the charm of a plagal cadence to the twist of a deceptive cadence, these harmonic elements create the ebb and flow, the questions, and answers in music.

So, grab your metaphorical baton, channel your inner conductor, and let’s ace that AP Music Theory exam! 🎼