Predominant Seventh Chords: AP Music Theory Study Guide
Introduction
Hey there, future music theorists! Whether you're pumped up on caffeine or singing in the shower, it's time to dive into the beautiful complexities of predominant seventh chords. We're going to sprinkle a little music magic into those chord progressions, making your harmonic skills downright legendary. 🎶✨
Predominant Triads: A Quick Review
Before we get rolling with seventh chords, let’s refresh our brains on predominant triads. Remember the trusty ii and IV chords? These are your go-to chords to create tension and set up the dominant chord beautifully.
In the realm of tonal music, the minor ii chord (built on the second scale degree) and the major IV chord (built on the fourth scale degree) are often used as predominant chords. They act like those suspenseful moments in a movie that make you go, "Whoa, what's going to happen next?" These chords naturally lead to the dominant, making that transition oh-so-smooth. ⏩
Just as dominant chords yearn to resolve to the tonic, predominant chords crave moving towards the dominant. Phrases like I-V-I now get jazzier with I-ii-V-I or I-IV-V-I, giving your music that extra zing! 🎷
The Subdominant Triad (IV or iv)
The subdominant chord, or IV in major keys and iv in minor keys, is commonly the first predominant chord in a progression. Let’s take the key of F Major. The tonic (I) chord is F-A-C, and the IV chord is Bb-D-F. Notice how we kept F? It's like having your cake and eating it too - you get to keep some of the homey tonic feel while moving forward in your progression.
Think of the IV chord as the friendly neighbor who’s always there to lend a cup of sugar. Sweet and helpful, it holds some familiar notes, but it also pushes the progression along in a stepwise fashion, making everything feel harmonious.
The Supertonic Triad (ii or iio)
Feeling adventurous? Enter the supertonic triad (ii in Major, iio in minor). It's like adding a dash of hot sauce🌶 to your favorite dish – it spices things up! The ii chord serves as an alternative to the IV chord and appears often in first inversion (ii6 or iio6), giving a stronger predominant flavor by emphasizing the subdominant note in the bass.
If you want to wow your audience, layer the ii chord after the IV chord for an even more pronounced buildup towards the dominant. It’s like stacking plot twists in a thriller novel. 📚
Using Seventh Chords in the Predominant Section
Predominant seventh chords add depth and richness to your harmony. Most commonly, you’ll see the supertonic seventh chord in root position (ii7) or first inversion (ii 6/5). These chords love to show off in both major and minor keys and are the musical equivalent of showing up to a party in a tuxedo – classy and impressive!
Example Time: In C Major, a ii7 chord is D-F-A-C. In first inversion (ii 6/5), F would be in the bass, emphasizing its subdominant nature.
The ii 4/2 chord? Picture it like a cameo appearance in a movie. It sometimes just expands the tonic section (I-ii 4/2-I) but can also function as a predominant chord in progressions like I-ii 4/2-V 6/5-I.
Voice Leading from Predominant to Dominant Seventh Chords
If you thought writing soap opera plots was tricky, try voice leading! But don’t worry, contrary motion will be your best friend. When moving from a predominant chord to a dominant seventh (V7), you need to prepare the chordal seventh by a common tone to avoid those pesky parallel fifths. Think of it as lining up your books on a shelf – the more aligned, the prettier it looks. 📚✨
Special Cases: The Subdominant Seventh Chord (IV7 or iv7)
These chords are rare like finding a unicorn in the Common Practice Period style. But if they appear, they usually strut in root position, more common in minor keys. They bring a hint of tension and mystery, like a plot twist in a mystery novel. 🔍🎶
Voice Leading Fun with Predominant Seventh Chords
Voice leading with predominant seventh chords is akin to baking: follow the recipe closely, and you'll get a deliciously smooth result. If in root position, it’s okay to leave out the fifth. When removing the fifth in a ii7 chord, double the third (the 4th scale degree in the key) for that strong subdominant sound.
Remember, always resolve the chordal seventh downwards! It’s like gravity – what goes up must come down, at least in voice leading terms.
The only exception? Cadential 6/4 chords, which we’ll explore in Unit 5.6. Here, you hold onto the chordal seventh for one more chord before resolving it, creating a mini suspense-filled cliffhanger.
Key Terms to Review
Cadential 6/4 chords are magical, often creating a grand sense of resolution at the end of a phrase.
Chordal Fifth is your perfect fifth above the root, essential for defining the stability and quality of a chord.
Chordal Seventh adds tension, just like that pesky cliffhanger in your favorite series.
Common Tone connects chords smoothly, ensuring continuity in transitions.
Contrary Motion makes melodies move in opposite directions, creating balanced harmony.
I-ii-V-I and I-IV-V-I progressions are your bread and butter in chord progressions, widely used across genres to create resolution and tension.
Voice Leading guides voices from one chord to another smoothly, akin to choreographing a graceful dance.
Fun Fact 🎵
Did you know that Johann Sebastian Bach, the master of harmony, often used the ii7 chord in his chorales? He was the original artist to drop a sick beat... in baroque style, of course!
Conclusion
Predominant seventh chords are your secret weapon to adding rich, tension-filled harmonies that lead beautifully to the dominant and ultimately to the tonic. They're the plot twists, the surprise guest stars, and the climactic moments in your musical stories. 🎬🎼
Now, go forth and master those predominant seventh chords! With this guide in hand, you're ready to compose the most dramatic, tension-filled, and ultimately satisfying progressions that will leave your listeners on the edge of their seats – or, more accurately, at the edge of their chairs! 🎶😉
