🎹Tonal Composition Unit 3 – Harmonic Progressions and Cadences

Key Concepts and Terminology

• Harmonic progression refers to the sequence of chords used in a musical composition
• Cadence is a melodic or harmonic configuration that creates a sense of resolution or conclusion
• Tonic, subdominant, and dominant are the three primary harmonic functions in tonal music
• Diatonic chords are built using only notes from the prevailing key signature
• Chromatic chords introduce notes outside the key signature for added color and tension
• Inversion describes the arrangement of a chord's notes, with the bass note determining the inversion (root position, first inversion, or second inversion)
• Figured bass is a shorthand notation system for indicating chord inversions and non-chord tones

Harmonic Function and Chord Relationships

• Tonic function provides a sense of stability and resolution, often using chords built on the first scale degree (I, i)
• Subdominant function creates a sense of departure or movement away from the tonic, typically using chords built on the fourth scale degree (IV, iv)
• Dominant function generates tension and a strong desire to resolve back to the tonic, primarily using chords built on the fifth scale degree (V, v)
• Predominant function bridges the gap between tonic and dominant functions, often using chords such as ii, IV, or vi
• Relative relationships exist between chords that share common tones, such as the relative major and minor keys (e.g., C major and A minor)
• Parallel relationships occur between chords of the same root but different qualities, such as major and minor triads (e.g., C major and C minor)
• Secondary dominants are chords that temporarily tonicize a non-tonic chord, creating a brief sense of resolution to a new key center

Common Chord Progressions

• I-IV-V-I is a fundamental chord progression in popular and classical music, embodying the essential harmonic functions (tonic, subdominant, dominant, tonic)
• I-vi-IV-V is another common progression, often used in pop and rock music (e.g., "Let It Be" by The Beatles)
• ii-V-I is a prevalent progression in jazz and other styles, featuring a strong pull towards the tonic through the use of the supertonic and dominant chords
• I-V-vi-IV is a progression frequently used in modern pop and rock music (e.g., "Someone Like You" by Adele)
• Blues progressions typically use a 12-bar form with chords I, IV, and V, creating a distinctive sound and feel
  • The basic 12-bar blues progression follows the pattern: I-I-I-I-IV-IV-I-I-V-IV-I-I
• Descending fifths progressions move through a series of chords related by perfect fifth intervals, creating a sense of sequential motion (e.g., I-IV-vii°-iii-vi-ii-V-I)

Types of Cadences and Their Uses

• Authentic cadence (V-I) provides a strong sense of resolution and finality
  • Perfect authentic cadence (PAC) occurs when the melody ends on the tonic note and the chord is in root position
  • Imperfect authentic cadence (IAC) occurs when the melody ends on a non-tonic note or the chord is inverted
• Plagal cadence (IV-I) offers a softer, more subdued resolution compared to the authentic cadence
• Half cadence (I-V) creates a sense of incomplete resolution, often used in the middle of a phrase or section
• Deceptive cadence (V-vi) subverts the expected resolution of the dominant to the tonic, instead moving to the submediant chord
  • This cadence can be used to extend a musical idea or create a sense of surprise
• Phrygian half cadence (iv6-V) is common in Baroque music and features a semi-tonal motion in the bass from the first inversion of the minor subdominant to the dominant
• Cadential 6/4 is a chord progression (I6/4-V-I) that emphasizes the dominant-tonic resolution by approaching the dominant chord through a second inversion tonic chord

Voice Leading in Harmonic Progressions

• Voice leading refers to the way individual melodic lines (voices) move from one chord to the next in a harmonic progression
• Smooth voice leading minimizes the distance between the notes of adjacent chords, creating a sense of coherence and continuity
• Common tones between chords should be retained in the same voice whenever possible to maintain a sense of connection
• Contrary motion, where voices move in opposite directions, can help maintain independence and clarity between the lines
• Parallel motion, where voices move in the same direction and maintain the same interval, should be used sparingly to avoid parallel fifths and octaves
  • Parallel fifths and octaves can diminish the independence of the voices and create an undesirable tonal effect
• Oblique motion occurs when one voice remains stationary while the other voices move, which can be useful for creating a sense of stability or emphasis
• Voice crossing, where one voice moves above or below another voice, should be used judiciously to avoid confusion between the lines

Analyzing Harmonic Progressions in Music

• Identify the key of the piece by examining the tonic chord and the overall tonal center
• Label each chord with its roman numeral, representing its scale degree within the key (e.g., I, ii, iii, IV, V, vi, vii°)
  • Use uppercase numerals for major chords and lowercase numerals for minor chords
  • Use a degree symbol (°) to indicate diminished chords and a plus sign (+) for augmented chords
• Determine the harmonic function of each chord (tonic, subdominant, dominant, or predominant) based on its scale degree and context within the progression
• Identify any non-chord tones, such as passing tones, neighboring tones, suspensions, or appoggiaturas, which can add melodic interest and complexity to the harmonic progression
• Analyze the voice leading between chords, noting any instances of smooth voice leading, common tones, contrary motion, or other significant features
• Identify cadences and phrase structures within the harmonic progression to better understand the overall form and structure of the music

Composing with Harmonic Progressions

• Begin by establishing a clear tonal center and key for your composition
• Use a variety of harmonic functions (tonic, subdominant, dominant, and predominant) to create a sense of movement and direction in your progression
• Employ common chord progressions as a starting point, then experiment with variations and substitutions to create a unique sound
• Use secondary dominants and other chromatic chords to add color, tension, and interest to your harmonic progression
• Pay attention to voice leading when connecting chords, aiming for smooth, logical motion between the voices
• Use cadences strategically to create a sense of resolution, tension, or surprise at key points in your composition
  • Perfect authentic cadences are well-suited for ending a section or piece, while deceptive cadences can be used to extend a musical idea
• Consider the relationship between your harmonic progression and the melody, ensuring that they complement and support each other
• Experiment with different chord voicings, inversions, and spacings to create a rich and varied harmonic texture

Advanced Techniques and Variations

• Modal interchange involves borrowing chords from parallel modes to create a sense of color and emotional depth (e.g., using a bVII chord in a major key)
• Neapolitan chords (bII) can be used as a predominant function chord, often resolving to the dominant or leading to a cadential 6/4 chord
• Augmented sixth chords (Italian, French, and German) are chromatic predominant chords that create a strong sense of tension and resolution, typically resolving to the dominant
• Tritone substitution replaces a dominant chord with a chord a tritone away (e.g., substituting Db7 for G7 in the key of C), creating a smooth chromatic voice leading
• Pedal points (or pedal tones) sustain a single note (usually the tonic or dominant) while the other voices move around it, creating a sense of stability or tension
• Modulation is the process of changing keys within a composition, which can be achieved through various techniques such as pivot chords, direct modulation, or sequential modulation
• Tonicization temporarily establishes a new tonal center within a piece without fully modulating to a new key, often through the use of secondary dominants or other chromatic chords
• Non-functional harmony, such as pandiatonicism or quartal harmony, can be used to create a sense of ambiguity or to break away from traditional tonal hierarchies