3.2 Harmonic tension and resolution

Harmonic tension and resolution are key elements in creating engaging music. Understanding cadences, the dominant-tonic relationship, and harmonic rhythm helps songwriters craft satisfying musical journeys that captivate listeners.

Exploring secondary dominants, tritone substitution, and modulation opens up a world of harmonic possibilities. These techniques add color, interest, and emotional depth to songs, allowing for more complex and nuanced musical storytelling.

Cadences and Resolution

Types of Cadences and their Functions

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• Cadences are musical phrases that create a sense of an ending or resolution
• Authentic cadence (V-I) provides a strong sense of resolution and finality
• Plagal cadence (IV-I) creates a more gentle and subdued resolution (Amen cadence in hymns)
• Half cadence (any chord to V) leaves a sense of incompleteness or suspense
• Deceptive cadence (V-vi) subverts expectations by resolving to a different chord than the tonic

Dominant-Tonic Relationship

• The dominant-tonic relationship is fundamental to tonal harmony
• The dominant (V) chord contains a strong pull towards the tonic (I) due to the presence of the leading tone
• The leading tone is the 7th scale degree, which is a half-step below the tonic and naturally resolves upwards
• The dominant-tonic resolution is the strongest and most satisfying in tonal music (G7 to C in the key of C)

Harmonic Rhythm and its Effects

• Harmonic rhythm refers to the rate at which chords change in a musical passage
• Slow harmonic rhythm creates a sense of stability and calmness (one chord per measure)
• Fast harmonic rhythm increases tension and forward motion (chords changing on every beat)
• Varying harmonic rhythm can create interest and highlight important moments in the music

Harmonic Tension and Substitution

Secondary Dominants and their Functions

• Secondary dominants are dominant seventh chords that resolve to a chord other than the tonic
• They are used to create temporary tonicization of a non-tonic chord
• Secondary dominants are labeled with a slash, such as V/ii (read as "five of two") for the dominant of the ii chord
• Secondary dominants add harmonic color and variety to a progression (D7 to G in the key of C)

Tritone Substitution

• Tritone substitution is the replacement of a dominant seventh chord with another dominant seventh chord a tritone away
• The tritone is an interval of three whole steps (augmented 4th or diminished 5th)
• Tritone substitution works because both chords share the same tritone interval (3rd and 7th of the chord)
• Tritone substitution adds a smooth chromatic voice leading and a jazzy flavor to the harmony (Db7 instead of G7 in the key of C)

Modulation and its Effects

• Modulation is the process of changing from one key to another within a piece of music
• Common chord modulation uses a chord that belongs to both the original and the new key as a pivot point
• Chromatic modulation involves the use of chromatic chords (such as secondary dominants) to lead to the new key
• Modulation adds variety, expands the harmonic palette, and creates a sense of journey in the music (modulating from C major to G major)