GRADE 6 MUSIC THEORY. First Inversions I V I. ii 5 V I I I 6 V I I V 7. Strong in the soprano part suggests a I - V - I chord progression.

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1 GRADE MUSC THEORY Dr. Declan Plummer Lesson : Pre-Cadential Chords & nverted Chord Progressions Pre-Cadential Chords. Deciding what chords to use as pre-cadential chords is determined by what chords go well together; what chords are implied by the melodic line; and personal taste. You must use good judgement and remember to follow voice-leading and harmonisation guidelines.. First, work out what is the implied cadence from the melody, and where the pre-dominants begin. The remaining phrase is the pre-cadential material. Pre-Cadential Cadence Material with Pre-Dominants Strong - - in suggests a - V - V ii V Strong - - in suggests a - V - vi Strong - - in suggests a - - V V vi V ii V ii V First nversions. First inversion chords are used in pre-cadential material to: give a smoother voice-leading by increase variety of bass pitches avoid consecutives provide more interesting music by creating instability in the bass line, which is then resolved. to lessen the importance of V and when they are not part of cadences V

2 First nversions. For a chord in first inversion ( ) it is possible to double the rd, since the chord has a passing function: the harmony is moving from chord to chord V and chord facilitates this movement!. The doubled rds are moving in contrary motion. No consecutives result from doubling the rd here! V First nversion Progressions. Passing A passing chord harmonises a passing note between a chord and its inversion. t is a special type of pre-cadential leading note chord (vii o ), in first inversion (vii o ). t is used mostly with the tonic chord in a - vii o - progression. The bass note of chord vii o functions as a passing note. The rd of the chord should be doubled! Never double the root of chord vii o vii o.why? Because the root of chord vii o is the leading note of the key, which wants to rise (lead) to the tonic: doubling the root means both notes want to rise to the tonic and you have consecutive octaves!. Neighbouring A neighbour chord harmonises a neighbour note between two pitches that imply the same chord. t is a special type of pre-cadential vii o vii o vii o dominant (V), or tonic () chords in first inversion (V / ). The standard passing - progression ( - vii o - ) can be reversed ( - vii o - ) which can produce other strong soprano movements: -- = - vii o - (standard passing -) -- = - vii o - (standard passing - reversed) -- = - vii o - (always this order for -- movement) First nversion Progressions a) The Dominant chord is used with the tonic chord ( - V - ). Creates a strong - - in. Also works with -- soprano part. neighbour note. V

3 First nversion Progressions. Neighbouring b) The Tonic chord is used with the subdominant chord (V - - V). Creates a - - in the soprano part Not as a strong as the - V - progression, so it is not used as much. neighbour note. V V Second nversion Progressions. Passing A passing chord harmonises a passing note between a chord and its inversion. t is a special type of pre-cadential dominant (V), or tonic () chords in second inversion (V / ). a) The dominant chord is used with the tonic chord ( - V - ). Creates a strong - - in passing note. V Second nversion Progressions Second nversion Progressions V V Like the passing progression, the passing progression can also be reversed!. Passing b) The tonic chord is used with the subdominant chord (V - - V). Creates a - - in the soprano part Not as a strong as the - V - progression, so it is not used as much. passing note. V V

4 Second nversion Progressions Second nversion Progressions V V V V Like the passing progression, this passing progression can also be reversed!. Neighbouring The dominant chord bass note functions as a neighbour note between two tonic chords. All the other notes except the d o m i n a n t a l s o m o v e i n neighbouring motion Similar qualities to a pedal V Second nversion Progressions. Pedal Generally avoided in chorales! The bass doesn t move (like a pedal note) t usually appears as an elaboration of a root position tonic chord Can create static outer voices The middle voices (alto and tenor) function as a neighbour notes, rising and falling by step. V Passing - Passing - vii o Neighbouring - Neighbouring - V V V

5 Cadences With nversions. The chords used at cadences should always be in root position.. n this course, there are only two exceptions to this rule: the passing progression the cadential Leading Note AC!. Passing at a cadence - we ve actually seen before! Chord vii o acts as a substitute to chord V Described as a leading note AC V V vii o. The Cadential uses two chords: (frequently), and V Cadences With nversions (rarely) The cadential chord is always followed by a root chord using the same bass note. The th moves to the th The th moves to the rd V. The Cadential uses two chords: (frequently), and V Cadences With nversions (rarely) The cadential chord is always followed by a root chord using the same bass note. The th moves to the th The th moves to the rd V V