1

The most frequently employed embellishment of pre-dominant function

appears over v4 in the bass voice (Ex. 1.13bd).
In some cases, two consecutive diminished-seventh chords prolong
pre-dominant harmony (Ex. 1.13e). The first diminished-seventh is built on 4 ;
the second, on v4 . Although the first chord is spelled like LKKr, it does not have
dominant function but rather serves in this context as a replacement for the
pre-dominant KKe from the minor mode.
Pre-dominants can also be built on the second and sixth degrees of the
scale by changing the position of the harmonies (Ex. 1.13fh).
Initial tonic embellishments. As discussed above, the initial tonic occurs
most frequently in first inversion, but the root-position form occasionally
appears as well; see Example 1.14a.
EXAMPLE 1.14

Authentic cadential progressionsinitial tonic embellishment

The initial tonic can be embellished, especially in expanded cadential progressions, by a neighboring Lt (Ex. 1.14b).
Various chromatic alterations can convert the initial tonic into a secondary dominant of KL or KK, thus emphasizing motion into the pre-dominant
(Ex. 1.14cd).
Half-cadential Progressions
In the authentic cadential progression, the final tonic is the harmonic goal. The
dominant occupies the penultimate (before-the-last) position and thus creates a
powerful dynamic impulse into the final tonic.
In the half-cadential progression, the dominant itself becomes the goal
harmony and thus occupies the ultimate position. To be sure, this dominant usually resolves to tonic, one that normally initiates a new harmonic
progression; but within the boundaries of the half-cadential progression
itself, the dominant possesses a sufficient degree of stability to represent a
harmonic end.
In order to become sufficiently stable as an ending harmony, the dominant
of the half-cadential progression must take the form of a root-position triad.
Adding a dissonant seventh, so appropriate for the penultimate position within

A REVIEW OF HARMONY

17