Harmonic Organization |||: Function and Cadences 7, TS-D-1T CHORD FUNCTIONid 7th scale ¢ es, the 4th an le d, * Within the major scale, the a ne rete rdiand ch relati ips to the mo: * have —s Fre because they have i a? P Tesolye rl alled ten i olution tones beca cond zea degrees 1 and 3 are rr oe Rite yo. sc the half step. Se f eer In} P solve 4 " tones Mo’ Ve s to which the active st stable tones—_j ,,° eae 4 and 7 by moving a half step to the closes Ag instal a ¥ . z to the 3 (Mf) and the 7 (74) resolves to tonic | (Do). The Fesolutio, moves to “Steg ton; by Wine ac eee scale degree (Le) pig down a half ES 5 (So). The leading tone (T#) again resolves upward to Do. . Now that we are stacking up notes into chords, the ee a. with the chord (instability or degree of activity) is determine Pa : fe f ty : es ity of its members. Just by Te s this a eas a i |—3-5 are at . Compare aed aoe ee 4 and 7 (vii? and V7). The leading-tone trig , dominant seventh chords are very “active” chords, with the Most active mem} wanting to resolve. Quite simply, that is why in common-practice style mus vii and V’ chords generally progress to the tonic chord. We See ok 40 4 7 STABLE ——————> UNSTABLE Now let’s compare a single major chord (G-B_D) in three very differ: tions. As tonic (I) in G Major (chord members 1-3-5), the chord is ver As subdominant (IV) in D Major (4-6-1) the chord has two members toward the right of the chart but one member all the way to the left (i reduces the level of activity of the 4 and 6, The dominant triad (V) in | (5-7-2) has one tone to the far right (7), one in the middle, and on: toward stable—producing a more active chord than IV. We are comp same chord to a different FUNCTION. Using th is stability chare we can « which chords function as part of the same group or family. Here are our families according to FUNCTION: Y Tonic Subdominant or Predominant Domina Ti and vi VI IV iv and iii? VHarmonic Organization Ill: Function and Cadences so what about the mediant (ji, II, or III) chord? Ie is really a “chameleon” chord, changing dramatically depending on what chord member is doubled and sdhat chords are around it, The iit chord contains Zand 5, both fairly stable tones, tur also 7, the most active tone; therefore, this chord often functions both as tonic vad as dominant. The mediant chord (III in natural minor) is found occasionally sn the AP Music Theory exam, primarily in identification. It is not used in har- vronic dictation, realizing figured bass, or in part writing from Roman numerals. ‘Therefore, in this guide there is little mention of the role of the mediant chord. The tonic family chords (I and vi) are the most stable and therefore are most ofeen a goal or “destination.” Dominant family chords (vii? and V) are the most sive and move music forward with energy to resolve (most often to a member “fthe tonic family). The leading-tone triad contains both Ti and Fa—the ten- dency tones that need to be resolved — The subdominant family (chords TV, iv, is most often in first inversion (vii). i°) ate generally considered transition chords. Their “job” is to transition or connect stable and active chords. Many times, especially in the Common Practice Period, the subdominant family chords come before dominant family chords and therefore are often referred to as predominant. Jn common-practice style, harmonies progressed in this T-S-D-T fashion. Doubling of chord members will impact the function of a chord. The first choice for most chords is to double the root of the chord. In second inversion ({) chords, double the fifth of the chord. Double the third if you have a reason, such as dou- bling the third of a minor chord to avoid parallelism or to achieve a smooth linear motion. How is function altered when a seventh is added? A seventh chord is always more active, first and foremost because it has the interval of a seventh (or a second ifinverted), which is a dissonanc interval creating more tension and need to resolve. The dominant seventh chord, V’, zooms ahead to a very active position because the note added is Fa giving the V? chord BOTH tendency tones (the leading-tone triad is the other chord with both Ti and Fa). The V? is more active than V, and the vile” and vii?” (both half-diminished and fully-diminished) are more active than the Jeading-tone triad. The other commonly used seventh chord is the ii? or i#”, Both the supertonic triad and the supertonic seventh chord are considered predominant function while the ii? has even more dissonant energy and intensity (0 resolve to V. 151182 AP Music Theory CADENCES When speaking or writing, our thoughts are punctuated with commas to represc?! 4 pause in ideas, but not a complete statement, while other marks are used (0 °°* ‘ognize the end of a sentence or completed thought. When you come to the end of a musical phrase, the natural feeling of rest or release of tension is called cadence Rhythm often slows down when it comes to a resting place, so you should exp see changes as you approach the cadence. to * Authentic Cadence—The most common phrase-ending chord prog uses the dominant chord (V) to set up the tension and the tonic (I or i) f release, The dominant-tonic progression is enhanced or intensified the V" chord instead of the triad. The added dissonance gives it a stror 10 toni ~ Perfect Authentic (PAC)—The perfect authentic cadence is a cor cadence that requires both dominant and tonic chords to be position. The term authentic refers to the harmonic progressiot The tonic chord must also double the root of the chord in th creating the perféct interval (octave) between the bass and sopran: — Imperfect Authentic (IAC)—The imperféct authentic cadence is authentic (VI) cadence that has either chord inverted, or has member other than the root in the soprano of the tonic chord. utilizing the leading tone (vii%or vii®) to tonic progression is also c: an imperfect authentic cadence. * Plagal Cadence (PC)—A slightly weaker progression using the subi (IV) to tonic to provide the resting point. Although it is an effective it isn’t as strong as the authentic cadence. The plagal cadence is oft the “Amen cadence” as it is traditionally the progression used whe: “Amen” at the end of hymns. * Deceptive Cadence (DC) (or interrupted) —An ending progre the dominant chord is unexpectedly resolved to the submediant instead of the tonic. * The Half Cadence (HC)—Ends on the dominant (V). It is an tension used especially in the middle of a melody, an inconclusive cad typically ends on a root position V. The half cadence, since it is i acts like a comma would in a sentence and must be followed by anov that completes (resolves) the musical thought. ~ Phrygian Half Cadence (PHC)—A specific kind of half cade occurs in harmonic minor, The dominant chord is preceded by th subdominant in first inversion (iv‘). The descending bass line (from 6 va 5 or solfege Le to So) is approached from above by a half step and teristic of the Phrygian mode with its half step from 2 to 1Harmonic Organization Il: Function and Cadences 153 lo (Cadence (y) | Perfect Authentic Cadence = PAC * Dominant to Tonic VI or V-i OR W-l oor W-i * Both chords in ROOT position and the tonic chord doubles the root in soprano End with | Imperfect Authentic Cadence = IAC 2S egge A vii°*-I ori function OR cord) yet vii (viii Torvi! . Either chord is inverted, tonic chord has 3 or 3 in soprano or leading-tone substitutes for V Plagal Cadence = PC * “Amen” cadence IV-I or iv-i Deceptive Cadence = DC | Voi or V-vE Half Cadence = HC * Ends with V or V7 * Commonly preceded by IV, and If or if i° (Predominant harmony), idence = PHC Phrygian Half C: | * Occurs in harmonic minor: iv’—V (Le half step down to So in bass)184 AP Music Theory Here are examples of all types of cadences in various keys: Perrect AuHENtic CADENCE Impereect AurHENTIC CaDENces (PAC) (IAC) Leapinc Tone CapeNnce cone beers eM: VT am: V ‘Cadences in eave keys Hate Capences (HC) BM: V I Puryoian Hate Cape cM: 1 Vv FM: IV dm iV PLacat CapeNces Deceptive Capences (Do) eh. emi Vi Vi taudnces in parallel keysHarmonie Or Organization tii: Funetion and Cadences 168 REVIEW Let's look at the cadences and “connect a f Vo ¥ —_ few more dors” in the familiae hymn tune Aurelia Samuel Wesley (1810-1876) (et Se DM: Tmperect Authentic Cadence in DMajor 8 Ff WT 2 lye ire Hilf Cadence in D Major bia ta Perfect Authentic Cadence in D Major | ht 1186 AP Music Theory ‘The first cadence is imperfect authentic because the soprano js singing the «hit of the chord instead of the root. The If chord before the V7 chord is dominant function with the fifth of the chord doubled, reinforcing the dominant (So). |! V’chord correctly resolves the seventh of the chord, Fa, downward to Mi in ¢ soprano, and Ti in the alto resolves upward to Do. The second cadence is « ! cadence because the phrase ends with the V. At this point when we find somethi we cannot identify in the key we simply determine the quality and the root chord symbols, not Roman numerals) and see IF and HOW it might rela chord after it. The chord right before the half cadence is a G-B-D chord! diminished triad with Gé as the root. What do we know for sure? A dimi chord functions as a leading tone and leading tones (Ti) resolve to tonic (Do Gt chord is not in the key of D Major, but the cadence chord (V) is, The G2 is from A Major, our cadence chord, and is used to add intensity (more « Chapter 12). The third cadence ends with an E minor chord that is supertonic in ov: D Major. There is no cadence that ends with supertonic; therefore, we 1 a different key. The chord prior to the E minor contains a Dz, the lead in E minor. Remember: A viable cadence is the proof we need to confide determine the key. Therefore, the third cadence is an imperfect authentic (Vi) in the key of E minor, The final cadence is perfect authentic in ou key of D Major. Notice in our two authentic cadences in D Major that the chord pr. If-V’-L. The bass line for both cadences is $o-So-Do. The soprano fo. is So-Fa-Mi (IAC) and Do-Ti-Do (PAC) for the final cadence Hearing So-So-Do in the bass commonly produces the If-V-I cad when paired with Mi-Re-Do, or as in this example Do-Ti-Do and So-Fa-\1 soprano, it is confirmed. Use this knowledge to help you when listening sions. It’s the norm. The first measure is an example of using the IV chord to prol and not as subdominant or predominant function. Notice the bass lin same pitch (this is called a pedal); the D is a common tone occurring in chord and the IV, with the subdominant chord in second inversion. The tenor voices move up to the neighbor above and back down, Did you notice the return of the same melody at the end? Measures the same melody as measures 13 and 14, Measure 13 is also the same Progression as 1; however, the harmony in measure 14 is different from m We also notice that generally the bass line and the soprano move by s¢c and leap, and are more disjunct than the alto and tenor. In this example seems to stay on the same pitch frequently and also moves upward by step, and tenor seem co “hang around” the same pitch—the alto seems t0 center D and the tenor seems to center around A. ‘This is what music in common-practice style looks like and sounds like. >). Progressions found here in Aurela are standard common-practise se sions, The AP exam expects you to be able to identify, notte, and hear w representative of this style. For more practice, go back to page 139 and ide cadences in “Eventide.”Harmonic Organization Ill: Function and Cadences Chapter Summary ‘+ Function refers to the placement of the chord within the key. * Within the major scale, the most active tones, the 4th and 7th scale degrees, have half-step relationships to the most stable tones, 3 and the tonic. These are called tendency tones because they have the tendeney to resolve by half ste * The amount of tension within the chord (instability o degree of activity) is determined by the stability or activity of the chord members. Here are the families according to function: Toni Subdominant or Predominant Dominant 1i and viVI IV iv and iii? V and vii® In common-practice style, harmonies progressed in “T-PD-D resolving to T° fashion, ‘+ Function is altered when a seventh is added, the more a chord is inverted, and when you consider what chord member is doubled. *+ The more a chord is inverted, the weaker its function or the more it functions like another chord. Doubling of chord members will impact the function of a chord. Asa general rule for doubling, your first choice is to double the root of a chord, and second choice is to double the fifth. Double the third in a minor triad to avoid paral- lelism or to achieve a smooth linear motion. * A cadence is the harmonic, melodic, and rhythmic conclusion to a phrase. The cadence also helps to establish the tonal center. [t is the proof we need to confidently determine the key. * Cadences end with only three chords: I (i), vi (VD, oF V (¥)- = Cadences ending with tonic function with the tonic chord are perfect authentic (PAC), imperfect authentic (IAC), and plagal (PC). — The cadence ending with tonic function but with the submediant chord {vi (VD) is the deceptive cadence (DC). — Cadences that end on the dominant are the half cadence (HC) and the Phrygian half cadence (PHC), 157188 AP Music Theory Practice Exercises Questions 1-6 pertain to this excerpt from Sonata No. 6 by Beethoven. Piano Sonata No. 6, Op. 10, No. 2 (Second Movement) Ludwig van Beethoven Allegretto. (1770-1827) ns » The harmonic interval between the notes in the top and bottom staff in the anacrusis is a (A) m6 (B) M6 (© PB (D) P4 In measure | and measure 3 the occurrence of the E nacural leading to the F signals that the opening of this melody is in the key of (A) F Major (B) F minor (C) Eb Major (D) Bb Major All of the following are also indicators of the opening tonality except the (A) F minor arpeggio in measure 2 (B) unison nature of the beginning of the excerpt (©) key signature (D) anacrusis to the down beat is So-Do 4, Atthe end of the phrase the tonality shifis to the (A) key of the dominant (B) key of the subdominant (© parallel major key (D) relative major key ‘The cadence within the box at measure is best identified as (A) perfect authentic in Ab M (B) imperfect authentic in Fm (© half cadence in Ab M (D) half cadence in E> M 2 ‘The appropriate Roman numeral chovd symbols at the cadence are (A) V-i (B) Vl (C) Ij-v" (D) IV-VHarmonic Organization Ill: Function and Cadences 159 Questions 7-9 are based on the following excerpt by Corelli Concerto Grosso, Op. 6, No. 8 (“Christmas Concerto”—excerpt of string section parts) Vivace Violin I Violin II Viola Violoncello 7. The chord progression for the first three chords is (A) i-V4-i (B) ivi (© i- (D) in ine 8. The second chord progression can be identified as (A) Ve-I-IV-V (D) V$-i-iv’-V’ Arcangelo Corelli (1653-1713) 9. The cadence at the fermata can be identified as (A) perfect authentic B) Phrygian half ©) deceptive D) plagal 10, What is required to confidently determine the key? (A) Cadence (B) Key signature (©) Accidentals (D) A tonic chord160 AP Music Theory 11. The leading tone chord most often is in 12. Cadences end on only what three chords? (A) root position leading to V (A) I, IV, V in major (i, iv, V in minor) (B) first inversion leading to I or If (B) I, ii, V in major (i, ii*, or V in minor) (C) second inversion leading to V (©) I, V, vi in major (i, V, VI in minor) (D) root position leading to IV (D) I, ii, TV in major (i, ii”, iv in minor) Look at the complete hymn “Aberystwyth” and answer Questions 13-19. Aberystwyth 3 (1841-190Harmonic Organization i: Function and Cadences 161 ‘Cadence 1 (measure 2) can be identified as (A) perfect authentic in E minor (B) imperfect authentic in E minor {© aa half cadence in G Major €D) a deceptive cadence in G Major The cadence at measure 4 can be identified = {A) Phrygian half ®) half (© imperfect authentic D) deceptive ‘The chord in measure 3 is all of the following except {A) third inversion of a seventh chord ®B) resolves to i* ov Dv: ‘The cadence in measure 10 is best described (A) 2 half cadence in the key of the tonic (B) a half cadence in the key of the dominant (© 2 perfect authentic cadence in the key of the relative major (@) an imperfect authentic cadence in the kkey of the subdominant 17. Measure 12 briefly implies the key of (A) D Major (B) D minor © B minor (D) E minor ‘The chord progression for measure 14 is best analyzed as (A) iv-V-i in B minor (B) IV-iti in B minor (©) siv-V in E minor (D) -ivV in E minor ). The cadence in measure 14 is (A) plagal (B) deceptive (© half (D) Phrygian half All of the following progressions could be examples of imperfect authentic cadences except (a) ver () IVI (© vir (VI