284:
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97:
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34:
633:
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343:
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1584:
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28:
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lead to the dominant, affirming the dominant's pull to the tonic. Thus they lack the stability of the tonic and the drive towards resolution of the dominant. The predominant
80:
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247:
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154:
169:
of many classical works. The submediant (vi) may be considered a predominant chord or a tonic substitute.
1659:
1654:
1644:
1293:
157:. Predominant chords may lead to secondary dominants. Predominant chords both expand away from the tonic
17:
1611:
911:
Classical Form: A Theory of Formal
Functions for the Instrumental Music of Haydn, Mozart, and Beethoven
1019:
1079:
1059:
230:
1044:
804:
Developing
Musicianship Through Aural Skills: A Holistic Approach to Sight Singing and Ear Training
1069:
245:
works generally have extensive dominant preparation — for example, in the first movement of the
54:
1439:
1336:
1084:
1034:
234:
221:
features a series of chords derived from the circle of fifths preceding the dominant and tonic.
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305:
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146:
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8:
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218:
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150:
126:
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47:
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1202:
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1001:
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935:
769:. "Any chord in functional harmony that normally resolves to the dominant chord."
673:
27:
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1396:
1303:
1107:
1094:
906:
778:
Benjamin, Thomas; Horvit, Michael; Koozin, Timothy; and Nelson, Robert (2014).
668:
642:
of IV–V–I progression as usual, without
Neapolitan sixth chord in place of IV).
534:): the supertonic (Dm) leads to the dominant (G), which leads to the tonic (C).
897:
Benjamin, Horvit, and Nelson (2007), p.239. "A progression analogous to IV-V."
180:
in a musical composition. Usually, the dominant preparation is derived from a
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1112:
185:
138:
1510:
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1551:
1378:
1283:
888:. "Similarly, VI often serves as a stepwise dominant preparation."
571:
The German sixth; the distinguishing tone is highlighted in blue.
1354:
1288:
588:
184:
progression. The most common dominant preparation chords are the
251:, the dominant preparation lasts for 29 measures (mm. 169–197).
567:
540:
927:
848:
Analyzing
Classical Form: An Approach for the Classroom
57:
823:
Bartlette, Christopher, and Steven G. Laitz (2010).
867:
Benjamin, Horvit, Koozin, and Nelson (2014), p.253.
802:Cleland, Kent D. and Dobrea-Grindahl, Mary (2013).
880:, p.95. 3rd edition. Holt, Rinehart, and Winston.
74:
176:is a chord or series of chords that precedes the
1636:
550:chord; distinguishing tone highlighted in blue.
827:, pp.73–6. New York: Oxford University Press.
133:chord. Examples of predominant chords are the
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26:
798:
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759:Music in Theory and Practice: Volume II
719:
717:
715:
713:
711:
14:
1637:
738:
931:
878:Tonal Harmony in Concept and Practice
229:, the dominant preparation is in the
1578:
793:
708:
259:
761:, Glossary, p.359. Eighth Edition.
24:
439:Supertonic and secondary dominant
265:First inversion augmented mediant
25:
1671:
780:Techniques and Materials of Music
1582:
1316:
782:, p.149, 176. Cengage Learning.
900:
891:
825:Graduate Review of Tonal Theory
31:V of V in C, four-part harmony
870:
861:
817:
772:
691:
13:
1:
725:Structural Functions in Music
705:, 3rd ed., NY, Norton, p. 96.
1598:. You can help Knowledge by
757:Benward & Saker (2009).
233:, immediately preceding the
155:secondary leading tone chord
7:
846:Caplin, William E. (2013).
662:
165:is part of the fundamental
10:
1676:
1577:
1040:Dominant seventh flat five
957:
684:
506:
75:{\displaystyle {}_{4}^{6}}
1544:
1493:
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1425:
1387:
1335:
1325:
1314:
1271:
1185:
1147:
1093:
1010:
972:
965:
149:. Other examples are the
434:vi, stepwise to dominant
94:as a predominant chord.
1557:Chord names and symbols
723:Berry, Wallace (1987).
356:Second inversion tonic
254:
1440:Secondary leading-tone
655:
643:
583:
562:
535:
222:
208:augmented sixth chords
106:
76:
44:
876:Forte, Allen (1979).
653:
591:
570:
543:
518:
216:
77:
50:
30:
1445:Secondary supertonic
806:, p.255. Routledge.
239:Ludwig van Beethoven
174:dominant preparation
167:harmonic progression
82:progression showing
55:
297:Augmented dominant
71:
1660:Music theory stubs
1655:Diatonic functions
1645:Chord progressions
1516:Chord-scale system
1435:Secondary dominant
907:Caplin, William E.
656:
644:
584:
563:
536:
223:
219:circle progression
151:secondary dominant
107:
72:
58:
45:
1607:
1606:
1575:
1574:
1489:
1488:
1407:Chromatic mediant
1312:
1311:
1263:Viennese trichord
833:978-0-19-537698-2
767:978-0-07-310188-0
660:
659:
520:ii-V-I turnaround
503:
502:
248:Sonata Pathétique
163:harmonic function
115:predominant chord
16:(Redirected from
1667:
1628:
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1614:
1586:
1579:
1333:
1332:
1320:
1128:
1127:
1085:Harmonic seventh
1055:Diminished major
970:
969:
952:
945:
938:
929:
928:
922:
913:, p.23. Oxford.
904:
898:
895:
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874:
868:
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859:
850:, p.10. Oxford.
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306:Augmented sixths
292:
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198:Neapolitan chord
182:circle of fifths
143:Neapolitan sixth
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1421:
1383:
1321:
1308:
1299:Synthetic chord
1267:
1238:Northern lights
1203:Complexe sonore
1181:
1167:Augmented sixth
1155:
1153:
1143:
1125:
1124:
1118:Upper structure
1089:
1075:Altered seventh
1070:Augmented minor
1065:Augmented major
1050:Half-diminished
1006:
961:
956:
926:
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822:
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739:
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709:
696:
692:
687:
674:Harmonic rhythm
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202:
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125:which normally
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11:
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1623:
1616:
1608:
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1573:
1572:
1570:
1569:
1564:
1562:List of chords
1559:
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1528:
1523:
1518:
1513:
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1457:
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1450:
1448:
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1437:
1431:
1429:
1423:
1422:
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1419:
1414:
1409:
1404:
1399:
1393:
1391:
1385:
1384:
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1372:
1367:
1362:
1357:
1352:
1347:
1341:
1339:
1330:
1323:
1322:
1315:
1313:
1310:
1309:
1307:
1306:
1301:
1296:
1291:
1286:
1281:
1279:Mixed interval
1275:
1273:
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1250:
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1189:
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1141:
1136:
1131:
1120:
1115:
1110:
1105:
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1077:
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737:
707:
689:
688:
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683:
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676:
671:
669:Approach chord
664:
661:
658:
657:
654:Three examples
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293:
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258:
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253:
235:recapitulation
178:dominant chord
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9:
6:
4:
3:
2:
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1597:
1594:article is a
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1504:
1502:
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1482:
1479:
1477:
1474:
1472:
1471:Primary triad
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1038:
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1028:
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1023:
1021:
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1013:
1009:
1003:
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988:
985:
983:
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979:
977:
975:
971:
968:
964:
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953:
948:
946:
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939:
934:
933:
930:
920:
919:9780199881758
916:
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864:
857:
856:9780199987306
853:
849:
843:
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834:
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826:
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813:
812:9781135173067
809:
805:
799:
797:
789:
788:9781285965802
785:
781:
775:
768:
764:
760:
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748:
746:
744:
742:
734:
733:0-486-25384-8
730:
726:
720:
718:
716:
714:
712:
704:
700:
697:Adapted from
694:
690:
680:
679:Passing chord
677:
675:
672:
670:
667:
666:
652:
648:
647:
638:
626:
614:
590:
586:
579:
569:
565:
558:
549:
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489:
475:
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358:
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355:
348:
331:
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261:
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220:
215:
211:
209:
206:II), and the
199:
195:
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144:
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136:
132:
128:
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120:
116:
112:
102:
67:
62:
49:
39:
29:
19:
1600:expanding it
1592:music theory
1589:
1375:Leading-tone
1152: /
1139:Tone cluster
1020:Leading-tone
910:
902:
893:
877:
872:
863:
847:
824:
819:
803:
779:
774:
758:
724:
702:
693:
547:French sixth
545:
497:
409:Subdominant
246:
224:
210:(e.g., Fr).
173:
171:
158:
147:German sixth
119:pre-dominant
118:
114:
111:music theory
108:
51:A cadential
1360:Subdominant
1223:Grandmother
1080:Nondominant
1060:Minor-major
431:Submediant
243:sonata-form
231:development
227:sonata form
190:subdominant
141:(ii, ii°),
135:subdominant
127:resolves to
18:Predominant
1639:Categories
1494:Techniques
1481:Substitute
1476:Subsidiary
1412:Neapolitan
1370:Submediant
1350:Supertonic
1123:Dominant 7
1113:Thirteenth
1045:Diminished
997:Diminished
886:0030207568
186:supertonic
153:(V/V) and
139:supertonic
137:(IV, iv),
1511:Chordioid
1427:Secondary
1243:Petrushka
1177:Seven six
1134:Polychord
1002:Suspended
992:Augmented
612:Play midi
456:II (V/V)
121:) is any
1552:Arpeggio
1466:Contrast
1402:Borrowed
1397:Approach
1379:Subtonic
1365:Dominant
1337:Diatonic
1328:function
1284:Secundal
1186:Specific
1126:♯
1108:Eleventh
1095:Extended
1035:Dominant
909:(1998).
727:, p.54.
699:Piston W
663:See also
636:Play ogg
624:Play ogg
594:♭
478:♭
270:♭
203:♭
131:dominant
1417:Passing
1389:Altered
1355:Mediant
1294:Quartal
1289:Tertian
1272:General
1258:Tristan
1253:So What
1213:Elektra
1154:omitted
1012:Seventh
966:By form
703:Harmony
701:(1962)
685:Sources
507:Gallery
1650:Chords
1567:Factor
1521:Guitar
1461:Common
1304:Tetrad
1248:Psalms
1233:Mystic
1218:Farben
1198:Bridge
1172:Lydian
959:Chords
917:
884:
854:
831:
810:
786:
765:
731:
522:in C (
498:
200:(N or
196:, the
192:, the
188:, the
117:(also
1590:This
1545:Other
1536:Slash
1531:Power
1506:Block
1501:Barre
1454:Other
1345:Tonic
1228:Magic
1208:Dream
1193:Alpha
1162:Sixth
1150:Added
1103:Ninth
1030:Minor
1025:Major
987:Minor
982:Major
974:Triad
473:vii/V
123:chord
1596:stub
1526:Open
915:ISBN
882:ISBN
852:ISBN
829:ISBN
808:ISBN
784:ISBN
763:ISBN
729:ISBN
597:II–V
577:Play
556:Play
544:The
528:Play
487:Play
462:Play
448:Play
418:Play
395:Play
373:Play
346:Play
324:Play
287:Play
255:List
217:The
194:V7/V
172:The
145:and
113:, a
100:Play
37:Play
1326:By
618:or
606:–I
481:II
442:ii
412:IV
332:Ger
273:III
241:'s
225:In
159:and
109:In
1641::
1377:/
839:^
795:^
740:^
710:^
470:ii
426:iv
310:Fr
300:V
237:.
129:a
1627:e
1620:t
1613:v
1602:.
1129:9
951:e
944:t
937:v
921:.
858:.
814:.
790:.
735:.
630:(
602:4
386:4
381:i
364:4
359:I
337:5
315:3
278:3
89:4
84:I
68:6
63:4
43:.
20:)
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