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In music theory, a predominant chord (also pre-dominant) is any chord which normally resolves to a dominant chord.Benward & Saker (2009). ''Music in Theory and Practice: Volume II'', Glossary, p.359. Eighth Edition. . "Any chord in functional harmony that normally resolves to the dominant chord." Examples of predominant chords are the subdominant (IV, iv), 
In
In music theory, a predominant chord (also pre-dominant) is any chord which normally resolves to a dominant chord.Benward & Saker (2009). ''Music in Theory and Practice: Volume II'', Glossary, p.359. Eighth Edition. . "Any chord in functional harmony that normally resolves to the dominant chord." Examples of predominant chords are the subdominant (IV, iv), supertonic
In music, the supertonic is the second degree () of a diatonic scale, one whole step above the tonic. In the movable do solfège system, the supertonic note is sung as ''re''.
The triad built on the supertonic note is called the supertonic ch ...
(ii, ii°), Neapolitan sixth
In Classical music theory, a Neapolitan chord (or simply a "Neapolitan") is a major chord built on the lowered ( flatted) second (supertonic) scale degree. In Schenkerian analysis, it is known as a Phrygian II, since in minor scales the chord i ...
and German sixth. Other examples are the secondary dominant (V/V) and secondary leading tone chord
A secondary chord is an music analysis, analytical label for a specific harmony, harmonic device that is prevalent in the tonality, tonal idiom of Western culture#Music, Western music beginning in the common practice period: the use of Diatonic a ...
. Predominant chords may lead to secondary dominants. Predominant chords both expand away from the tonic ''and'' lead to the dominant, affirming the dominant's pull to the tonic.Cleland, Kent D. and Dobrea-Grindahl, Mary (2013). ''Developing Musicianship Through Aural Skills: A Holistic Approach to Sight Singing and Ear Training'', p.255. Routledge. . Thus they lack the stability of the tonic and the drive towards resolution of the dominant. The predominant harmonic function
In mathematics, mathematical physics and the theory of stochastic processes, a harmonic function is a twice continuously differentiable function f: U \to \mathbb R, where is an open subset of that satisfies Laplace's equation, that is,
: \f ...
is part of the fundamental harmonic progression of many classical works. The submediant (vi) may be considered a predominant chord or a tonic substitute.Caplin, William E. (2013). ''Analyzing Classical Form: An Approach for the Classroom'', p.10. Oxford. .
The dominant preparation is a chord or series of chords that precedes the dominant chord
In music, the dominant is the fifth scale degree () of the diatonic scale. It is called the ''dominant'' because it is second in importance to the first scale degree, the tonic. In the movable do solfège system, the dominant note is sung as "So ...
in a musical composition. Usually, the dominant preparation is derived from a circle of fifths
In music theory, the circle of fifths is a way of organizing the 12 chromatic pitches as a sequence of perfect fifths. (This is strictly true in the standard 12-tone equal temperament system — using a different system requires one interval of ...
progression. The most common dominant preparation chords are the supertonic
In music, the supertonic is the second degree () of a diatonic scale, one whole step above the tonic. In the movable do solfège system, the supertonic note is sung as ''re''.
The triad built on the supertonic note is called the supertonic ch ...
, the subdominant, the V7/V, the Neapolitan chord
In Classical music theory, a Neapolitan chord (or simply a "Neapolitan") is a major chord built on the lowered ( flatted) second (supertonic) scale degree. In Schenkerian analysis, it is known as a Phrygian II, since in minor scales the chord is b ...
(N6 or II6), and the augmented sixth chord
In music theory, an augmented sixth chord contains the interval of an augmented sixth, usually above its bass tone. This chord has its origins in the Renaissance, was further developed in the Baroque, and became a distinctive part of the musi ...
s (e.g., Fr+6).
In sonata form
Sonata form (also ''sonata-allegro form'' or ''first movement form'') is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th c ...
, the dominant preparation is in the development
Development or developing may refer to:
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*Development hell, when a project is stuck in development
*Filmmaking, development phase, including finance and budgeting
*Development (music), the process thematic material is reshaped
* Photograph ...
, immediately preceding the recapitulation. Ludwig van Beethoven
Ludwig van Beethoven (baptised 17 December 177026 March 1827) was a German composer and pianist. Beethoven remains one of the most admired composers in the history of Western music; his works rank amongst the most performed of the classic ...
's sonata-form
Sonata form (also ''sonata-allegro form'' or ''first movement form'') is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th c ...
works generally have extensive dominant preparation — for example, in the first movement of the ''Sonata Pathétique
Ludwig van Beethoven's Piano Sonata No. 8 in C minor, Op. 13, commonly known as ', was written in 1798 when the composer was 27 years old, and was published in 1799. It has remained one of his most celebrated compositions. Craig Wright, ''Listening ...
'', the dominant preparation lasts for 29 measures (mm. 169–197).
List
*First inversion augmented mediant **III+ *Augmented dominant **V+ * Augmented sixths **Fr **Ger *Second inversion tonic **I **i *Subdominant **IV **iv *Submediant **vi, stepwise to dominant *Supertonic and secondary dominant **ii **II (V/V) Caplin, William E. (1998). ''Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven'', p.23. Oxford. . **ii **vii7/V **IIGallery
See also
*Approach chord
In music, an approach chord (also chromatic approach chord and dominant approach chord) is a chord one half-step higher or lower than the goal, especially in the context of turnarounds and cycle-of-fourths progressions, for example the two ...
*Harmonic rhythm
In music theory, harmonic rhythm, also known as harmonic tempo, is the rate at which the chords change (or progress) in a musical composition, in relation to the rate of notes. Thus a passage in common time with a stream of sixteenth notes and ch ...
*Passing chord
In music, a passing chord is a chord that connects, or passes between, the notes of two diatonic chords. "Any chord that moves between one diatonic chord and another one nearby may be loosely termed a passing chord. A diatonic passing chord ma ...
Sources
Chord progressions Chords Diatonic functions {{music-theory-stub