In other words, the V in a I–(V 6)–I expansion does not have the dominant function it would in a I–IV–V–I. However, even though auxiliary sonorities may resemble those chords, it is important to remember that they do not carry the functional meaning of those chords. Often, these sonorities coincidentally contain the pitches of familiar chords in first or second inversion. These individual embellishments combine to form full, four-voiced sonorities. In this chapter we have seen how common interval progressions, coupled with melodic embellishments, may be used to expand harmonies. The excerpts shown in the following examples show cadential 6 / 4 chords appearing after ii chords:įirst part of a double neighbor in the voice part, accented passing tone in the right hand of the piano part 23.8 Summary This progression is ubiquitous in tonal Western art music: the cadential 6 / 4 chord typically appears after a ii or IV chord-a pre-dominant harmony, to be discussed in Chapter 24-and resolves to a root-position V chord as part of a structurally important cadence. 19 is analyzed as V 6 5 / 4 3 to reflect the underlying importance of the V chord in the cadential progression. (“Cadential” because it typically appears as part of a cadence, and “ 6 / 4” because of the intervals formed above the bass.) The progression heard in m. 19 is referred to as a cadential 6 / 4 chord. Both notes resolve down by step to form a root position V chord at the end of the measure, setting up the perfect authentic cadence in m. Both are nonharmonic tones: the C is a 4–3 suspension from the IV chord and the G is an accented passing tone. 19 is not a functional tonic chord, but rather an embellishment and intensification of the dominant. Therefore, the sonority on the downbeat of m. 19 is the root of the dominant at the end of the phrase. To do so, however, would contradict the manner in which this chord functions. Subdominant chords can and sometimes do move directly to tonic chords, so you may be tempted to label this sonority I 6 / 4. 19 contains the pitches C and E above a G in the bass.
Let us begin by considering the expansion of a single triad:įollowing a IV chord in m. Examples from actual compositions will be provided throughout.
In each case, the chord undergoing expansion will be called a reference sonority. From there we will expand a harmony as it changes from root position to first inversion through a passing auxiliary sonority. We will begin by expanding a chord in root position with a neighboring auxiliary sonority. In this chapter you will apply your knowledge of basic interval progressions to expand a single harmony. These techniques can be broadened, through combination with basic interval progressions, to embrace entire harmonies. We have already learned about melodic embellishment as a means of decorating individual tones (see Chapter 15). By prolonging harmonies over time, composers are able to build or sustain musical tension and expand musical works to large dimensions. Techniques of harmonic expansion play a crucial role in tonal Western art music. Diatonic Polyphony and Functional Harmony
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