TH101 - Seth Monahan

PRE-DOMINANTS
COMPLETING THE PHRASE MODEL
1. THE PRE-DOMINANT FUNCTION
The phrase model is a paradigmatic, unidirectional sequence of harmonic/functional regions outlined by
countless musical phrases. It begins with a zone of tonic (T) function and concludes with either a dominant
(D) or tonic function, depending on whether it ends on an HC or a PAC/IAC. There is a third function,
however, that often precedes the dominant: the pre-dominant function (PD), represented by four structural
chords shown below.

2. PRE-DOMINANT TRIADS
Pre-dominant triads are built on three bass notes: ^4, ^6, and ^2. The first two approach the cadential
dominant in the bass by step; the third moves by a leap of a fourth or fifth.

BASS

CHORD(S)

DOUBLE*

2^

ii

2^

4^

IV, iv, iifl, iifl

4^

6^

IVfl, ivfl

1^

OTHER

major keys only!

supertonic triad in minor is diminished

especially common in minor as part of the

Phrygian HC (soprano moves ^4^5)

Next semester, you will form additional pre-dominants by adding chordal sevenths to the subdominant
(IV) and supertonic (ii) triads.

3. VOICE-LEADING ISSUES
Unfortunately, pre-dominants are not governed by a strict rubric of scale-degree behaviors. However, there
are a number of points to keep in mind, above and beyond the usual rules of good voice-leading:
CONTRARY MOTION: Parallel fifths/octaves are a special risk in the PDD motion. Whenever
possible, move your upper voices in contrary motion to the bass.
DISSONANCE PREP: Wherever possible, hold ^4 as a common-tone in a single voice when
moving from pre-dominants into V7.
^6 DESCENDS: In minor, ^6 must descend by step when moving to V, to avoid the
augmented-second step to ^7.
INCOMPLETE CHORDS: It is often easier to lead pre-dominants into an incomplete V7 (one
lacking a chordal fifth). Go for it.

* These doublings are only recommended. Other scenarios are possible, but may create unnecessary hassles.

PRE-DOMINANTS COMPLETING THE PHRASE MODEL

TH101 - Seth Monahan

4. MIXING PRE-DOMINANT HARMONIES

IV and IV6 may be paired freely in any key; the same is true in major for ii and ii6. But when combining
supertonic (ii) and subdominant (IV/iv), the subdominant should come first. In other words, do not proceed
from ii or ii6 to any inversion of IV or iv.

5. FLOW CHART OF STRUCTURAL HARMONIES

The basic functional skeleton of the phrase model is shown below. The boxes enclose structural harmonies
that can be elaborated or embellished by any number of expansion strategies. See sections 6-9 below.

PD

TONIC

PRE-DOMINANT

DOMINANT

TONIC

ii(6)
IV(6)

V(7)

(6)

STOPS HERE
FOR HC

...OR PROCEEDS TO
TONIC FOR IAC/PAC

MAY SKIP PRE-DOMINANT

6. EXPANSION STRATEGIES YOU KNOW

The boxes in the diagram above show a bare-bones recipe for the phrase model, using only structural
chords. But it is best to understand each box representing (more abstractly) a functional zone or
region in which the given structural harmonies can be embellished with a wide range of contrapuntal
and auxiliary chords. Of these zones, the tonic tends often to be the most broadly and diversely expanded.
The lists below summarize the expansion techniques you know at this point in the course, and add two
more (under tonic expansion) explained on the next page.
EXPANDING DOMINANT*

EXPANDING TONIC
- Motion between I and I6.
- Embellishing progressions using 6/3-chords.
- Embellishing progressions using contrapuntal
V7 inversions.
- Motion to and from root-position IV [see below]
- Non-cadential PDDT motions [see below]

- Expansion by chordal skip in the bass (VV6;

V7V#, etc.).
- Passing motion using IV6.

EXPANDING PREDOMINANT
- Motion between pre-dominant chords
built on bass notes ^4, ^6, and ^2.

* Remember that a true cadential dominant approaches tonic with ^5 in the bass, and that one should not proceed from V7 or its
inversions to a triadic V.

PRE-DOMINANTS COMPLETING THE PHRASE MODEL

TH101 - Seth Monahan

7. NEW TONIC EXPANSION (I): SUBSIDIARY PDD PROGRESSIONS

Pre-dominant harmonies can often be found outside the pre-dominant functional zone on the flow chart
above. Composers often use them in tonic expansion zones, where they embellish that function by undertaking localized, less rhetorically conclusive TPDDT motions. Laitz calls these local T PDDT
units embedded phrase models (EPTs); they employ non-cadential PDs and Ds, which extend the
phrase forward in time rather than close it.
The cadential power of these local D functions is often undermined through the use of inverted rather
than root-position dominants. For example, in a tonic-prolonging PDD progression we might have ii6
move to V% instead of V7, as shown below. Such progressions reproduce the directed, purposeful sound of
the PDD relationship, but without creating the impression of impending closure.

CLICK TO PLAY

B:

Embedded phrase model:

GLOBAL PHRASE MODEL:

(prolongs tonic)

iifl

PD

viifl Ifl

IV

V%

Ifl

PD

8. NEW TONIC EXPANSION (II): THE IV CHORD AS SUBDOMINANT

This excerpt from Schumanns Faschingschwank aus Wien presents a familiar scenario: IV is used to
expand the tonic without moving to the dominant. Motions from I or I6 to a root-position IV and back again
or quite common; in some cases, the IV is even embellished by a motion to IV6. In either case, such a IV
does not function as a pre-dominant, since it doesnt go to dominant. Rather, it is simply an auxiliary chord
on the subdominant.

CLICK TO PLAY

B:

PHRASE MODEL:

IV

D T

Note that the supertonic (ii) is not typically used in this way; it must function as a pre-dominant, moving
ahead to dominant. In short: do not embellish tonic with ii chords!