168 Unit 10 Leading to V: IV, II, and II6

7. I6 leading to IV or II6. A most important function of I6 is to lead into IV and II6, especially at cadences. Many of the musical examples in the present unit illus-trate this usage: see Examples 10-6e, 10-12, 10-14, and 10-20. The stepwise bass progression (3̂-4̂) guarantees a smooth and natural connection between the I6, which represents tonic harmony, and the IV or II6. Be careful about parallel octaves when moving from I6 to IV!

10-11 I6 and IV

(a) wrong (b) correct

8. Connecting I and V by Stepwise Bass. A I6 leading to IV or II6 makes possible a beautiful way of moving from the initial tonic of a phrase to the cadential dominant: connecting these two chords by means of a bass rising by step from I to V. In Example 10-12, a passing V 4 3 provides the stepwise link between I and I6; VII6 would also be possible. In this excerpt, note the accelerating rate of chord change, which intensifies the drive toward the dominant.

10-12 Beethoven, Piano Sonata, Op. 2/1, I

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Subject Index 713

by step, 72, 132, 136–138, 148–151, 156, 200–201, 274–275, 277, 294, 304, 316–319, 335–339, 346–348, 373, 400–401, 454, 460, 489–490, 567–568, 581, 654

by step, underlying, 485by thirds, 132, 173–175, 195–196, 216,

287–289, 316–319, 339, 489–490by thirds, underlying, 288, 339, 505,

633–634, 638–640passing tones in, 293, 599stepwise, 104, 136, 138–139, 150, 156,

168–169, 271, 294, 338, 489, 613sustained, 117, 173, 350, 353–356, 462, 542,

586, 598by thirds, 195, 216, 287–289, 633

beat, 35–45. See also accent; rhythmstrong or weak, and progressions, 127–128,

141–142, 175–178, 214–215, 314, 360–363, 409–410, 487, 613

binary form, 501, 504, 508

cadences. See also six-four ( 6 4 ) chord, cadentialwith anticipations, 410–414authentic, 117–118, 122, 126, 128, 253–254,

256, 266, 476in a new key, 256–259, 261–262in sequences, 307–308, 323

contrapuntal, 64–66, 68–72, 75, 81–85, 88, 91, 156. See also progressions, contrapuntal

deceptive, 237–239, 243, 253, 296, 441, 476half (semicadence), 117–118, 124, 156, 178,

181, 185, 254, 473with Neapolitan sixth, 537–541Phrygian, 200–202, 242, 323, 338, 445, 472,

561, 582plagal, 231–232, 440, 461, 551summary of, 242with suspensions, 397–398, 405unwanted cadential effect, 141

cadenza, 359, 542canonic imitation, 286, 403, 451cantus fi rmus, 64–68, 71–72, 75, 80, 82, 84chorale style, 62–63, 97–98, 361, 378, 383,

387–388, 513chord, 8. See also arpeggio; chords on individual

scale degrees (tonic triad, supertonic triad, etc.); seventh chord; triad

altered diatonic, 471–472broken, 8complete, 93, 95–96, 120, 125construction of, 93–103contrapuntal functions, 290–296, 509fi llers for, 99–102incomplete, 95–96, 124, 153, 212as unit of harmony, 60

chordal skip, 373–375, 401, 403, 411, 539. See also arpeggio

parallel fi fths/octaves and, 386, 388, 572chromatic progressions, 249

chromatic scaleascending bass, 482, 486–487ascending soprano, 468–469, 472descending bass, 484–486, 489descending soprano, 484notation of, 552–555segments of, and augmented sixth chord,

568–572, 575, 578–581chromaticism, 13–14, 33, 645–666, 689–691

contrary motion and, 560, 623–631leading-tone based, 560and modulation or tonicization, 266, 277, 551,

581, 646–650, 652–653, 657–658, 691notation of, 544, 546, 552–555, 584parallel motion and, 611–623sequences with, 601, 616–617, 649–650, 666,

691, 702voice exchange and, 470–472, 475, 492,

566–567, 575–577, 586, 623, 642voice leading and, 597–598, 600–601, 607,

610–642, 690Classical period, 259, 383, 473, 502, 639, 646,

655. See also eighteenth centuryclose position, 97–98, 424, 429common tones, 119–121, 153, 163–164, 166,

173, 182, 195, 200, 209–210, 213–214, 221, 230, 236, 251, 266, 271–272, 353, 426, 451, 455, 519–521, 563–564, 567, 606

common-tone augmented sixth chord, 563–564, 567, 606

common-tone diminished seventh chord, 602–605, 636, 650–652

common-tone “dominant seventh” chord, 606–607common-tone modulation, 647–649, 651, 655,

658, 662, 691complementary rhythm, 380–381, 644composite sounds, 24composition, strict v. free, 62–63consequent phrases. See antecedent–consequent

phrasesconsonance, 26–29

imperfect, 27perfect, 27

contraction, 56, 461, 484, 561, 585, 597–598contrary motion, 105–106, 108–109

in chromatic progressions, 560, 623–631counterpoint, 61–91

cadences in, 64–66, 68–72, 75, 81–85, 88, 91, 156

chord functions for, 290–296, 509fi fth species, 63, 85–89, 91, 373fi rst species, 62–67, 69–72, 81, 83fourth species, 63, 78–86, 88, 373passing tone in, 69–72, 88, 89progressions of, 54–55, 59–60, 169–172,

509, 699second species, 62–63, 69–77, 80, 86, 373suspensions in, 79–91third species, 63, 74–78, 80, 86–87, 373voice leading and, 60, 103–110

cross-relation, 271, 446–447, 469–470, 492, 538

da capo arias, 509diatonic order, 18diminished seventh chord, 32–33. See also

applied chords; leading-tone seventh chordapparent, 462–464, 482, 603applied, 468, 483common-tone, 602–606, 635–636, 649–651doubling in, 423–424, 430enharmonic relationship and, 429, 650–654,

660–661, 664–665expansion of seventh chords and, 636–639and modulation or tonicization, 650–652,

661–662, 664–665neighboring chords and, 424, 427–429positions of, 422, 619–621, 636–639, 661in series, ascending, 620–622in series, descending, 618–620I and, 422–429IV and, 426–427, 463–464VI and, 426–427

diminished third chord, 538, 543, 577–580IV7 and, 583

direct fi fths and octaves. See hidden fi fths and octaves

dissonance, 26–29. See also dissonance treatmentleaps into a, 158, 167, 356–357perfect fourths as, 26, 65, 182, 356–357,

361, 364V7 as, 122–123

dissonance treatment, 31–32, 139–141, 166–167in anticipations, 410–414

indirect, 412, 652in augmented sixth chord, 560, 563–564, 567,

572–575, 577, 579–582, 584, 606in common-tone augmented sixth chord, 606in ninth chord. See ninth of chordnormal resolution of, 140–141pedal point and, 415–416rhythmic aspect of, 43–45in seventh chords, 122–123, 148–152,

158–159, 209–213, 277, 354, 450, 686–687. See also seventh of chord

in suspensions, 182, 209, 393–400, 403–409, 411–412

types ofdelayed resolution, 215, 224–225, 237,

406–407, 458–459, 476prepared, 166, 178, 210, 404–405, 415, 652transferred dissonance, 126, 128, 140, 404,

453transferred resolution, 152, 354, 356–357,

425, 456–457, 487, 520, 522, 628unprepared, 209, 356–358, 426, 521unresolved dissonance, 234, 484, 520–521,

528–530, 574, 633upward-resolving dissonance, 79, 357, 394,

403, 405–406, 460–461in 6 4 chords, 182–187, 320, 346, 348–356,

364–365divider, 270, 288, 445, 657dominant, defi nition of, 56

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238 Unit 14 Other Uses of IV, IV6, and VI

In the Handel excerpt, the deceptive cadence and the subsequent transition to I produce a five-bar phrase; without the detour to VI, the phrase would occupy a normal four bars. Note that the last bar, with its authentic cadence, repeats most of the preceding bar, but an octave lower. Such repetitions occur frequently following a deceptive cadence, though not always with the change of octave. In Example 14-14, the deceptive cadence provides the impetus for a varied repetition of the whole four-bar phrase in a kind of antecedent–consequent grouping. This is another frequent possibility.

14-14 Mozart, Trio, K. 498, I

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232 Unit 14 Other Uses of IV, IV6, and VI

as in the Amen at the close of a hymn. Emphasis on the subdominant can be very beautiful at the end of a piece because this chord (a 5th below the tonic) often generates a feeling of repose (Example 14-5). In such cases, the “finality” of the closing tonic has already been established by stronger tonal forces earlier in the piece.

14-5 Chopin, Nocturne, Op. 27/1

Often, as in Example 14-6, a plagal cadence follows immediately on an au-thentic one and gives added emphasis to the tonic. Notice also the sustained tonic in the upper voice (bars 129–131); the soprano pattern 1̂-1̂-1̂ (over I-IV-I) is par-ticularly useful for extending the tonic of an authentic cadence. As we have seen (Examples 14-1 and 14-2), the motion I-IV-I frequently expands tonic harmony in non-cadential situations; we can refer to such motions as plagal progressions.

14-6 Handel, And the Glory of the Lord (from Messiah)

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