33.1 Introduction

Composers tend to put considerable emphasis on harmonies leading to V. They apply noteworthy creativity in shaping and modifying those harmonies as a way of highlighting the arrival of the dominant, after which the tonic soon follows as a foregone conclusion. In addition to diatonic pre-dominant harmonies such as ii and IV (ii^o and iv in minor), applied chords can appear before the dominant, emphasizing it through tonicization (see Chapter 27). Other harmonies, like the Neapolitan sixth (Chapter 31) and augmented sixth chords (Chapter 32), dramatize the arrival of the dominant with chromaticism.

All of these chords and sonorities have a similar function in that they typically introduce and raise anticipation for dominant harmony. Though they share certain characteristics in makeup and purpose, each has a unique identity. The subtle differences between these chords allow for a wide variety of expression and individuality in works with fundamentally similar harmonic structure.

We introduced the pre-dominant function in Chapter 24. In this short chapter, we will summarize the various pre-dominant chords discussed so far. We will compare them and track the elements that most regularly appear in pre-dominants, while making note of the characteristics that make each unique.

33.2 Pre-dominant chords with diatonic

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As discussed in Chapter 29, mixture chords typically retain the harmonic functions of their unaltered forms. In other words, a pre-dominant harmony that incorporates tones borrowed from the parallel key will still be pre-dominant. The following example alters the IV chord of Example 33–2:

Despite the inclusion of Ab, the iv chord retains a clear pre-dominant function.

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Compare Example 33–5 with Examples 33–2 and 33–3. As you can see, the Neapolitan is closely-related to diatonic ii and IV chords. Regardless of how it is derived—whether by embellishing a iv chord, or by altering a ii^o chord—the Neapolitan retains pre-dominant function.

33.4 Pre-dominant chords with #

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As discussed in Chapter 27, applied chords that tonicize the dominant can be thought of as chromatically altered ii or IV chords. The following example demonstrates:

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33.5 Summary

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