MUSC 132 Chapter Notes - Chapter 14: Predominant Chord, Voice Leading, Tripe
Document Summary
When functional areas are expanded, diatonic triads may lose their usual functions and work in quite different ways. For example, iv may no longer serve as a predominant, but instead become an extension of the tonic. In the classical style, many cadences include a brief expansion of the dominant area by a cadential 6/4. The cadential 6/4 has a dominant function, even though it is built of tones from the tonic triad. Its 6/4 to 5/3 motion expands the dominant area of the basic phrase, with the dissonant 6/4 on the strong beat and its resolution on a weaker beat. To write a cadential 6/4: always double the bass, which reinforces the dominant function. Any other doubling will result in voice-leading problems and won"t be idiomatic: approach the cadential 6/4 from a predominant harmony: usually ii6, ii7, or iv or other inversions. In tripe meter, the cadential 6/4 sometimes appears on beat 2, resolving to.
