!

"#$%&'()*

)
6.'1'.)
6%"1%044,"!4)
75!-#,"!)
8*%"51*)9",-03
:0'(,!1)

+,-.("/*01*

2-3"*456*

!
"#$%! &$''()(*+(! $*! ',*+-$.*!Aprogressive
$%! -#(! /(0! -.!Harmony
,*&()%-1*&$*2! 341214! 3).2)(%%$.*%5! '.)!
(Notes
on
Lefkowitz,
Chapter 14)
-#(! 341214! 67! +#.)&! &.(%! !"#! ',*+-$.*! -.! 8.9(! $"%&'%() *'%+"!,-'../:! ! ;1-#()5! $-! #1%! 1!
9.$+(<4(1&$*2!',*+-$.*5!1%!&(8.*%-)1-(&!$*!=>1834(!?@:A:!

Overview
!

www thatwwmove forwards

ww wwwtowards
ww a goalww www ww
ww ww ww
P,&
TS, w
wwand DS)
w
w
w
w
w
w w w
- We will now expand our tonal harmonic paradigm to include aprogressive harmonies that
? w orwornament
embellish
w a single
w rather
w thanwmoving
w the progression
w
w w
w chord
w forwards
- The plagal cadence (I-IV-I) is an example

b) developed so far has

c) been focused on progressive
d)
Ex.14.2
- The a)
chordal vocabulary weve
harmonies (T, D,

C:

I
IV
T
cadence??

I
T

IV 46
??

I
T

I
T

I
T

(I)
(T)

I
T

I
T

(vi ?)
??

I
T

Plagal!"#$%&'()*
+,-.("/*01* +#1)1+-()$%-$+%! .'! -#(! 341214!
2-3"*456*
!
=>1834(!
#$2#4$2#-%!
-#(! 9.$+(<4(1&$*2!
67!
- Plagal
cadence,
aka?@:A1!
the amen
cadence
C
C
C
C
+#.)&B!
! D! 1*&!
@! $*! -#(!
14-.! 1*&!
1+-! 1%! !0,1*2"%3#"!04!
E! 1*&! F5! )(%3(+-$9(40:!!
- P-T
motion
seemingly
contradicts
the-(*.)!
progressive
tonal harmonic -.!
paradigm
C
- plagal
IV+.*'$)8(&!
chords dont
move
forward?@:AG<&:!
harmonically
like predom
IVs ;-#(!
instead
they
serve to.*!
extend/
"#$%! $%!
G0!
=>1834(%!
! 6*! =>1834(!
?@:AG5!
G1%%!
)(81$*%!
?!
embellish
the
effect
of-(*.)!
a single
Tonic+)(1-$*2!
chord
)
H#$4(!
-#(!
14-.!
1*&!
&$%%.*1*-!
'.,)-#! 121$*%-!
-#(!
G1%%! $*! -#(!'.)!
!
"#$%!
&$''()(*+(!
$*!8.9(5!
',*+-$.*!
$%! -#(!1!/(0!
-.! ,*&()%-1*&$*2!
341214!
3).2)(%%$.*%5!
6.'1'.)
^6
and
^4
of
the
IV
chord
provide
neighbor
motion
ornamenting
^3
and
^5
of
I
! =>1834(%!
?@:A+<&!
-1/(!
=>1834(!
?@:AG!
.*(! %-(3!
',)-#()B! ! =>1834(!
6%"1%044,"!4) 3).+(%%:!
-#(! 341214!
67! +#.)&!
&.(%! !"#!
',*+-$.*!
-.! 8.9(!
$"%&'%()
*'%+"!,-'../:!
! ;1-#()5! ?@:A+!
$-! #1%! 1!
- Non-harmonic
tones
are supported
by
a change
of chord
75!-#,"!)
)(%-)$+-%! -#(! I*($2#G.)<-.*(J! 8.-$.*! -.! -#(! -(*.)K! $*! =>1834(! ?@:A&! -#1-! 8.-$.*! $%! $*!
9.$+(<4(1&$*2!',*+-$.*5!1%!&(8.*%-)1-(&!$*!=>1834(!?@:A:!
8*%"51*)9",-03
!
-#(!
14-.:! ! L(! 1%%()-! -#1-! $*! 144! '.,)! +1%(%! -#(!0$$0-#! $%! $&(*-$+14B! ! 1!4,!1.0! ".*$+! +#.)&!
:0'(,!1)

ww
w
w

www
w

ww
w
w

ww
w
w

www

ww
w
w

ww
w
w

www

ww
w
w

ww
w
w

ww
w
w

ww
w
w

b)
c)
d)
Ex.14.2 a)
3).4.*2(&! H$-#!.*(!.)!-H.!*($2#G.)<-.*(%:!! M,)-#()8.)(5! H(!1%%()-!-#1-!-#(! 3)$*+$314!
&$''()(*+(!G(-H((*!=>1834(!?@:A1!1*&!=>1834(%!?@:AG<&!$%!-#1-!-#(!*($2#G.)<-.*(%!$*!
=>1834(!?@:A1!1)(!2$9(*!#1)8.*$+!%,33.)-N1!)..-!3.%$-$.*!#1)8.*0NH#$+#!$%!($-#()!
41+/$*2!14-.2(-#()!O1%!$*!=>1834(!?@:A+P!.)!$%!$*!$*9()%$.*!O=>1834(%!?@:AG!1*&!&P:!
6
6.'1'.);"#,"!)
C: =>1834(%!
I
IV ?@:A1<&!
I
I
IV 46
I
I
(I)
I
I
(vi ?)8.-$.*!
I
!
1)(!.G9$.,%40!*.-!$&(*-$+14N.*40!
=>1834(!?@:A1!#1%!
<'4)=")
??
T
??
T
T
??
T
T
(T)
T
T
T
<'%+"!,-)>$$0-#) $*!-#(!G1%%5!1*&!=>1834(!?@:A+!#1%!1!%-).*2!&$%%.*1*+(!O-#(!%(+.*&!G(-H((*!-#(!14-.!
!
=>1834(! ?@:A1! #$2#4$2#-%! -#(! 9.$+(<4(1&$*2! +#1)1+-()$%-$+%! .'! -#(! 341214! 67!
"!)?#*0%)
1*&!-(*.)P:!!Q,-!-#(!$5!-#,"!'.)4,+,.'%,#/!810!G(!+.*'$)8(&!G0!1%/$*2B!!H#1-!(''(+-!&.(%!
C
C
<'%+"!,04)
+#.)&B!
!sense
D! 1*&!
@!harmonic
$*! -#(! 14-.!
1*&! -(*.)!
1+-! 1%! !0,1*2"%3#"!04!
-.! C
E!change
1*&! C
F5!
)(%3(+-$9(40:!!
- there
is
no
of
progress:
the
intervening
IV
chord
doesnt
the
way we hear
-#(! 8$&&4(! %.*.)$-0! #19(! .*! -#(! %,)).,*&$*2! ".*$+! +#.)&%R! ! L(! 1%%()-! -#1-! $*! (1+#! C
"#$%!
$%!
+.*'$)8(&!
G0!
=>1834(%!
?@:AG<&:!
!
6*!
=>1834(!
?@:AG5!
-#(!
G1%%!
)(81$*%!
.*! ?!
the surrounding tonic chord; whereas in standard progressions, the intervening harmonies change
+1%(! -#(! ".*$+! +#.)&%! 1)(! ,*1''(+-(&N-#1-! -#(! 31$)! .'! ".*$+! +#.)&%! 1)(! ,(0!#,-'.:! ! ".!
theH#$4(!
function
vi/TS;
I/goal) 1! &$%%.*1*-! '.,)-#! 121$*%-! -#(! G1%%! $*! -#(!
-#(!(vi/P
14-.!-->
1*&!
-(*.)!I/start
8.9(5!-->
+)(1-$*2!
(83#1%$S(!-#$%!3.$*-5!+.831)(!-#(!-#)((!+#.)&!3).2)(%%$.*%!$*!=>1834(!?@:F:!
3).+(%%:! ! =>1834(%! ?@:A+<&! -1/(! =>1834(! ?@:AG! .*(! %-(3! ',)-#()B! ! =>1834(! ?@:A+!
Ex.14.3
b)-.! -#(! -(*.)K! $*! =>1834(!
c) ?@:A&! -#1-! 8.-$.*! $%! $*!
)(%-)$+-%!a)-#(! I*($2#G.)<-.*(J! 8.-$.*!
-#(! 14-.:! ! L(! 1%%()-! -#1-! $*! 144! '.,)! +1%(%! -#(!0$$0-#! $%! $&(*-$+14B! ! 1!4,!1.0! ".*$+! +#.)&!
3).4.*2(&! H$-#!.*(!.)!-H.!*($2#G.)<-.*(%:!! M,)-#()8.)(5! H(!1%%()-!-#1-!-#(! 3)$*+$314!
&$''()(*+(!G(-H((*!=>1834(!?@:A1!1*&!=>1834(%!?@:AG<&!$%!-#1-!-#(!*($2#G.)<-.*(%!$*!
=>1834(!?@:A1!1)(!2$9(*!#1)8.*$+!%,33.)-N1!)..-!3.%$-$.*!#1)8.*0NH#$+#!$%!($-#()!
6
7
6
7
C: I vi ii V
vi
I vi ii V
I
I
IV
I
41+/$*2!14-.2(-#()!O1%!$*!=>1834(!?@:A+P!.)!$%!$*!$*9()%$.*!O=>1834(%!?@:AG!1*&!&P:!
T P P D
TS
T P P D
T
T
??
T
6.'1'.);"#,"!)
!
=>1834(%! ?@:A1<&! 1)(!.G9$.,%40!*.-!$&(*-$+14N.*40! =>1834(!?@:A1!#1%! 8.-$.*!
!
<'4)=")
<'%+"!,-)>$$0-#)
$*!-#(!G1%%5!1*&!=>1834(!?@:A+!#1%!1!%-).*2!&$%%.*1*+(!O-#(!%(+.*&!G(-H((*!-#(!14-.!
!
6*! (1+#! +1%(5! -#()(! $%! 1! 31$)! .'! +#.)&%! -#1-! 1)(! (T,$914(*-! G0! ;.81*! *,8()14!
"!)?#*0%) - This type of non-progressing predominant chord is an example of an aprogressive harmony
1*&!-(*.)P:!!Q,-!-#(!$5!-#,"!'.)4,+,.'%,#/!810!G(!+.*'$)8(&!G0!1%/$*2B!!H#1-!(''(+-!&.(%!
1*&!
9.$+$*2:!
! =>1834(! ?@:F1! '(1-,)(%! -H.! 9$! -)$1&%5! (1+#! H$-#! 1! &$''()(*-! ',*+-$.*K! 1%!
<'%+"!,04)
termed a Neighboring Predominant
-#(! 8$&&4(! %.*.)$-0! #19(! .*! -#(! %,)).,*&$*2! ".*$+! +#.)&%R! ! L(! 1%%()-! -#1-! $*! (1+#!
&$%+,%%(&!$*!U#13-()!??5!-#(!-H.!9$!+#.)&%!4"5!(!&$''()(*-N-#(!%(+.*&!)(3)(%(*-%!1*!
+1%(!1-!
-#(!
".*$+!
+#.)&%! 1)(! ,*1''(+-(&N-#1-!
31$)! .'!! ".*$+!
+#.)&%!
1)(!
,(0!#,-'.:!
! ".!
1))$914!
1!
*(H! 4.+1-$.*!(,4#,!-#!
').8! -#(! '$)%-!-#(!
9$! +#.)&:!
=>1834(!
?@:FG!
)(341+(%!
-#(!
Neighboring
Predominants
(83#1%$S(!-#$%!3.$*-5!+.831)(!-#(!-#)((!+#.)&!3).2)(%%$.*%!$*!=>1834(!?@:F:!
'$*14!
9$! .'!
?@:F1!
H$-#! 1!
65! 9.$+(&!
$&(*-$+1440!
-.! -#(!or.3(*$*2!
".*$+K! 14-#.,2#!
-#(0! 1)(!
- NPs
may
occur
between
pairs
of Tonic
chords (tNP)
pairs Dominant
chords (dNP)
to

&
?

& c

?c

U


U

U


U

embellish/extend
',*+-$.*1440!$&(*-$+14!-#(!-H.!".*$+!+#.)&%!%.,*&!%,G-40!&$''()(*-N4$/(!1!)(-,)*!#.8(!
U
Ex.14.3 a) their effect
b)
c)
U
U
- All predominant
chords
(ii,
IV,
and
vi)
may
serve
as
NPs,

c common;



- IV &
is the most
- some motions
satisfying
than others
U
U
are more

? occur

- NPs may also

between
substitute
chords
(eg.
vi/TS
IV/tNP
vi/TS)
c
!

C: I
T

vi
P

ii
P

V
D

vi
TS

I
T

vi
P

ii
P

V
D

I
T

I
T

IV
??

I
T

!
6*! (1+#! +1%(5! -#()(! $%! 1! 31$)! .'! +#.)&%! -#1-! 1)(! (T,$914(*-! G0! ;.81*! *,8()14!
1*&! 9.$+$*2:! ! =>1834(! ?@:F1! '(1-,)(%! -H.! 9$! -)$1&%5! (1+#! H$-#! 1! &$''()(*-! ',*+-$.*K! 1%!

L
L
L L

L
L
L L

L L

L
L
L L

L L

%#0.(-)*0%'<12*<&"1"#50*.6(*+"#%!*!6"&),*;%.6*=
>*-#)*=
?*-0*#(%569"&3."#(0*."*=
@*-#)*=
A7***
Ex.14.5
a) J.S. Bach: O wir armen Snder (#202)
b)
(N)

#
& # c

ornament
chord +,-.("/*01*
T-tNP-TS
is unusual)

2-3"*451*
-?NPs
typically
a
single
(e.g.

## c

of a
or beginning
- NPs are not restricted to use at cadences; they may
occur in the middle
(P)

(sus.9-8) (N)

(sus.9-8)

!"#$%&'()*

progression as well (sus.2-3) 6

D:

(P)

(sus.4-3)

(sus.9-8)

(P)

(sus.2-3)

(Orn.)

(P)

(P)

I
V5 I
IV
I
I
V5 I
I
I
T
D-#)*
T &(./&#0* ."*
TNP
T 4"%!%#5*
D T "$* .6(* +"#%!7*
T
T
T
!"#$%&'()* +"#%!,*
-* #(-&123%)(#.%!-1*
* +6(* +"#%!3

B(* C#";* $&"'* :-&.* D* .6-.* 8E+0* '-2* 9(* &('"4()* ;%.6"/.* -$$(!.%#5* .6(*

L
L
L L

8(%569"&%#5* :&()"'%#-#.* 06"/1)* $((1* -0* %$* %.* )"(0* #".* '"4(* .6(* '/0%!* $"&;-&),* 9/.*
Examples
= %$* .6(* (#.%&(* +8:* DF*=!6"&)*=;(&(*
/#)(&12%#5* 6-&'"#%!* 0.&/!./&(7* * B6-.* ;"/1)*=6-<<(#*

%#0.(-)*0%'<12*<&"1"#50*.6(*+"#%!*!6"&),*;%.6*>*-#)*?*-0*#(%569"&3."#(0*."*@*-#)*A7***
Ex.14.5&('"4(),*-#)*&(<1-!()*;%.6*-*D*!6"&)*G-19(%.*;%.6*8E+0*%#*.6(*0"<&-#"*-#)*-1."*%#*.6%0*
a) J.S. Bach: O wir armen Snder (#202)
b)
(N)
!-0(H,*-0* 06";#* %#* IJ-'<1(*K?7@9L**+6(* .;"*)%$$(&(#.* 4(&0%"#0* "$*.6(* '/0%!* !""#$%&'("$
)'*'#+,,* ;%.6* "#(* %'<"&.-#.*
(J!(<.%"#M* * %#* IJ-'<1(* K?7@9* .6(&(*
%0* -* ;(-C3."30.&"#5*
(P)
(P)
(sus.9-8)
(N)
(sus.4-3)
&(<(.%.%"#* "$* .6(* +"#%!*
1-0.0* 0%J*
(sus.9-8) 6-&'"#2,* -#)N0%#!(* .6-.* 6-&'"#2*
(sus.9-8)
(Orn.) 9(-.0N.6(*
(P)
6-&'"#%!*'".%"#*01";0*-1'"0.*."*.6(*<"%#.*"$*0.-5#-.%"#7*
$
*
+6%0*)('"#0.&-.(0*"#(*"$*.6(*'"0.*%'<"&.-#.*/0(0*"$*8(%569"&%#5*:&()"'%#-#.*
3+#&"$.!$
(P)
(P)
4"'05/.,'-0$
(sus.2-3)
(sus.2-3)
!6"&)0M**."*6(1<*-4"%)*;(-C3."30.&"#5*&(<(.%.%"#0*"$*+"#%!*"&*O"'%#-#.*6-&'"#%(0,*-#)*
6
6
6,"2.*'-+-()7
D: I
V5 I
IV
I
I
V5 I
I
I
G%#* .6(* <&"!(00H*
0.-5#-.%"#*
&62.6'N(4(#*
;6%1(*
T
D."*T 6(1<* -4"%)*TNP
T 6-&'"#%!*
D T
T
(.$89.'2$:"+;<
T "$* .6(*
T -.(*
(.<=(,.-0$
*<&"<(11%#5*.6(*6-&'"#%(0*$"&;-&)7***
B(* C#";* $&"'* :-&.* D* .6-.* 8E+0* '-2* 9(* &('"4()* ;%.6"/.* -$$(!.%#5* .6(*
>"?"('('.-)$.!$+$
+8:*
DF* !6"&)*
;(&(*
/#)(&12%#5*
0.&/!./&(7*
* B6-.*
;"/1)*
%$*
.6(*
(#.%&(*
*
P-!C*6-&'"#%!*
"$*$"&;-&)*
'".%"#*
%0*(4(#*'"&(*<&"'%#(#.*
%#*
IJ-'<1(*K?7>7**+6%0*
!6"&-1(*
Tonic-NPs
typically
follow a strong
authentic
cadence
to6-<<(#*
prevent ambiguity
(note:
a Tonic
chord
='-0#"$@+,*.-A$
preceded
by its;%.6*
dominant
is called a :&()"'%#-#.*<&"1"#5%#5*
confirmed tonic)
&('"4(),*-#)*&(<1-!()*;%.6*-*D*!6"&)*G-19(%.*;%.6*8E+0*%#*.6(*0"<&-#"*-#)*-1."*%#*.6%0*
/"0'-)*
-* 8(%569"&%#5*
-#*&-1.-!',*"2*+"#%!,*&(0/1.%#5* %#*
(%.6(&* -'9%5/%.2*
G%0*
.6(* <&"5&(00%"#* D3DF3D*
%#* Q* '-R"&*
"&* F3D3F*
%#* O*'/0%!*
'-R"&LH,*
"&* .6(*
!-0(H,*-0*
06";#* %#*
IJ-'<1(*K?7@9L**+6(*
.;"*)%$$(&(#.*
4(&0%"#0*
"$*.6(*
!""#$%&'("$
- tNP )'*'#+,,*
IV
chord
follows
confirmed
Tonic,
and
returns
to
nearly
same
voicing;
doesnt
move
the
;%.6* "#(*
%'<"&.-#.* (J!(<.%"#M*
* %#* IJ-'<1(* K?7@9*
.6(&(* %0* -*;%.6*
;(-C3."30.&"#5*
$((1%#5*.6-.*.6(*
'/0%!*%0*0.-2%#5*
%#* "#(*0<".7**Q0*.6(*
'/0%!*<&"!(()0*
.6&((* !1(-&*
progression forward
"$* .6(* +"#%!*
6-&'"#2,*.6(*
.6-.*
6-&'"#2*-#)*
9(-.0N.6(*
O"'%#-#.3."3+"#%!*
<&"5&(00%"#0,*
-'9%5/%.2*
)%0-<<(-&0*
.6(*0%J*
'/0%!*
)&%4(0*
- helps&(<(.%.%"#*
to avoid Weak-strong
repetition
of the-#)N0%#!(*
same
harmony/stagnation
of 1-0.0*
harmonic
rhythm;
cf.
>* -0* -* :&()"'%#-#.* %#* .6(* 0(!"#)*
!"#4%#!%#512*
$"&;-&)7*
*
G8".(*
.6(*
&-&(*
/0(*
"$*
4%
6-&'"#%!*'".%"#*01";0*-1'"0.*."*.6(*<"%#.*"$*0.-5#-.%"#7*
with
ex.
b
-->
one
of
the
most
important
roles
of
NPs
$
*'(-0/&(,*(J.(#)%#5*.6(*<(&%")*"$*01";*6-&'"#%!*'".%"#7H*
+6%0*)('"#0.&-.(0*"#(*"$*.6(*'"0.*%'<"&.-#.*/0(0*"$*8(%569"&%#5*:&()"'%#-#.*
3+#&"$.!$
4"'05/.,'-0$
J.S. Bach: Nun danket alle Gott (#32)
!6"&)0M**."*6(1<*-4"%)*;(-C3."30.&"#5*&(<(.%.%"#0*"$*+"#%!*"&*O"'%#-#.*6-&'"#%(0,*-#)*
Ex.14.6
(Esc)
6,"2.*'-+-()7
G%#*
.6(*
<&"!(00H*
."* 6(1<* -4"%)* 0.-5#-.%"#* "$* .6(* 6-&'"#%!* &62.6'N(4(#* ;6%1(* -.(*
(.$89.'2$:"+;<
(.<=(,.-0$
<&"<(11%#5*.6(*6-&'"#%(0*$"&;-&)7***
>"?"('('.-)$.!$+$
(sus.4-3) (IN) (N)
P-!C* "$*$"&;-&)*
='-0#"$@+,*.-A$ *
(P) '".%"#* %0*(4(#*'"&(*<&"'%#(#.* %#* IJ-'<1(*K?7>7**+6%0* !6"&-1(*
(P7)
(P)
!"#$%&'()*
+,-.("/*01* -#*&-1.-!',*"2*+"#%!,*&(0/1.%#5*
2-3"*456*
/"0'-)* ;%.6* -* 8(%569"&%#5* :&()"'%#-#.*<&"1"#5%#5*
%#*
(%.6(&* -'9%5/%.2* G%0* .6(* <&"5&(00%"#* D3DF3D* %#* Q* '-R"&* "&* F3D3F* %#* O* '-R"&LH,* "&* .6(*
6
6
7
V .6&((*
A: I '/0%!*%0*0.-2%#5*
I
IV %#* "#(*0<".7**Q0*.6(*
vi
V 5'/0%!*<&"!(()0*
I V
I
I
I6 I
$((1%#5*.6-.*.6(*
;%.6*
!1(-&*
TNP
T
T
T
D T D
T
T
P
D
O"'%#-#.3."3+"#%!*
<&"5&(00%"#0,*
.6(* -'9%5/%.2* )%0-<<(-&0*
-#)* .6(* '/0%!* )&%4(0*
IJ-'<1(*)*+),!
K?7S*
92*T(&"'(*!"#$%GKUU@3KV?@H*
$(-./&(0*-*
+ 8:* DF* !6"&)*<&"1"#5%#5*
! *
"#$%&'(!
-./%! $! 0/.1! 23! 4(56/.!
!"#$%&'! 7)8,9:)8;<=>!
&.(?(@6?! $@!
>* -0*
-*
:&()"'%#-#.*
.6(* 0(!"#)*
!"#4%#!%#512*
$"&;-&)7*
*
G8".(*
.6(*
&-&(*
/0(*
"$*
4%
- another
example,
this
time
with
the
IV
tNP
following
an
unconfirmed
tonic
(tonal%#*
ambiguity)
;
-*!"#$%&'()*+"#%!,*
9/.*9(!-/0(*
"$*.6(*)/&-.%"#*"$*.6(*
D3DF3D*<&"5&(00%"#*G-*.".-1*
"$*0%J* ;
A@?6$@5(!
$! &'$B$'!
CA :D>!of.$6E(.!
6E$@!
6E(!
63&A5$'!byDF:D+!
! GE(! 0($1@(??!
- rare
vi6
chord/-!extends
the sense
harmonic
stasis
-- relieved
V-I motions
in next bar /-! 6E(! CA :D!
'(-0/&(,*(J.(#)%#5*.6(*<(&%")*"$*01";*6-&'"#%!*'".%"#7H*
'(-0/&(0* -1."5(.6(&H,* .6(* ($$(!.* %0*0%'%1-&7** +6(* D*!6"&)* -.*.6(* (#)* "$* IJ-'<1(*K?7S*%0*
&./B.(??A/@!A?!2$'$@5(H!23!6E(!(#6(@H(H!HI.$6A/@!/-!6E(!CA!5E/.H+!
J.S. Bach: Nun danket alle Gott (#32)
Ex.14.6
W/%!C12*$"11";()*92*-*%%S3FS3D34%3%%S3FS3D*<&"5&(00%"#*.-C%#5*1(00*.6-#*(%56.*'(-0/&(07$

#
& # c

? ## c

&

###

? ### c

##
Ex.14.10
c

Carnival
Overture
Berlioz: Roman
(end,
..
... condensed)

&

..

# # # 6 ..
.. ...

&
8

? ### c

.
.

L
(P)

(P7)

(P)

LL

LL

(Esc)

(sus.4-3) (IN) (N)

?
A: #I # I6
I
IVNP
TI viP. VD TI VD. TI I VD
T#
T8
T

IJ-'<1(* K?7S* 92*T(&"'(*!"#$%GKUU@3KV?@H*

$(-./&(0*-* 8:* DF* !6"&)*<&"1"#5%#5*
6
T

6
5

*
+
A: I
V
I
vi
I
-*!"#$%&'()*+"#%!,* 9/.*9(!-/0(*
"$*.6(*)/&-.%"#*"$*.6(*
D3DF3D*<&"5&(00%"#*G-*.".-1*
"$*0%J*
TNP
T
D
T
T
'(-0/&(0* -1."5(.6(&H,* .6(* ($$(!.* %0*0%'%1-&7** +6(* D*!6"&)* -.*.6(* (#)* "$* IJ-'<1(*K?7S*%0*
!
J$?6'3>!"#$%&'(?!)*+))!23!KA$5/%/!(")"#*""#!7)L<):)8;*=!$@H!)*+)M!23!N($@!
S3FS
S3Finstead
S3D*<&"5&(00%"#*.-C%#5*1(00*.6-#*(%56.*'(-0/&(07$
- example
of relatively rare I - vi6
- 3D34%3%%
I motion
of typical I-IV-I
W/%!C12*$"11";()*92*-*%%
*

+%*"$%,-!7)8;O:)<OL=!&.(?(@6!G/@A5:P(ABE2/.A@B!Q.(H/%A@$@6!RK./I&?+S!!P/6(>!6E$6!A@!
"#$%&'(! )*+)M! 6E(! T!! A@! 6E(! 6EA.H! %($?I.(! ?E/0@! !"#! 2(! 6E/IBE6! /-! $?! $! &$??A@B:
6/@(!.$6E(.!6E$@!6E(!.//6!/-!$!AA*MU!?A@5(!6E(!6/@(?!/-!$!P(ABE2/.A@B!Q.(H/%A@$@6!?E/I'H!
2(! 5/@?AH(.(H! $%&'("))#*+,--&'./(0 1&1*%"'!&12$0.&1/+>! 6E(! HA--(.(@5(! 2(60((@! 6E(! 60/!
$@$'3?(?!A?!%A@A%$'+!
*

!
J$?6'3>!"#$%&'(?!)*+))!23!KA$5/%/!(")"#*""#!7)L<):)8;*=!$@H!)*+)M!23!N($@!
+%*"$%,-!7)8;O:)<OL=!&.(?(@6!G/@A5:P(ABE2/.A@B!Q.(H/%A@$@6!RK./I&?+S!!P/6(>!6E$6!A@!
"#$%&'(! )*+)M! 6E(! T!! A@! 6E(! 6EA.H! %($?I.(! ?E/0@! !"#! 2(! 6E/IBE6! /-! $?! $! &$??A@B:
6/@(!.$6E(.!6E$@!6E(!.//6!/-!$!AA*MU!?A@5(!6E(!6/@(?!/-!$!P(ABE2/.A@B!Q.(H/%A@$@6!?E/I'H!
2(! 5/@?AH(.(H! $%&'("))#*+,--&'./(0 1&1*%"'!&12$0.&1/+>! 6E(! HA--(.(@5(! 2(60((@! 6E(! 60/!
$@$'3?(?!A?!%A@A%$'+!

Ex.14.11

L L

..
.

...

.. 3 . . .
. .. ..
J
3

Meyerbeer: Le Prophte (Marche du Sacre, mm.1-5, condensed)*

(P)
(P)
(P)
3

b
& b b c

? b c
bb

3

Eb: I (V) I V I vi
T
T D T P

I
T

ii V
P D

4 6

I vi
T

IV (I) IV I V 3 I
T D T
TNP
Sibelius: Finlandia, mm.208-214 (condensed, simplified)

ii V
P D

(N)

Ex.14.12

ii
P

6
5

V
D

notice
vi and IV
ww+,-.("/*01*
w in the
w normalwway; relatively
rare,
!"#$%&'()*
2-3"*455*
that
- example
ofb abtNP group;
still progress
w
w
w

b limited
usually tNPs
& are
to asingle
harmony
w
w
w
w

J
j

ww
ww

di wwNapoli (mm.7-9;
w Tenor
?
S.
nona
sopra
l'Aria
del
continuo
partiallyrealized)

w
w
w
b
Ex.14.13 b C Rossi: Sonata

b b #

w
w
w

.w

L L
L

&Ab: iiP c .VD J TI IV ii TI
NP
j
V&/6!WE(51!)X!!G/@A5:P(ABE2/.A@B!Q.(H/%A@$@6?!
? # c .
!

(P)

3-&.04%/$506700
8&12$*
9/2:%;&'21:0
<'/(&!21"1.+!

6
4

4
2

L
L

(P??)

(P)

(P)

(P)
(P)

!
4$.%/@AY(! 6E(! -/''/0A@B! %('/HA5! 'A@(?! I?A@B! $! G/@A5:P(ABE2/.A@B!
Q.(H/%A@$@6+!!
G: I
I
V
IV 6 V 65
Z@$'3Y(!3/I.!0/.1!0A6E![/%$@!$@H!Z.$2A5!@I%(.$'?!$@H!0A6E!-I@56A/@!'$2('?>!!
NP
D
T
D
T
D
!"#$%&'()*
+,-.("/*01*
2-3"*450*
!

!
"#$%&'(! )*+)*! ,-./,! $! ,0%0'$1! 2.%03$3456(07-8.1037! 91(:.%03$34;! -(1(! $!
269!00!<-.1:;!03!4-(!4-01:!=>''!%($,>1(!,-./3+!
- example
of dNP IV chord embellishing a V chord. Note three-part voice exchange.

b b b 4 . .. j

b
-)*6"%%<7-+)
one!#&'*)
#(%)
,#:.4)
&
4 0') -"%)Jharmonic
an aprogressive
than
&:""#:(4'($)
*6%)
0#',%4) 0%"+)
;-.*6#:$6)
- in general,
prefer a progressive
analysis

4'//%"%(*.+)
.rather

Ex.14.14
Cooke: Only Sixteen
3
!"#$"%&&'#()
Analytical
ambiguity '&) *+!',-.) #/) #(%) '(0#.0'($) -) 12) 0'3) -(4) !5) *6%) *7#) 8#9'(-(*) ,6#"4&)
!

0#',%<%=,6-($%>)-&)&%%)'()?=-9!.%)@AB@C5B)

&

IVP

? # # # c

?&.4!@-(<A!BC!!2.%03$3456(07-8.1037!91(:.%03$34,!
Eb:

I
T

vi
P

(P)

!"#$%&'()*%+,%%
-#./010$2
3(/4'5#6/04%
76(8#./010$9!

L L

3
j
? b b 4 Ex.14.17
sieh hier dein Leben (#275)

j
j
.
j
b b 4 # # .J.S. Bach:jOWelt,

(P7)
. . . .

# c
. 7

V
D

.
.

ii
DNP

V
D

I
T

!
V
A: V 7 vi V 6 I
IV
DNP?? D T
!
D$1%.30E(! 4-(! =.''./037! D %('.:0<!
'03(,! P>,037!D $! 2.%03$3456(07-8.1037!
TS??
91(:.%03$34+!!F3$'GE(!G.>1!/.1A!/04-!H.%$3!$3:!F1$80<!3>%(1$',!$3:!/04-!=>3<40.3!
$
)
16%):.*'9-*%)-"D'*%")#/)*6'&)-9D'$:'*+>)6#7%0%">)'&)(#*)0#',%<.%-4'($>)*6%)E-='9)
5.'$6(&$()$#.'$'$8(',;!!
- Does the vi chord seem to prolong the V7 as a dNP or move the harmony forward as a
7*#+8(#'$9&!+#'&$ #/) F:(,*'#(-.) G-"9#(',) H(-.+&'&) #") *6%) 1#(-.) G-"9#(',) I-"-4'$9>) !"#$ %"&$ '(&)$ ()$
TS?
*

&
?

:&%!*'8(#+0$
6/(83*');$$
<%8+,(,#$

bbb

*+)#','&)B))16:&)7%)&6#:.4)-&J)#:"&%.0%&)*6'&)%&&%(*'-.)K:%&*'#(L))4#%&)*6%)0'),6#"4)'()
?=-9!.%) @AB@M) &')%*-') *6%) !"%,%4'($) 8#9'(-(*N) ) O/) 7%) .'(&) *6%) 0') -&) "%&#.0'($) *6%)
8#9'(-(*P-.D%'*) 4%,%!*'0%.+P-(4) '/) *6%) 6-"9#(',) 9#*'#() ,#(*'(:%&) /#"7-"4>) *6%()
1#(',)2:D&*'*:*%)'&)*6%)#(.+).#$',-.).-D%.B))H.*%"(-*'0%.+>)'&)*6%"%)-)*%9!#"-"+).:..)'()*6%)
/#"7-"4)6-"9#(',)9#*'#(P*6%).:..)#/)-)!"#.#($-*'#()*6"#:$6),6#"4-..+<&:!!#"*%4)(#(<
6-"9#(',)*#(%&N))
)
?=-9!.%)@AB@Q)!"%&%(*&)-()%0%()D%**%")'..:&*"-*'#()#/)*6%)E-='9):&%4)*#$%*6%")
7'*6) #:") "%.'-(,%) #() #:") %-"&B) ) O() ?=-9!.%) @AB@Q-) 7%) 6-0%) -) 0') ,6#"4) -!!-"%(*.+)

&

###

bbb

-<+$ 1(9-$ )"-+$ "M$ ($ CJNJQ$ 4(99$ 12)+$ 3(/$ 4+$ <(#3")2R+&$ L2-<$ ($ I")2*J,.49-2-.-+:$
M.#-<+#3"#+U$ 2-$ 29$ *"33")$ M"#$ ($ I")2*J,.49-2-.-+$ 222$ -"$ 4+$ M"11"L+&$ 4/$ ($ 7OG$ $ Y)$ -<+$
"-<+#$<()&U$.)12Z+$B?(3A1+$CFGSTU$-<+$9"A#()"$)"-+$<(#3")2R+&$4/$222$29$)"-$
VU$4.-$ P
D:$
!"#$%&'()*+,-&&.,/0123&4"/%0$*/&1/5&4*+6&P
P
718$5&.9&:);<*=$0>&
-<+#+$ 29$ -<.9$ ($ *")92&+#(41+$ &2MM+#+)*+$ 4+-L++)$
-<+$ 7$ ()&$ -<+$ 222$ *<"#&9U$ -<+$ D$ 2)$ -<+$
&
9"A#()"$*")-#24.-2)5$-"$".#$A+#*+A-2")$"M$-<+$1(--+#$(9$($X"32)()-J,.49-2-.-+G$
?(1@0)+&AB-&&4"/%0$*/1C&D1+6*/,&EF-&&&
J.S. Bach: O
Herre Gott, dein gttlich Wort (#14)
Ex.14.21
&
.*6)&G@@1+)/0&H2%)@0$*/#&I*0)5

# c

&
G9&G/1C,0$%&J+*KC)6&LA-&.*6)&M)0+*N+)##$8)&J+*N+)##$*/#O&

!"###$
%&'()*#+$%,,-.'+/$01$$2'33#&4$5676&*/3$
%&'()*#+$%,,-.'+/$81$$9..*(633$5676&*/":/.-;3$
?%&'()*#+$<6+/&#=>61$$9..*(633$5676&*/":/.-;3?$@
# c C$D'E6($
%&'()*#+$%,,-.'+/$F1$$5#&4(6$2-.(.&46;$:/.-;$

%;;#*#.&'($GH'I,(6$.J$!"###$
!

&

(P7)

vi iii

G: I

A
B

IV V7

vi V

K"7##LM$##"!K$
P D
T
TNP TS
TS D T
N"O$K.#+6"D6';#&4$
P DS
DNP
*
P++>--6&+6$.J$96*-.4-';6$2-.4-633#.&31$$GH+6,*#.&3$*.$*/6$9>(63$
R&1#&'*/$%&."K#0$0"0)&
P9&G/1C,0$%&J+*KC)6&LQ-&EF
- Unusual use of NP
%((.Q'E(6$GH+6,*#.&1$$!KN$'3$@<.&#+"5>E3*#*>*6"5>E3*#*>*6C$
- is iii a TS or DS?
?9&G/1C,0$%&J+*KC)6&LS-&&T
U&1#&0()&P)1+)+&*;&7*6$/1/0&4"/%0$*/3&E/5)@)/5)/0&*;&G%0"1C&D1+6*/$)#&
- if iii is a TS, then
the vi is a tNP between I and iii and the following IV-V motion is
&
P*/6-$D.4#+3&

standard P-D

79&G/1C,0$%&J+*KC)6&LV-&!)C*5$%&:*N$%-&&J1+1CC)C&S&?(*+5#&
- if iii is a DS, then the preceding vi chord is a
&
56+.&;"!&76-3#.&$:/.-;3$'&;$D#&6'-$D.4#+&
$

P, and then following IV chord is a dNP

extending the Dominant function of iii to the V7
7)#@$0)& 0()& @*=)+& *;& 0()& '*/1C& D1+6*/$%& J1+15$N63& */)& 5*)#& /*0& (18)& 0*& C**<&
- Does the ^7 in the soprano of the iii chord suggests a dominant function?

&
8)+,&;1+&0*&;$/5&W)2%)@0$*/#X&0(10&/)8)+0()C)##&#*"/5&1%%)@01KC)3&)8)/&=$0($/&?*66*/&
J+1%0$%)& H+1& 6"#$%9& & E/& 0($#& ?(1@0)+3& =)& =$CC& )216$/)& ;*"+& @+*N+)##$*/#& 0(10& #))6& 0*&
8$*C10)&
0()& J1+15$N69&
Rootless
Seventh
Chords & 4$+#03& %*/#$5)+& 0()& 0(+))& 6*5)C& @+*N+)##$*/#& $/& H216@C)& AB9A3&
;*CC*=)5&K,&0(+))&?(*+1C)&)2%)+@0#&=$0(&#$6$C1+&@+*N+)##$*/#&$/&H216@C)&AB9Q9&
b)
c)
Ex.15.1 a)

G9&G/1C,0$%&
J+*KC)6&LA-&&
.*6)&
M)0+*N+)##$8)&
J+*N+)##$*/#O&

& c

?c

C: I
iii
T
TS?
retrograde?
legal?

!
!

IV
P

V7
D

I
T

I
T

IV 6
P

V6
vii I
D
DS
T
retrograde?

I
T

ii
IV
P
P
retrograde?

V7
D

I
T

a)
#
to be out
In each example, there are chords
seem
THP. Why do they
of order
according to the
c that
&

sound ok?

as a DS
a) I - iii - IV is only legal if iii is serving
leading back
and
IV is a DNP
to V -- not likely: iii

?
#

sounds like a tonic and IV a predominant

Instead, we hear the B as a passing 7th over an absent root. This is a rootless 7th chord in
Ex.15.2

L L

J.S. Bach: Du Lebensfrst, Herr Jesu Christ (#361)

sus. 9-8

(Esc)

(Ant)

L
(P)

I iii even
IV though
V
V
I
5
which we still hear the tonicG:pitch
itIVis5 vii
noI longeriiactually
present
T TS P
retrograde?

b) a P7 in the alto or a V6-V6/5 with no root

c) P7 in soprano and/or ii6 - ii6/5 with no root
IV6 as Tonic Subsitute Subsitute

NP DS T

$&%()&1,6! (#,! >2%$1! )1A2$+,%! )! 1,+()$&! B75')($&-C! '+! .$+,1($'&5,%%! A2)5$(*6! :#$1#! $%!
-,&,+)55*!)&($(#,($1)5!('!('&)5!#)+>'&$1!/+)1($1,8!

8&.2$%&,.

!
D&,! '(#,+! (*/,! '7! )//)+,&(5*! +,(+'-+).,! /+'-+,%%$'&! :)++)&(%! )((,&($'&8! ! E2%(!
)%! $$$?! 1)&! >)%A2,+).,! )%! <6! )&.! 0$?! 1)&! >)%A2,+).,! )%! 96! %'! (''! 9<?! 1)&! %'2&.!
%'>,:#)(!5$F,!0$8!!G&.,+!1,+()$&!1$+12>%()&1,%6!(#,+,7'+,6!9<?!>)*!7'55':H)&.!%'2&.!
)%!$7!$(!+,%'50,%H<3!$&!,77,1(6!)!%24%($(2(,!7'+!)!"'&$1;I24%($(2(,8!

K8!U&)5*($1!
+'45,>!WXY!!
<?!)%!"'&$1!
24%($(2(,!

Ex.15.9

& c

?c

C: I
T

IV V
P D

IV 6 ii7
TS P

sus. 4-3

V
D

I
T

!
J'%(! '7(,&6! )%! $&! (#,! (:'! K)1#! 1#'+)5,! ,=1,+/(%! %#':&! $&! L=)>/5,! M@8MN6! <!
@! '&! )! :,)F! 4,)(! ('! O
/+'-+,%%,%! ('! 9<?! 4,1)2%,! (#,! >,5'.*! 5$&,! >'0,%! 7+'>! O
In rare cases, IV6 can sub for vi as a Tonic Substitute
Substitute P! '&! )!
%(+'&-! 4,)(3! $7! (#,! >,(+$1)5! /5)1,>,&(! '7! (#,! (:'! &'(,%! :,+,! %#$7(,.6! (#,&! O
Q'&! (#,!
- leading tone is able to resolve up toT ^1 (chordal 5th of P!
IV)
:,)F!4,)(R!1'25.!4,!#)+>'&$S,.!)%!(#,!%,0,&(#!'7!)!< !:$(#'2(!0$'5)($&-!(#,!:,)F;(';
- ^6 in the bass approximates the root of vi
%(+'&-!+,/,($($'&!+25,8!!!

- IV6 is a poor subsitute for the tonic, usually moves immediately back to the Dominant -->
creates the impression of a DNP

!"#$%&'()*

+,-.("/*01*

2-3"*456*

Voice exchanges suggest that the V chord between the IV and IV6 chords is best understood as
PASSING CHORDS with no real harmonic function
!'&#-$.!"#$ /)--+&0$ -#1#&!"$ +&$ *#)-2%#$ 3$4#)!$35$ )&6$!"#$7(8$
^7 as!"#$!"%##$&'&(")%*'&+,$
Bearer of Dominant Function
-2-/#&-+'&$+&$*#)-2%#$9$4#)!$9:$6'#-$!"#$)61#%-#;<$)==#,!$!"#$")%*'&+,$-<&!)>?$

Ex.15.11 a) J.S. Bach: Freudich sehr, o meine Seele (#29) b)

& c

?# c

G: I
T

L L
(P7)

IV 6 V IV 6
P D TS?

(P??)

.
J


sus. 4-3

I V
T D

I
T

I IV 6 V IV 6 I V I
T P D TS? T D T
*

c)

I IV 6 V IV 6vii/ 7 I V I
T P D TS DS T D T
DNP

$
@"#$%#*'1);$'=$!"#$A/)--+&0B$ C
D$+&$*?3$4#)!$75$"'E#1#%5$$"%&$)61#%-#;<$)==#,!$!"#$
b) Does
removing
the
NHTs
hurt
the
over-all
harmonic syntax of the progression?
")%*'&+,$ -<&!)>?$ $ F+!"'2!$ !")!$ /)--+&0(!'&#5$ E#$ )%#$ =),#6$ E+!"$ )$ -2,,#--+'&$ '=$
- removing the P7 andJ4-3 suspension has little adverse effect
")%*'&+#-GH(IH (IG!")!$1+';)!#-$!"#$%2;#-$'=$")%*'&+,$-<&!)>$&'$*)!!#%$"'E$!"#$IHJ$
- removing
the ^7 (F#) on beat 4 of measure 1 creates irreconcilable problems
+-$)&);<K#6?$$
,'&=+%*$
!")!$!"#%#$+-$
)$ 1+';)!+'&$'=$
-'*#$ -'%!?$$M-$ ,'*/)%#6$ !'$
- there is noL2%$
way#)%-$
we can
analyze
that IV6, even
as a TS
N>)*/;#$
3O?33)5$
N>)*/;#$ 3O?334$ -'2&6-$ AE%'&0B$ E"#%#$ *)%P#6$ E+!"$ )&$ )-!#%+-P?$$
- just sounds
wrong
@"#$;'0+,);$,'&,;2-+'&$+-$!")!$!"#$C
D$'&$4#)!$7$'=$!"#$'%+0+&);$=+%-!$*#)-2%#$+-$!"#$)$&'&(
")%*'&+,$!'&#5$42!$+&-!#)6$+*/;+#-$!"#$/%#-#&,#$'=$1++Q
The ^7
is NOT an NHT, but instead implies a vii7 leading toRDI$;#)6+&0$!'$I?$$$
$
@"#$ 6+==#%#&,#$ 4#!E##&$ !"#$ '%+0+&);$ )&6$ )&$ '(#)'*+ 1++QRD$ E'2;6$ 4#$ +=$ !"#$ );!'$ '&$
!"#$-#,'&6$");=$'=$4#)!$7$*'1#6$!'$)&$M7?$$@"+-$-200#-!#6$,")&0#$+-$-"'E&$+&$N>)*/;#$
3O?33,?7$ $ @"#$ )66+!+'&$ '=$ !"#$ M7$ +&$ !"#$ );!'$ '&$ !"#$ -#,'&6$ ");=$ '=$ !"#$ ='2%!"$ 4#)!$
,;)%+=+#-$ !"#$ ")%*'&+,$ *#)&+&0$ '=$ !"#$ /)--)0#S$ +&6##65$ !"#$ /+!,"#-$ ='2&6$ '&$ !"#$
-#,'&6$");=$'=$!"#$",-.-!'*$4#)!$7$4#")1#$%/'(#*0+)-$+=$!"#<$1%,%$*#*4#%-$'=$)$1++QRDT$$!"#$
6+*+&+-"#6$ =+=!"$ 4#!E##&$ !"#$ 4)--$ )&6$ !"#$ -'/%)&'$ %#-';1#-$ +&E)%6$ 4<$ -!#/5$ )&6$ !"#$
-#1#&!"$'=$!"#$,"'%6$+&$!"#$!#&'%$%#-';1#-$6'E&$4<$-!#/S$'&;<$!"#$);!'$+-$2&2-2);?$$$
+
$
@"#$ =),!$ !")!$ E#$ ,)&$ ")1#$ ")%*'&+,$ =2&,!+'&$ E+!"'2!$ ),!2);;<$ ")1+&0$ )$
5#2%,+6".-(&+
/)%!+,2;)%$ ")%*'&<$ /%#-#&!$ +-$ )&$ #>)*/;#$ '=$ !"#$ /'E#%$ )&6$ +*/'%!)&,#$ '=$ 1'+,#(
;#)6+&0?$$I&$!"#$,)-#$'=$N>)*/;#$3O?33)5$!"#$")%*'&+,$/'E#%$'=$!"#$1++QRD$+-$,)%%+#6$4<$
!"#$ 4)--$ 1'+,#$/%',##6+&0$=%'*$ C
J$!'$ C
3$#2,").2$ C
D?$$M-$ U")/!#%$ 3V$ E+;;$%#1#);$ +&$ 0%#)!#%$
6#/!"5$ !"#%#$ )%#$ '!"#%$ ;'0+,-$ 4#-+6#-$ 2',3"!-($ ;'0+,G*'-!$ #-/#,+);;<$ *-!%',$ )&6$
&%4)%!#-'*$;'0+,G!")!$*)<$E'%P$E+!"$'%$)0)+&-!$")%*'&+,$;'0+,?$
$

+
Y?$M&);<!+,$
Z%'4;#*$[7T$$
\#;'6+,$]'0+,T$$
J

$
N>)*/;#$3O?395$4<$M%,)&0#;'$!"#$%%&$.3JO8(3D38:5$/%#-#&!-$)&'!"#%$+&-!)&,#$'=$
;+&#)%$ ;'0+,$ +&6#/#&6#&!$ '=$ )&6$ -2/#%-#6+&0$ ")%*'&+,$ ;'0+,?$ $ W%'*$ *#)-2%#$ O$ !'$
*#)-2%#$ X$ !"#%#$ )%#$ !"#"$$%$& '& )*+#,-?$ $ @"+-$ +-$ 4#-!$ 6#-,%+4#6$ )-$ ,'2&!#%/'+&!G