|
In music theory, a predominant chord (also pre-dominant〔) is any chord which normally resolves to a dominant chord.〔Benward & Saker (2009). ''Music in Theory and Practice: Volume II'', Glossary, p.359. Eighth Edition. ISBN 978-0-07-310188-0. "Any chord in functional harmony that normally resolves to the dominant chord."〕 Examples of predominant chords are the subdominant (IV, iv), supertonic (ii, ii°), Neapolitan sixth and Augmented sixth.〔 Other examples are the secondary dominant (V/V) and secondary leading tone chord. Predominant chords may lead to secondary dominants.〔Benjamin, Thomas; Horvit, Michael; Koozin, Timothy; and Nelson, Robert (2014). ''Techniques and Materials of Music'', p.149, 176. Cengage Learning. ISBN 9781285965802.〕 Predominant chords both expand away from the tonic ''and'' lead to the dominant, affirming the dominant's pull to the tonic.〔Cleland, Kent D. and Dobrea-Grindahl, Mary (2013). ''Developing Musicianship Through Aural Skills: A Holistic Approach to Sight Singing and Ear Training'', p.255. Routledge. ISBN 9781135173067.〕 Thus they lack the stability of the tonic and the drive towards resolution of the dominant.〔 The predominant harmonic function is part of the fundamental harmonic progression of many classical works.〔Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory'', pp.73-6. New York: Oxford University Press. ISBN 978-0-19-537698-2〕 The submediant (vi) may be considered a predominant chord or a tonic substitute.〔Caplin, William E. (2013). ''Analyzing Classical Form: An Approach for the Classroom'', p.10. Oxford. ISBN 9780199987306.〕 The dominant preparation is a chord or series of chords that precedes the dominant chord in a musical composition. Usually, the dominant preparation is derived from a circle of fifths progression. The most common dominant preparation chords are the supertonic, the subdominant, the V7/V, the Neapolitan chord (N6 or II6), and the augmented sixth chords (e.g., Fr+6). In sonata form, the dominant preparation is in the development, immediately preceding the recapitulation. Ludwig van Beethoven's sonata-form works generally have extensive dominant preparation — for example, in the first movement of the ''Sonata Pathétique'', the dominant preparation lasts for 29 measures (mm. 169-197). ==List== *First inversion augmented mediant * *III〔 *Augmented dominant * *V 〔 *Augmented sixths * *Fr * *Ger〔 *Second inversion tonic * *I〔 * *i〔 *Subdominant * *IV〔 * *iv *Submediant * *vi,〔Benjamin, Horvit, Koozin, and Nelson (2014), p.253.〕 stepwise to dominant〔Forte, Allen (1979). ''Tonal Harmony in Concept and Practice'', p.95. 3rd edition. Holt, Rinehart, and Winston. ISBN 0030207568. "Similarly, VI often serves as a stepwise dominant preparation."〕 *Supertonic and secondary dominant * *ii〔〔Benjamin, Horvit, and Nelson (2007), p.239. "A progression analogous to IV-V."〕 * *II (V/V)〔Caplin, William E. (1998). ''Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven'', p.23. Oxford. ISBN 9780199881758.〕 * *ii * *vii/V〔 * *II〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「predominant chord」の詳細全文を読む スポンサード リンク
|