View source for Predominant chord

{{Wiktionary}}
[[Image:V of V in C four-part harmony.png|thumb|V of V in C, four-part harmony {{audio|V of V in C four-part harmony.mid|Play}}.]]
[[File:Common Cadential Progression Alt.png|thumb|right|150px|A cadential <math>{}_4^6</math> progression<ref>Adapted from [[Walter Piston|Piston W]] (1962) ''Harmony'', 3rd ed., NY, Norton, p. 96.</ref> showing {{nowrap|I{{sup sub|6|4}}}} as a predominant chord.<ref name="Berry">Berry, Wallace (1987). ''Structural Functions in Music'', p.54. {{ISBN|0-486-25384-8}}.</ref>{{Failed verification|date=March 2020|reason=The term "predominant" appears neither on this page nor anywhere in the book.}} {{audio|Common cadential progression alt.mid|Play}}]]

In [[music theory]], a '''predominant chord''' (also '''pre-dominant'''<ref name="B&S"/>) is any [[chord (music)|chord]] which normally [[resolution (music)|resolves to]] a [[dominant (music)|dominant]] chord.<ref name="B&S">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."</ref> Examples of predominant chords are the [[subdominant]] (IV, iv), [[supertonic]] (ii, ii°), [[Neapolitan sixth]] and [[Augmented sixth chord|German sixth]].<ref name="B&S"/> Other examples are the [[secondary dominant]] (V/V) and [[secondary leading tone chord]].{{citation needed|date=January 2017|reason=uncited examples after cited examples.}} Predominant chords may lead to secondary dominants.<ref>Benjamin, Thomas; Horvit, Michael; Koozin, Timothy; and Nelson, Robert (2014). ''Techniques and Materials of Music'', p.149, 176. Cengage Learning. {{ISBN|9781285965802}}.</ref> Predominant chords both expand away from the tonic ''and'' lead to the dominant, affirming the dominant's pull to the tonic.<ref name="Aural">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}}.</ref> Thus they lack the stability of the tonic and the drive towards resolution of the dominant.<ref name="Aural"/> The predominant [[diatonic function|harmonic function]] is part of the fundamental [[chord progression|harmonic progression]] of many classical works.<ref>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}}</ref> The submediant (vi) may be considered a predominant chord or a tonic substitute.<ref name="Analyzing">Caplin, William E. (2013). ''Analyzing Classical Form: An Approach for the Classroom'', p.10. Oxford. {{ISBN|9780199987306}}.</ref>

The '''dominant preparation''' is a chord or series of chords that precedes the [[dominant (music)|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 [[secondary dominant|V7/V]], the [[Neapolitan chord]] (N<sup>6</sup> or {{music|b}}II<sup>6</sup>), and the [[augmented sixth chord]]s (e.g., Fr<sup>+6</sup>).

[[File:Progresión quintas.png|thumb|center|The [[circle progression]] features a series of chords derived from the circle of fifths preceding the dominant and tonic.]]

In [[sonata form]], the dominant preparation is in the [[development (sonata form)|development]], immediately preceding the [[recapitulation (music)|recapitulation]]. [[Ludwig van Beethoven]]'s [[sonata form|sonata-form]] works generally have extensive dominant preparation — for example, in the first movement of the ''[[Piano Sonata No. 8 (Beethoven)|Sonata Pathétique]]'', the dominant preparation lasts for 29 measures (mm. 169–197){{Citation needed|date=May 2010}}.

==List==
{{col-begin}}
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*First inversion augmented mediant
**{{music|b}}III<sup>+</sup>{{sup sub|6|3}}<ref name="Berry"/> {{audio|Predominant first inversion augmented mediant.mid|Play}}
*Augmented dominant
**V<sup>+</sup> <ref name="Berry"/>
*[[Augmented sixth chord|Augmented sixths]]
**Fr{{sup sub|4|3}}{{citation needed|date=June 2013}} {{audio|Predominant French sixth.mid|Play}}
**Ger{{sup sub|6|5}}<ref name="B&S"/> {{audio|Predominant German sixth.mid|Play}}
*Second inversion tonic
**I{{sup sub|6|4}}<ref name="Berry"/> {{audio|Predominant second inversion tonic.mid|Play}}
**i{{sup sub|6|4}}<ref name="Berry"/> {{audio|Predominant second inversion minor tonic.mid|Play}}
{{col-break}}
*Subdominant
**IV<ref name="B&S"/> {{audio|IV-V-I in C.mid|Play}}
**iv{{citation needed|date=June 2013}}
*Submediant
**vi,<ref>Benjamin, Horvit, Koozin, and Nelson (2014), p.253.</ref> stepwise to dominant<ref>Forte, Allen (1979). ''Tonal Harmony in Concept and Practice'', p.95<!--and 103-->. 3rd edition. Holt, Rinehart, and Winston. {{ISBN|0030207568}}. "Similarly, VI often serves as a stepwise dominant preparation."</ref>
*Supertonic and secondary dominant
**ii<ref name="B&S"/><ref>Benjamin, Horvit, and Nelson (2007), p.239. "A progression analogous to IV-V."</ref> {{audio|Ii-V-I turnaround in C.mid|Play}}
**II (V/V)<ref>[[William Caplin|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}}.</ref> {{audio|V of V in C four-part harmony.mid|Play}}
**ii{{music|dim}}{{citation needed|date=June 2013}}
**vii{{music|dim}}<sup>7</sup>/V<ref name="Analyzing"/>
**{{music|b}}II{{sup|6}}<ref name="B&S"/> {{audio|Neapolitan V I.mid|Play}}
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==Gallery==
{|
| [[Image:Ii-V-I turnaround in C.png|thumb|upright|[[ii-V-I turnaround]] in C ({{audio|Ii-V-I turnaround in C.mid|Play}}): the supertonic (Dm) leads to the dominant (G<sup>7</sup>), which leads to the tonic (C).]]
| [[Image:FrenchSixth.png|thumb|upright|The ''[[French sixth]]'' chord; distinguishing tone highlighted in blue. {{audio|French sixth moving to V.ogg|Play}}]]
| [[Image:GermanSixth.png|thumb|upright|The German sixth; the distinguishing tone is highlighted in blue. {{audio|German sixth moving to V.ogg|Play}}]]
| [[Image:Neapolitan V I.png|thumb|upright|{{music|flat}}II<sup>6</sup>–V{{sup sub|6|4}}–I {{audio|Neapolitan V I.mid|Play midi}} or {{audio|Neapolitan V I.ogg|Play ogg}} ({{audio|IV V I without Neapolitan.ogg|Play ogg}} of IV–V–I progression as usual, without Neapolitan sixth chord in place of IV).]]
|-
| [[File:Predominant form chords.png|thumb|upright|Three examples]]
|}

==See also==
*[[Approach chord]]
*[[Harmonic rhythm]]
*[[Passing chord]]

==Sources==
{{reflist}}

{{Chords|collapsed}}

[[Category:Chord progressions]]
[[Category:Chords]]
[[Category:Diatonic functions]]

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