Harmony & Voice Leading II: Chord Progressions & Predominant Function

What this unit covers

The topics below follow the published Music Theory course framework for Unit 5. Music Theory publishes no per-unit weighting, so there is no percentage to chase here.

Lessons in this unit

• Chord Progressions, Root Motion & Inversions15 min · 3 objectivesExplain functional root motion and the standard progression flow · Read figured-bass symbols to determine a chord’s inversion · Use first- and second-inversion triads idiomatically
• Predominant Function13 min · 3 objectivesIdentify predominant chords (ii, IV, and their sevenths) and their role · Voice-lead a predominant smoothly into the dominant · Recognize the ii–V–I and IV–V–I progressions

Formulas in Unit 5

Every term in Unit 5

All 18 terms we publish for Harmony & Voice Leading II: Chord Progressions & Predominant Function, with definitions. Reading them through is the fastest way to find the ones you cannot define — then drill those in cram mode until you can produce them without the prompt.

The predominant chords

ii, ii6, ii7, ii6/5, IV and IV6. They prepare the dominant, and ii6 is the most common predominant in the Classical style.

Why ii6 rather than ii in minor

ii is diminished in minor, so ii°6 is preferred: first inversion softens the diminished fifth by placing it above the bass.

iii and its rarity

The mediant is the least used diatonic triad, usually appearing only in a descending sequence or harmonizing a leading tone that falls. It is not a substitute for I.

vi as tonic substitute

Shares two notes with I and can stand in for it, most conspicuously in the deceptive cadence. It also functions as a predominant leading to ii or IV.

Circle-of-fifths progression

Roots falling by fifth: I–IV–vii°–iii–vi–ii–V–I. Underlies a large share of tonal music and is worth being able to write from memory.

Harmonizing a bass line

Identify the implied chord from bass motion and context, prefer root position at cadences, and place a predominant before every dominant. Check parallels after every chord.

Harmonizing a soprano line

Each soprano note can belong to three chords — as root, third or fifth. Choose by function first, then check the bass line makes a musical shape.

Pedal point

A sustained bass note, usually tonic or dominant, over which harmonies change. Dissonances against it are not counted as errors while it sounds.

Passing chords

A chord whose function is to connect two others by step in the bass, most often V6/4 or vii°6 between I and I6.

Neighbor chords

A chord that departs and returns to the same harmony, as in the pedal six-four I–IV6/4–I. The bass stays put while upper voices move by step.

The 5–6 technique

Moving an upper voice from the fifth to the sixth above the bass to change harmony without moving the bass. Frequently avoids parallel fifths in a sequence.

Voice leading with seventh chords

Approach the seventh by step or common tone, resolve it down by step, and drop the fifth rather than the third or seventh if a note must go.

Incomplete chords

V7 may omit the fifth and double the root; I may omit the fifth and triple the root. Never omit the third — it defines the quality.

Chord progression checklist

Function order, bass line shape, no parallels, tendency tones resolved, correct doubling, all voices in range. Working the list in this order catches errors faster than reading the score straight through.

Harmonic rhythm

How often the harmony changes. Slowing it at a cadence heightens closure; a sudden acceleration signals an approaching structural arrival.

Roman numeral analysis of a score

Identify the key first, then the bass, then the chord and inversion. Label non-chord tones before assigning a numeral, or a passing tone will be read as a chord change.

Modulation by pivot chord

A chord diatonic in both keys is reinterpreted, then confirmed by a cadence in the new key. Label it with both analyses stacked, old key over new.

Closely related keys

Those differing by at most one accidental: the dominant, subdominant, and their relative minors or majors. Most Classical modulations go to the dominant, or to the relative major in a minor key.

What examiners penalize here

• Recognize the **cadential 6/4** on sight: a tonic 6/4 landing on a strong beat before V, then resolving 6→5 and 4→3 over a held dominant bass (I6/4 → V → I). Many textbooks even label it V6/4–5/3 to show it is really an elaboration of the dominant, not an independent tonic.
• Remember the functional order **T–PD–D–T** runs one way. A dominant progressing back to a predominant (V → IV) is considered a **retrogression** and is generally avoided in common-practice writing — the exam expects predominants to lead into the dominant, not the reverse.

Practice Music Theory

Our practice bank is drawn from across the whole course rather than filtered to one unit, which is closer to how the exam asks anyway — it will not tell you which unit a question is testing.

Questions about this unit

All 8 units of AP Music Theory

1. Unit 1 · Music Fundamentals I: Pitch, Major Scales & Key Signatures, Rhythm, Meter
2. Unit 2 · Music Fundamentals II: Minor Scales & Key Signatures, Melody, Timbre & Texture
3. Unit 3 · Music Fundamentals III: Triads & Seventh Chords
4. Unit 4 · Harmony & Voice Leading I: Chord Function, Cadence & Phrase
5. Unit 5 · Harmony & Voice Leading II: Chord Progressions & Predominant Function
6. Unit 6 · Harmony & Voice Leading III: Embellishments, Motives & Melodic Devices
7. Unit 7 · Harmony & Voice Leading IV: Secondary Function
8. Unit 8 · Modes and Form