Harmony and Tonal Motion
Chords that move the music forward.
Pedal Point
- The idea
- A pedal point is a sustained note, usually in the bass, held while harmonies change above it.
- Try this
- Hold C in the bass while the chords above move F, G, C.
- Example
- F/C (C–F–A–C), G/C (C–G–B–D), C (C–E–G–C).
- Listen for it
- Bach, Prelude in C major, BWV 846 (closing bars)
Secondary Dominant
- The idea
- A secondary dominant is the dominant of a chord other than the tonic.
- Try this
- In C major, place D7 before G to tonicize the dominant.
- Example
- C–D7 (D–F♯–A–C)–G–C. The F♯ leads up to G.
Modal Mixture
- The idea
- Modal mixture borrows chords from the parallel major or minor key.
- Try this
- In C major, borrow A♭ major from C minor.
- Example
- C–A♭ (A♭–C–E♭)–G–C: ♭VI in place of vi.
Deceptive Cadence
- The idea
- A deceptive cadence moves from the dominant to a chord other than the tonic, most often vi.
- Try this
- Move G7 to A minor instead of C major.
- Example
- G7 (G–B–D–F) to Am (A–C–E): V7–vi. The bass rises G to A.
Plagal Cadence
- The idea
- A plagal cadence moves from the subdominant to the tonic, IV–I.
- Try this
- End a phrase with F major moving to C major.
- Example
- F (F–A–C) to C (C–E–G), the familiar “Amen” close.
- Listen for it
- Handel, Messiah, Hallelujah chorus (final cadence)
Chromatic Approach Chord
- The idea
- A chromatic approach chord slides into a target chord from a half step away.
- Try this
- Approach a chord from the same chord type a half step above.
- Example
- D♭ major (D♭–F–A♭) slides down to C major (C–E–G).
Common-Tone Modulation
- The idea
- A common-tone modulation pivots to a new key through a note shared by both chords.
- Try this
- Sustain E to connect C major and A major.
- Example
- C (C–E–G) to A (A–C♯–E). The E holds while the other notes move.
Harmonic Rhythm
- The idea
- Harmonic rhythm is the rate at which chords change.
- Try this
- Keep one chord for four bars and then change chord every beat at the climax.
- Example
- C for four bars, then C–Am–F–G7 one per beat, then C.
Quartal Harmony
- The idea
- Quartal harmony builds chords from stacked fourths instead of thirds.
- Try this
- Stack C–F–B♭ and explore its color over a C bass.
- Example
- C to F is a perfect fourth and F to B♭ is a perfect fourth. Move the stack up a step to D–G–C.
Upper-Structure Triad
- The idea
- An upper-structure triad places a simple triad above a seventh chord to add color tones.
- Try this
- Place a D major triad above C7.
- Example
- C–E–B♭ with D–F♯–A above: D is the 9th, F♯ the ♯11th, A the 13th (C13♯11).
Other chapters: Motif and Melody · Rhythm and Meter · Counterpoint and Voice Leading · Texture and Instrumentation · Form and Architecture · Expression and Narrative · Jazz and Contemporary · Electronic and Acoustic Design · Revision and Craft
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