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ap music theory unit 4 study guides

chord function, cadence, and phrase

4.0

Unit 4 Overview: Harmony and Voice Leading I (Chord Function, Cadence, and Phrase)

4.1

Harmony and Voice Leading I

4.2

SATB Voice Leading

4.3

Harmonic Progression, Functional Harmony, and Cadences

4.4

Voice Leading with Seventh Chords

4.5

Voice Leading with Seventh Chords in Inversions

unit 4 review

Chord function, cadence, and phrase are fundamental concepts in music theory that shape how we understand and create musical structures. These elements work together to establish harmonic progression, create tension and resolution, and organize musical ideas into coherent units. By mastering these concepts, musicians can analyze existing compositions, compose new works, and develop a deeper appreciation for the underlying structure of music. Understanding chord functions, recognizing cadence types, and identifying phrase structures are essential skills for any serious music student or composer.

Key Concepts

  • Chord function refers to the role a chord plays within a musical phrase or progression
  • Cadences are specific chord progressions that provide a sense of resolution or closure at the end of a phrase
  • Phrases are musical units that typically consist of four or more measures and end with a cadence
  • Harmonic analysis involves identifying the chords and their functions within a piece of music
  • Common chord progressions include I-IV-V-I, ii-V-I, and iii-vi-ii-V-I
    • These progressions are frequently used in various musical styles and genres
  • Understanding chord function, cadence, and phrase structure is essential for composing, arranging, and analyzing music

Chord Types and Functions

  • Tonic chords (I and vi) provide a sense of stability and resolution
    • The tonic chord is the most important chord in a key and is often used to begin and end phrases
  • Subdominant chords (IV and ii) create a sense of departure from the tonic and often lead to the dominant chord
    • These chords are frequently used in the middle of a phrase to build tension
  • Dominant chords (V and vii°) create a strong pull towards the tonic and are used to create tension and resolution
    • The dominant chord is the second most important chord in a key and is often used before the tonic chord
  • Leading-tone chords (vii° and iii) contain the leading tone and have a strong tendency to resolve to the tonic
  • Mediant chords (iii and vi) can function as tonic substitutes or provide contrast within a progression

Cadence Types and Uses

  • Authentic cadences (V-I or V7-I) provide a strong sense of resolution and are often used at the end of a phrase or piece
    • Perfect authentic cadences (PAC) occur when the melody ends on the tonic note and the chord progression is V-I
    • Imperfect authentic cadences (IAC) occur when the melody ends on a note other than the tonic or the chord progression is V-vi
  • Plagal cadences (IV-I) provide a sense of resolution but are less conclusive than authentic cadences
    • These cadences are often used in religious music (Amen cadence) or as a secondary cadence following an authentic cadence
  • Half cadences (I-V or IV-V) create a sense of incompleteness and are often used in the middle of a phrase
    • These cadences are useful for creating tension and anticipation before resolving to the tonic
  • Deceptive cadences (V-vi) create a sense of surprise by resolving to the submediant instead of the expected tonic
    • These cadences can be used to extend a phrase or create a sense of uncertainty

Phrase Structure

  • Antecedent phrases are the first half of a period and typically end with a weak cadence (IAC or HC)
    • These phrases often present a musical idea or question that requires a response
  • Consequent phrases are the second half of a period and typically end with a strong cadence (PAC)
    • These phrases provide a response or resolution to the antecedent phrase
  • Periods are complete musical thoughts consisting of an antecedent and consequent phrase
    • Periods are often 8 measures long (4+4) but can be extended or shortened
  • Phrases can also be classified as parallel or contrasting based on their melodic and harmonic content
    • Parallel phrases have similar melodic and harmonic content, while contrasting phrases have different content

Harmonic Analysis

  • Identify the key of the piece by looking for cadences and the tonic chord
  • Label each chord with Roman numerals (I, ii, iii, IV, V, vi, vii°) based on its scale degree in the key
    • Use uppercase numerals for major chords and lowercase for minor chords
    • Use a degree symbol (°) for diminished chords and a superscript 7 for seventh chords
  • Identify the function of each chord (tonic, subdominant, dominant, etc.) based on its scale degree and context
  • Analyze the chord progressions and identify any common patterns or cadences
  • Consider the melodic content and how it interacts with the harmony to create phrases and periods

Common Chord Progressions

  • I-IV-V-I is a common progression used in many genres, including rock, pop, and folk music
    • This progression establishes the tonic, moves to the subdominant, then the dominant, and resolves back to the tonic
  • ii-V-I is a common jazz progression that creates a sense of tension and resolution
    • The ii chord functions as a subdominant, the V chord as a dominant, and the I chord as the tonic resolution
  • I-vi-IV-V is a variation of the I-IV-V-I progression with the addition of the submediant chord
    • This progression is often used in pop and rock music (Heart and Soul progression)
  • iii-vi-ii-V-I is a longer progression that incorporates more chords and functions
    • This progression includes the mediant (iii), submediant (vi), supertonic (ii), dominant (V), and tonic (I) chords

Practical Applications

  • When composing music, use chord functions and cadences to create a sense of structure and resolution
    • Use tonic chords for stability, subdominant chords for departure, and dominant chords for tension and resolution
    • Use authentic cadences for strong endings and half cadences for mid-phrase tension
  • When arranging music, consider how different chord voicings and inversions can affect the overall sound and function
    • Use inversions to create smoother voice leading and to emphasize different notes in the melody
  • When analyzing music, identify the key, chord functions, and cadences to understand the structure and emotional content
    • Look for common chord progressions and how they are used to create phrases and periods
  • When performing music, be aware of the chord functions and cadences to create a sense of phrasing and expression
    • Emphasize the tension and resolution created by different chord functions and cadences in your playing or singing

Advanced Topics

  • Secondary dominants are dominant chords that resolve to a chord other than the tonic
    • These chords are often used to create additional tension and interest within a progression
    • Examples include V/ii (read as "five of two"), which is the dominant chord of the supertonic (ii)
  • Modulation is the process of changing from one key to another within a piece of music
    • Modulations often occur at phrase boundaries and can be achieved through the use of pivot chords or secondary dominants
  • Borrowed chords are chords that are "borrowed" from the parallel major or minor key
    • These chords can add color and variety to a progression and are often used in romantic and impressionistic music
  • Neapolitan chords (bII) are major chords built on the lowered second scale degree
    • These chords function as subdominants and often lead to the dominant chord
  • Augmented sixth chords (It+6, Fr+6, Ger+6) are chromatic chords that resolve to the dominant
    • These chords are named after their interval structure and are often used in classical and romantic music

Frequently Asked Questions

What topics are covered in AP Music Theory Unit 4?

Unit 4 is Harmony and Voice Leading I — Chord Function, Cadence, and Phrase. It breaks down into five subtopics: 4.1 Soprano–Bass Counterpoint; 4.2 SATB Voice Leading (chord spelling, doubling, spacing); 4.3 Harmonic Progression, Functional Harmony, and Cadences; 4.4 Voice Leading with Seventh Chords; and 4.5 Voice Leading with Seventh Chords in Inversions. Over roughly 15–17 class periods you’ll focus on 18th‑century voice‑leading rules, writing soprano and bass lines, SATB conventions (doubling, spacing, inversions), identifying tonic/predominant/dominant functions, cadence types, and how sevenths behave and resolve. Expect score analysis, error detection, writing exercises, dictation, and phrase identification (T–D–T phrases and cadences). For a concise study guide and aligned practice, see Fiveable’s Unit 4 resources (https://library.fiveable.me/ap-music-theory/unit-4).

How much of the AP exam is based on Unit 4 topics (chord function, cadence, and part-writing)?

These topics show up a lot across the AP Music Theory exam — especially in voice‑leading/part‑writing free‑response tasks and many multiple‑choice items. The College Board doesn’t give a strict percentage by unit, and Unit 4 skills overlap with Unit 5 (progressions/predominant function), so expect several questions that draw on Unit 4 concepts in both sections. Prioritize mastering diatonic chords, inversions, seventh chords, cadence types, and SATB voice‑leading since those skills are commonly tested in MC and FRQ formats. For a targeted refresh and practice problems tied to Unit 4, check out Fiveable’s Unit 4 guide (https://library.fiveable.me/ap-music-theory/unit-4) and the practice bank at https://library.fiveable.me/practice/music-theory.

What is the hardest part of AP Music Theory Unit 4?

Most students find SATB voice leading the toughest part. That includes applying counterpoint rules, getting spacing and doubling right, avoiding parallel fifths and octaves, and handling seventh chords and their inversions (see Fiveable’s Unit 4). These skills mix ear training and analysis with strict part‑writing rules, so mistakes often come from weak habits — like misresolving tendency tones, poor doubling choices, or bad spacing. A good approach: drill soprano–bass counterpoint first, then add inner voices, and practice lots of short part‑writing exercises plus error‑spotting drills. Repetition builds the intuition you need for the AP free‑response tasks. Resource: https://library.fiveable.me/ap-music-theory/unit-4.

How should I study for AP Music Theory Unit 4—best worksheets, notes, and study order?

Start with soprano–bass counterpoint (4.1) using species-style drills, then move to SATB voice leading (4.2). Next tackle harmonic function, cadences, and common progressions (4.3). Finish by adding seventh‑chord voice leading (4.4) and their inversions (4.5). Useful worksheets: species counterpoint exercises, four‑part part‑writing sheets, cadence ID drills, figured‑bass realizations, and seventh‑chord resolution problems. For notes, make a one‑page cheatsheet of voice‑leading rules, cadence types, common cadential progressions, and frequent error patterns; annotate example solutions. Time it by spending a few days per subtopic, then do mixed practice and timed problems the final week. Fiveable’s Unit 4 study guide at https://library.fiveable.me/ap-music-theory/unit-4 and the practice collection at https://library.fiveable.me/practice/music-theory are great for targeted review.

Where can I find AP Music Theory Unit 4 PDF notes, worksheets, or progress checks?

You can find Unit 4 PDF notes, worksheets, and progress checks on Fiveable’s Unit 4 page (https://library.fiveable.me/ap-music-theory/unit-4). That page includes the Unit 4 study guide (Harmony and Voice Leading I: chord function, cadence, phrase), plus cheatsheets, cram videos, and classroom-ready worksheets. For extra practice, Fiveable links to 1,000+ practice questions at https://library.fiveable.me/practice/music-theory. The College Board’s Course and Exam Description lists the unit topics (4.1–4.5) and learning outcomes, but Fiveable bundles user-friendly PDF-style notes and progress checks you can download, print, and use to track progress with built-in practice sets.

Are there answer keys for AP Music Theory Unit 4 progress checks and practice MCQs?

Short answer: Official College Board multiple-choice answer keys for Unit 4 Personal Progress Checks aren’t publicly posted. AP Classroom shows question feedback to teachers and students enrolled in a class, and the College Board does release FRQ scoring guidelines and past free-response questions you can download. For extra practice and step-by-step explanations aligned to Unit 4 skills, check Fiveable’s Unit 4 study materials (https://library.fiveable.me/ap-music-theory/unit-4) and the broader music-theory practice bank with explanations (https://library.fiveable.me/practice/music-theory). Context: College Board keeps Personal Progress Check items inside AP Classroom (teacher/student access) and generally does not publish standalone MC answer-key PDFs, so these Fiveable resources are handy for guided practice and worked solutions.

What are common mistakes students make on Unit 4 four-part writing and cadences?

You’ll often see parallel fifths or octaves slipping into student work. Bad spacing and voice crossing are common too. Doubling mistakes pop up—especially which triad member to double in root position versus first inversion. Tendency tones like leading tones and sevenths sometimes don’t resolve properly. Cadence problems include incorrect soprano/bass motion and weak melodic lines that make the cadence sound unfinished. Students also mishandle seventh-chord resolutions (don’t keep the 7th when it must resolve) and misuse expectations about contrary versus parallel motion at cadences. Practice helps: write cadences in all voices, check interval spacing (soprano–alto and alto–tenor should be ≤ an octave), and explicitly resolve leading tones and sevenths. See Fiveable’s Unit 4 guide: https://library.fiveable.me/ap-music-theory/unit-4 and the practice bank at https://library.fiveable.me/practice/music-theory for targeted drills.

How long should I spend studying Unit 4 before the AP exam?

Aim for about one focused week of review (roughly 6–12 total hours) if you need a solid refresher. Break that week into 3–6 sessions of 60–90 minutes: one session to re-learn soprano–bass counterpoint and SATB voice leading, one for functional harmony and cadences, and 1–2 sessions for seventh-chord voice leading and inversions with targeted practice. If you’re already comfortable, trim it to 3–6 hours; if the topic feels new, plan 12–18 hours and include timed drills. Finish with at least one mixed practice set and a timed cadence/voice-leading drill to build speed and accuracy. For cram videos and extra practice questions, Fiveable’s Unit 4 page is helpful (https://library.fiveable.me/ap-music-theory/unit-4).