free diagnosticupgrade
ā† back to ap music theory

AP Music Theory Unit 5 review

Chord Progressions and Predominant Function

5.0

Unit 5 Overview: Harmony and Voice Leading II (Chord Progressions and Predominant Function)

5.1

Adding Predominant Function IV (iv) and ii (ii0) to a Melodic Phrase

5.2

The vi (VI) Chord

5.3

Predominant Seventh Chords

5.4

The iii (III) Chord

5.5

Cadences and Predominant Function

5.6

Cadential 6/4 Chords

5.7

Additional 6/4 chords

unit 5 review

Chord progressions are the backbone of harmonic movement in music. They create a sense of direction and tension, guiding listeners through a piece. Understanding how chords function within progressions is crucial for composers and performers alike. Predominant chords play a vital role in chord progressions, typically leading to the dominant chord before resolving to the tonic. Common predominant chords include ii, IV, and vi in major keys, and iiĀ°, iv, and VI in minor keys. Mastering these concepts enhances musical analysis and composition skills.

Key Concepts

  • Chord progressions are sequences of chords that create harmonic movement in a musical composition
  • Chords have different functions within a progression, such as tonic, predominant, and dominant
  • Predominant chords are those that typically precede the dominant chord in a progression
  • Common predominant chords include ii, IV, and vi in major keys, and iiĀ°, iv, and VI in minor keys
  • Chord progressions often follow established patterns, such as I-IV-V-I or I-vi-ii-V-I
  • Analyzing chord progressions involves identifying the chords and their functions within the context of a musical piece
  • Understanding chord progressions and predominant function is essential for composing, arranging, and improvising music

Chord Types and Functions

  • Chords can be categorized by their function within a chord progression, which includes tonic, predominant, and dominant
  • Tonic chords (I and vi in major keys, i and VI in minor keys) provide a sense of stability and resolution
  • Predominant chords (ii, IV, and vi in major keys, iiĀ°, iv, and VI in minor keys) create tension and lead towards the dominant chord
  • Dominant chords (V and viiĀ° in major keys, V and viiĀ° in minor keys) create a strong pull towards the tonic and are often used for cadences
  • Other chord types include secondary dominants, which are dominant chords borrowed from related keys to create additional tension and interest
  • Chords can also be categorized by their quality, such as major, minor, diminished, and augmented
  • The function and quality of a chord depend on its position within the scale and its relationship to other chords in the progression

Predominant Chords Explained

  • Predominant chords are those that typically precede the dominant chord in a chord progression
  • In major keys, the most common predominant chords are ii, IV, and vi
    • ii is a minor chord built on the second scale degree (e.g., Dm in the key of C major)
    • IV is a major chord built on the fourth scale degree (e.g., F in the key of C major)
    • vi is a minor chord built on the sixth scale degree (e.g., Am in the key of C major)
  • In minor keys, the most common predominant chords are iiĀ°, iv, and VI
    • iiĀ° is a diminished chord built on the second scale degree (e.g., DĀ° in the key of C minor)
    • iv is a minor chord built on the fourth scale degree (e.g., Fm in the key of C minor)
    • VI is a major chord built on the sixth scale degree (e.g., Aā™­ in the key of C minor)
  • Predominant chords create tension and instability, leading the listener to expect a resolution to the dominant and then the tonic chord
  • The ii and IV chords are often used in succession (e.g., ii-V-I or IV-V-I) to strengthen the predominant function

Common Chord Progressions

  • Chord progressions are often built around the movement from tonic to predominant to dominant and back to tonic
  • One of the most common chord progressions is I-IV-V-I, which is often used in popular music, folk, and rock (e.g., C-F-G-C in the key of C major)
  • Another common progression is I-vi-ii-V-I, which features a predominant ii chord (e.g., C-Am-Dm-G-C in the key of C major)
  • The 12-bar blues progression is a staple in blues, rock, and jazz, and typically follows the pattern I-I-I-I-IV-IV-I-I-V-IV-I-I
  • In minor keys, the i-iv-V-i progression is common, with the iv chord serving as the predominant (e.g., Cm-Fm-G-Cm in the key of C minor)
  • Variations of these progressions can be created by substituting chords with similar functions, such as using ii instead of IV or vi instead of I

Analyzing Chord Progressions

  • To analyze a chord progression, first identify the key of the piece by looking at the key signature and the final chord (which is usually the tonic)
  • Next, label each chord with its roman numeral based on its position within the scale (e.g., I, ii, iii, IV, V, vi, viiĀ°)
  • Identify the function of each chord (tonic, predominant, dominant) based on its roman numeral and the context of the progression
  • Look for common chord progression patterns, such as I-IV-V-I or I-vi-ii-V-I
  • Analyze any deviations from the expected progression, such as substitutions or borrowed chords, and consider their effect on the overall harmony
  • Pay attention to cadences, which are the endings of phrases or sections, as they often involve specific chord progressions (e.g., V-I for an authentic cadence)

Applying Predominant Function

  • When composing or arranging music, use predominant chords to create tension and lead towards the dominant and tonic chords
  • In a typical chord progression, place the predominant chord(s) after the tonic and before the dominant
  • Use ii and IV chords in succession to strengthen the predominant function and create a sense of forward motion
  • In minor keys, use the iv chord as the primary predominant, with iiĀ° and VI as alternatives for variety
  • Experiment with different combinations of predominant chords to create unique harmonic progressions
  • Use predominant chords to create smooth voice leading between the tonic and dominant chords, ensuring that common tones are maintained or that voices move by step
  • Incorporate predominant chords in cadences to create stronger resolutions, such as ii-V-I (plagal cadence) or IV-V-I (imperfect authentic cadence)

Ear Training and Recognition

  • Developing the ability to recognize chord progressions and predominant function by ear is crucial for musicians
  • Practice identifying the quality of individual chords (major, minor, diminished, augmented) in isolation
  • Listen for the characteristic sound of predominant chords, which create tension and a sense of "pulling" towards the dominant
  • Practice recognizing common chord progressions, such as I-IV-V-I and I-vi-ii-V-I, in various musical examples
  • Transcribe chord progressions from recordings, paying attention to the bass line and the overall harmonic movement
  • Sing arpeggios of predominant chords (ii, IV, vi in major keys; iiĀ°, iv, VI in minor keys) to internalize their sound and function
  • Engage in call-and-response exercises with a partner or instructor, where one person plays a chord progression, and the other identifies the chords and their functions

Composing with Chord Progressions

  • When composing music, start by choosing a key and establishing the tonic chord
  • Create a basic chord progression using the tonic, predominant, and dominant functions as a foundation
  • Experiment with different combinations of predominant chords to create variety and interest in your progressions
  • Use common chord progressions, such as I-IV-V-I or I-vi-ii-V-I, as a starting point, and then modify them to suit your musical goals
  • Incorporate secondary dominants to create additional tension and color in your progressions
  • Use chord substitutions to add variety and sophistication to your progressions, such as replacing IV with ii or vi with iii
  • Consider the relationship between melody and harmony, ensuring that the chord progression supports and enhances the melodic line
  • Vary the rhythm and voicing of chords to create interest and movement in your compositions

Frequently Asked Questions

What topics are covered in AP Music Theory Unit 5?

Find the full Unit 5 outline at https://fiveable.me/ap-music-theory/unit-5. Unit 5 (Harmony and Voice Leading II) digs into chord progressions and predominant function across Topics 5.1ā€“5.7. Youā€™ll add predominant chords IV/iv and ii/iiĀ° to phrases; study the vi/VI chord as a tonic substitute or weak predominant and the deceptive progression; learn predominant seventh chords with their 18thā€‘century resolution rules; and cover the rarely used iii/III. Cadences that use predominant function are included (plagal and Phrygian half cadences and deceptive cadences). The unit explains cadential 6/4 (its function as a dominant embellishment and voiceā€‘leading conventions) and other 6/4 typesā€”neighboring/pedal, passing, and arpeggiatedā€”plus partā€‘writing rules for each. Emphasis is on fourā€‘part voice leading, cadence ID, and partā€‘writing practice. For a compact study guide, practice questions, and cram videos tied to these topics, see Fiveableā€™s Unit 5 materials at the link above.

How much of the AP Music Theory exam is Unit 5?

The College Board doesnā€™t publish a specific percent for Unit 5, but you can review it at https://fiveable.me/ap-music-theory/unit-5. In practice, Unit 5 (Harmony and Voice Leading II) shows up often across both multiple-choice and free-response itemsā€”especially harmonic dictation, chord progressions, and cadence questionsā€”because those skills are core to many FRQ tasks. Plan to spend solid study time on ii/IV/vi/iii, predominant seventh chords, cadences, and cadential 6/4 since those topics appear repeatedly. Focus on targeted practice like harmonic dictation and writing progressions instead of worrying about a fixed percentage. For focused review and practice questions plus cram videos, Fiveableā€™s resources at https://fiveable.me/ap-music-theory/guided-practice are useful.

What are the most important chord progressions to know for Unit 5?

Key progressions and patterns to memorize are summarized at https://fiveable.me/ap-music-theory/unit-5. Concentrate on tonicā€“predominantā€“dominantā€“tonic (Tā€“PDā€“Dā€“T) shapes: Iā€“IVā€“Vā€“I and Iā€“iiā€“Vā€“I (including ii6 and ii7). Know iiā€“Vā€“I and circle-of-fifths motion like Iā€“viā€“iiā€“V. Memorize deceptive progressions (Vā€“vi) and the mediantā€™s limited role (iii/III). Cadential patterns to master: cadential 6-4 ā†’ V ā†’ I, IVā€“I (plagal), and iv6ā€“V (Phrygian half cadence in minor). Learn 6/4 types and rules: cadential 6-4 resolves to V with the 6 and 4 descending by step; passing, neighboring (pedal), and arpeggiated 6/4 usually sit on weak beats and use stepwise voice-leading. Also remember seventhā€‘chord resolutionsā€”chordal 7ths resolve down. For practice and partā€‘writing drills, use Fiveableā€™s Unit 5 guide and 1000+ practice questions at https://fiveable.me/ap-music-theory/guided-practice.

What's the hardest part of Unit 5 (Harmony and Voice Leading II)?

A lot of students find the hardest part is applying predominant function and strict voiceā€‘leading rules across multiā€‘chord progressionsā€”cadential 6/4 and smooth predominantā†’dominant connections are common stumbling blocks. See the unit guide at https://fiveable.me/ap-music-theory/unit-5. Typical issues: resolving tendency tones correctly (leading tones and chordal sevenths), handling inversions like cadential 6/4, and keeping clean inner voices while avoiding parallel fifths/octaves. Choosing correct doublings and using ii, IV, vi, iii, and predominant seventh chords in context also trips people up. Practice by writing short harmonic progressions and partā€‘writing exercises. Check each voice for independent motion and mark tendency tones to force correct resolutions. For targeted drills and fast improvement, Fiveableā€™s Unit 5 study guide plus 1000+ practice questions and cram videos can help (https://fiveable.me/ap-music-theory/guided-practice).

How should I study Unit 5 for AP Music Theory ā€” best study guide and practice methods?

You can find a focused Unit 5 study guide at https://fiveable.me/ap-music-theory/unit-5. Prioritize three things: learn common voiceā€‘leading rules and resolve tendency tones; practice Roman numeral reductions and label function (predominant ā†’ dominant ā†’ tonic); and write short fourā€‘part progressions that include ii/IV ā†’ V ā†’ I and proper cadences. Drill ID with earā€‘training examples and writeā€‘out exercisesā€”harmonize a melody, then reharmonize using ii or IV. Try timeboxed practice: 20ā€“30 minutes focused theory drills plus 10ā€“15 minutes aural work, 3ā€“4 times per week. Reinforce with plenty of practice questions and cram videosā€”Fiveable has the unit study guide, cheatsheets, cram videos, and practice problems to support this plan.

Where can I find AP Music Theory Unit 5 practice quizzes and progress check MCQ answers?

Youā€™ll find Unit 5 practice quizzes and the Unit 5 study guide (https://fiveable.me/ap-music-theory/unit-5) and extra practice questions (https://fiveable.me/ap-music-theory/guided-practice). College Boardā€™s Unit 5 Progress Check (and other Personal Progress Checks) is delivered through AP Classroom ā€” teachers assign the MCQ Progress Check there, but the College Board does not publish official multiple-choice answer keys publicly (they do publish FRQ questions and scoring guidelines). For ready-made multiple-choice practice with explanations, Fiveableā€™s practice set includes questions and answer explanations that align with Unit 5 topics (predominant function, cadences, voice leading). If a teacher gave an AP Classroom Progress Check, ask them to release results or go over answers in class.

How long should I study Unit 5 before the exam?

Plan on about 10ā€“15 total hours, spread over 1ā€“3 weeks, and review Fiveable's Unit 5 study guide at https://fiveable.me/ap-music-theory/unit-5. That matches the unitā€™s scope (~13ā€“15 class periods) and gives time to learn IV/ii/vi/iii, predominant seventh chords, cadences, and the cadential 6/4. A suggested schedule: four 2ā€“3 hour sessions (concept review plus written harmony and voice-leading practice) and 2ā€“4 shorter 30ā€“60 minute mixed-problem sessions. If you already know Roman numerals and basic voice leading, aim for 8ā€“10 hours; if itā€™s mostly new, aim for 15ā€“20 hours with extra cadence and predominant-function practice. Finish with 1ā€“2 timed practice sets to build fluency. For extra practice items, see Fiveableā€™s practice collection at https://fiveable.me/ap-music-theory/guided-practice.

What Unit 5 concepts commonly appear on free-response questions?

Common FRQ topics include predominant harmonies (IV/iv, ii/iiĀ°), the vi (VI) as a tonic substitute or in deceptive progressions, iii/III uses, and predominant seventh chords (like ii7). Expect cadences ā€” authentic, plagal, Phrygian half, and deceptive ā€” plus cadential ā¶ā‚„ recognition and proper voice-leading (ā¶ā‚„ā†’āµā‚ƒ, resolution of chordal sevenths). Other frequent prompts ask you to identify harmonic function, supply Roman and Arabic numerals, realize a figured bass, write or complete four-part SATB progressions, or detect and fix voice-leading errors (spacing, parallels, doubling). Practice part-writing rules for passing/pedal/arpeggiated ā¶ā‚„s, keep upper voices largely stepwise, and mind correct doubling. For targeted review and practice problems, see Fiveableā€™s Unit 5 study guide and the practice question set (https://fiveable.me/ap-music-theory/guided-practice).

2,589 studying ā†’