Harmonic Analysis in Predominant Progressions (AP Music Theory Unit 5)

Harmonic rhythm

The rate at which harmony changes in music (how often a new chord/harmony occurs over time).

Surface rhythm

The rhythm of the melodic notes you hear/see moving on the musical surface, which may change faster or slower than the harmony underneath.

Common-practice tonal music

The style period/syntax emphasized in AP Music Theory part-writing, where chord changes and cadences tend to occur in predictable metric locations (often strong beats).

Strong beat (metric accent)

A beat with greater stress/structural weight in the meter where harmonies are most likely to be meaningful (e.g., in 4/4, beats 1 and 3 are typically strongest).

Cadence

A harmonic arrival point that helps articulate phrase endings; harmonic rhythm often accelerates as a cadence approaches.

Harmonic acceleration

An increase in harmonic rhythm (more frequent chord changes), commonly used to intensify motion into a cadence.

Tonic function

Harmonic function of stability and “home” (commonly I, sometimes vi), which can often last longer in a phrase.

Predominant function

Harmonic function that prepares the dominant and creates forward motion (commonly ii and IV), typically preceding V near cadences.

Dominant function

Harmonic function of tension and cadential drive (commonly V or vii°), usually placed on strong beats close to cadences.

Roman numeral analysis

A system for labeling chords by scale degree and quality (with inversion figures) to describe functional harmony in a key.

Structural harmony

A chord that meaningfully supports phrase structure (often on strong beats, with stable chord tones in multiple voices, and fitting functional syntax).

Chord-per-note (chord-chasing) thinking

The mistake of assuming the chord changes every time a note changes, producing over-labeled analyses and non-functional “chords.”

Non-chord tone (NCT)

A melodic/inner-voice tone that decorates a harmony without changing the underlying chord (e.g., passing, neighbor, suspension, anticipation).

Passing tone

An NCT approached and left by step in the same direction, connecting two chord tones.

Neighbor tone

An NCT that steps away from a chord tone and returns to the same chord tone.

Suspension

An NCT created when a note is held over into a new harmony, forming a dissonance that typically resolves downward by step.

Anticipation

An NCT that arrives early as a chord tone from the upcoming harmony before the harmony actually changes.

Harmonizing a melody

Choosing chords (and typically adding voices) to support a tune in a stylistically appropriate way using functional progressions and correct voice leading.

Functional progression skeleton (T–PD–D–T)

A planning framework for tonal harmony: move from tonic to predominant to dominant and back to tonic (especially around cadences).

Half cadence

A phrase ending that pauses on V (dominant), often implied when a melody ends on scale degree 2 or 5 with an “open” feel.

Authentic cadence

A cadence that resolves to I (typically V to I), often implied when a melody ends on scale degree 1 with closure.

ii6 (supertonic first inversion)

A very common predominant chord in chorale style; its first inversion often helps create smooth bass motion into V.

Inversion (figured bass indication)

Chord position shown with figures (e.g., 6 for first inversion triads, 6/4 for second inversion; 7, 6/5, 4/3, 4/2 for seventh chords).

Tendency tones

Notes with strong resolution tendencies in tonal music (especially the leading tone, scale degree 7, and chordal sevenths).

Parallel fifths and octaves

A voice-leading error where two voices move in the same direction into perfect fifths or octaves, weakening independence (especially noticeable on strong beats).