AP Music Theory College Board
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54 topics in 8 modules
☑️ Harmony and Voice Leading I: Chord Function, Cadence, and Phrase 5 topics
- Harmonic Progression, Functional Harmony, and Cadences
- SATB Voice Leading
- Soprano-Bass Counterpoint
- Voice Leading with Seventh Chords
- Voice Leading with Seventh Chords in Inversions
☑️ Harmony and Voice Leading II: Chord Progressions and Predominant Function 7 topics
- Adding Predominant Function IV and ii to a Melodic Phrase
- Additional 6/4 Chords
- Cadence and Predominant Function
- Cadential 6/4 Chords
- Predominant Seventh Chords
- The iii (III) Chord
- The vi (VI) Chord
☑️ Harmony and Voice Leading III: Embellishments, Motives, and Melodic Devices 7 topics
- Embellishing Tones: Identifying Anticipations, Escape Tones, Apoggiaturas, and Pedal Points
- Embellishing Tones: Identifying Passing Tones and Neighbor Tones
- Embellishing Tones: Identifying and Writing Suspensions; Identifying Retardations
- Embellishing Tones: Writing Passign Tones and Neighbor Tones
- Harmonic Sequence
- Melodic Sequence
- Motive and Motivic Transformation
☑️ Harmony and Voice Leading IV: Secondary Function 4 topics
- Part Writing of Secondary Dominant Chords
- Part Writing of Secondary Leading Tone Chords
- Tonicization through Secondary Dominant Chords
- Tonicization through Secondary Leading Tone Chords
☑️ Modes and Forms 3 topics
- Common Formal Sections
- Modes
- Phrase Relationship
☑️ Music Fundamentals I: Pitch, Major Scales, and Key Signatures, Rhythm, Meter and Expressive Elements 10 topics
- Dynamics and Articulation
- Half Steps and Whole Steps
- Major Keys and Key Signatures
- Major Scales and Scale Degrees
- Meter and Time Signature
- Pitch and Pitch Notation
- Rhythmic Patterns
- Rhythmic Values
- Simple and Compound Beat Division
- Tempo
☑️ Music Fundamentals II: Minor Scales and Key Signatures, Melody, Timbre, and Texture 13 topics
- Interval Inversion and Compound Intervals
- Interval Size and Quality
- Key Relationships: Parallel, Closely Related, and Distantly Related Keys
- Melodic Features
- Melodic Transposition
- Minor Scales: Natural, Harmonic, and Melodic
- Other Scales: Chromatic, Whole-Tone, and Pentatonic
- Relative Keys: Determing Relative Minor Keys and Notating Key Signatures
- Rhythmic Devices
- Texture Devices
- Texture and Texture Types
- Timbre
- Transposing Instruments
☑️ Music Fundamentals III: Triads and Seventh Chords 5 topics
- Chord Inversions and Figures: Introduction to Figured Bass
- Diatonic Chords and Roman Numerals
- Seventh Chord Inversions and Figures
- Seventh Chords
- Triad and Chord Qualities (M,m,d, A)
AP Music Theory Revision Content
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AP Music Theory - Harmony and Voice Leading I: Chord Function, Cadence, and Phrase - Harmonic Progression, Functional Harmony, and Cadences Content Preview
Harmony and Voice Leading I: Chord Function, Cadence, and Phrase
Harmonic Progression, Functional Harmony, and Cadences
Harmonic Progression
- Harmonic progression refers to the sequence in which chords are placed in a piece of music, creating a sense of direction and movement.
- This concept heavily relies on the tonal centre or key of a piece.
- Harmonic progressions are usually displayed using Roman numerals, with each numeral representing a chord's position within a key.
- An understanding of scale degrees is pivotal for writing and analysing harmonic progression.
- Frequently used progressions include I-IV-V (common in blues and rock) and ii-V-I (prevalent in jazz).
- The progression from V to I or V7 to I is called an authentic cadence, which effectuates a strong sense of resolution or closure.
Functional Harmony
- Functional Harmony is a theory developed to explain why certain harmonic progressions provoke specific emotional responses.
- In functional harmony, chords are classified into three main functions: Tonic (T), Subdominant (S), and Dominant (D).
- Tonic chords are the home base of a key, usually the first and last chord of a piece, and provide a sense of resolution and repose.
- Subdominant chords are transitioning chords that often lead away from the Tonic towards the Dominant.
- Dominant chords typically drive tension and expect resolution, usually resolving back to the Tonic. They are often the V or VII chord of a scale.
Cadences
- Cadences are musical punctuation marks; they create a sense of resolution or indicate the end of a phrase, section, or piece.
- There are several types of cadences including Perfect (Authentic), Imperfect (Half), Plagal, Deceptive, and Interrupted cadences.
- A Perfect Cadence (V-I or V7-I) sounds complete and is often used at the end of a piece.
- An Imperfect Cadence (any chord-V or V7) provides a degree of resolution but feels unfinished, pushing the music forward.
- A Plagal Cadence (IV-I), often called an 'Amen' cadence, is commonly heard at the end of hymns.
- A Deceptive Cadence (V-vi or V-VI) diverts expectations by resolving to a different chord than the anticipated Tonic, creating a surprising effect.
- An Interrupted Cadence also diverts from the standard progression, producing a sense of abrupt interruption, often used for dramatic effect.
Question: Describe the functional roles and harmonic progression of the chords in a standard ii-V-I jazz cadence.
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