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Unit 5 · Harmony & Voice Leading II Flashcards Cheat Sheet Essentials Visual Review MC Practice FRQ Practice

AP Music Theory Unit 5 Visual Review

A topic-by-topic visual walkthrough of Unit 5: predominant function, the vi and iii chords, predominant sevenths, cadences, and 6/4 chords.

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UNIT 5 · TOPIC 5.1 Adding predominant function IV and ii sit between tonic and dominant, building tension on the way to the cadence. THE PREDOMINANT SLOT IIV or iiVI THE TWO MAIN PREDOMINANTS IV (iv in minor): subdominant, a smooth, gentle step toward the dominant. ii (ii° in minor): supertonic, a slightly stronger pull, often used in first inversion (ii6). Both share tones and lead naturally into V. KEY IDEA Predominant chords (IV and ii) bridge tonic and dominant, driving the phrase to its cadence. The Review Hub · AP Music Theory · Unit 5 UNIT 5 · TOPIC 5.2 The vi chord The submediant can stand in for tonic or set up a predominant, and it powers the deceptive cadence. TWO COMMON ROLES Tonic substitute: vi shares two notes with I, so it can stand in for it. Leading to predominant: vi often moves to ii or IV, extending the phrase. A common progression is I to vi to IV to V. In a major key, vi is a minor chord. THE DECEPTIVE CADENCE Vvi expected I, but vi instead The ear expects V to resolve to I, but vi arrives instead, delaying the true cadence. A surprise that keeps the music going. KEY IDEA vi can substitute for tonic or lead to a predominant; V to vi makes the deceptive cadence. The Review Hub · AP Music Theory · Unit 5 UNIT 5 · TOPIC 5.3 Predominant seventh chords Add a seventh to a predominant chord for a richer, stronger pull toward the dominant. THE TWO WORKHORSES ii7 (and ii6/5): the most common predominant seventh, especially in first inversion. IV7: a warmer, fuller subdominant sound. In minor, ii is diminished, so ii7 becomes a half-diminished seventh chord. The added seventh sharpens the drive to V. RESOLVING THEM The chordal seventh still resolves down by step, usually into V. ii6/5 to V is a smooth, classic move into a cadence. Keep common tones between the predominant seventh and the dominant that follows. KEY IDEA ii7 and IV7 enrich the predominant; the seventh resolves down by step into V. The Review Hub · AP Music Theory · Unit 5 UNIT 5 · TOPIC 5.4 The iii chord The mediant is the rarest diatonic triad, used mostly to connect other chords. A CONNECTING CHORD iii shares tones with both I and V, so it can smooth the path between them. It often appears in a descending sequence: I V vi iii IV I IV V iii can also harmonize a descending scale degree 7 that is not acting as a leading tone. In a major key, iii is a minor chord. WHY IT IS RARE iii has no strong pull of its own, so it rarely stands out on its own. It is not a tonic, predominant, or dominant, so it sits between roles. Think of it as connective tissue rather than a goal chord. KEY IDEA iii is a rare connecting chord, often found in a descending sequence between stronger chords. The Review Hub · AP Music Theory · Unit 5 UNIT 5 · TOPIC 5.5 Cadences and predominant function A predominant chord just before the dominant makes a cadence sound complete and prepared. A FULLY PREPARED CADENCE ii6VI predominantdominanttonic WHY IT MATTERS A cadence with a predominant (ii6 to V to I) feels stronger and more finished than V to I alone. The predominant sets up the dominant, which then resolves to tonic for a satisfying close. On the exam, look for the predominant that prepares each cadence. KEY IDEA A predominant before the dominant (ii6 to V to I) makes a cadence feel fully prepared. The Review Hub · AP Music Theory · Unit 5 UNIT 5 · TOPIC 5.6 Cadential 6/4 chords This tonic chord in second inversion is really a decoration of the dominant beneath it. HOW IT MOVES I6/4VI the bass stays on scale degree 5 Over a bass note 5, the sixth and fourth step down to the fifth and third of V. It sounds like tonic but functions as dominant. LABELING IT It is written under the dominant, often as V with 6-4 moving to 5-3. It falls on a strong beat and delays the true dominant. Never treat it as a real tonic arrival; it is purely a dominant embellishment. KEY IDEA The cadential 6/4 sounds like tonic but functions as dominant, resolving to V over a bass 5. The Review Hub · AP Music Theory · Unit 5 UNIT 5 · TOPIC 5.7 Additional 6/4 chords Other 6/4 chords are not harmonies in their own right; they decorate the bass line. PASSING The bass steps smoothly through it. Often V6/4 between I and I6. a stepwise bass line, harmonized PEDAL The bass stays put while upper voices move. Often IV6/4 over a held tonic bass. upper neighbors over a stationary bass ARPEGGIATED The bass leaps among chord tones. The same chord, with its fifth in the bass. no change of harmony, just of bass note KEY IDEA Passing, pedal, and arpeggiated 6/4 chords decorate the bass; they are not true harmonies. The Review Hub · AP Music Theory · Unit 5
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How to use the visual review

Spend 30 seconds per slide before clicking next. Look at the diagram, then ask yourself: "Could I draw this from memory and explain it?"

Use the fullscreen button () on desktop for the best experience. Use arrow keys to navigate. Tap "Show all slides" to jump around.

This is great for review the night before the exam — fast, visual, and covers everything you need to remember about Unit 5's fundamentals.