Connecting Tonic & Subdominant

Part I:
Connecting Tonic & Subdominant
Triads in Root Position

The Subdominant Triad – IV, iv
• Built on the fourth scale degree of the diatonic
scale
• May be preceded by a I chord
• Plagal Cadence – when I chord is preceded by a
IV chord at the end of a phrase

The Subdominant Triad
The common tone connection procedure is the same for
I-V and I-IV connections

The Subdominant Triad
The noncommon-tone connection procedure is the same for
I-V and I-IV connections. Root – Root motion in the bass voice
and the upper three voices move contrary to the bass to the
nearest chord tone of the second chord.

Part 2:
Connecting Subdominant &
Dominant
Triads in Root Position

Subdominant Function
• Frequently appears as a dominant preparation
(pre-dominant) harmony, progressing to V
▫ It rarely does, and probably should never follow V
• Included with tonic & dominant when referred
to as “primary triads”
• Movement from I – IV – V – I typically defines
the basic harmonic direction of tonal works and
determines form.

Connecting IV to V
• Three upper voices move in contrary motion to
the bass to the nearest notes of the second chord

Common Connections
• IV to V 7
• Doubled root of IV may remain stationary and
become the seventh of the V 7

Harmonize the following using only
subdominant & dominant triads and
the dominant seventh chord.