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{{Wiktionary}}
[[Image:V of V in C four-part harmony.png|thumb|V of V in C, four-part harmony {{audio|V of V in C four-part harmony.mid|Play}}.]]
[[File:Common Cadential Progression Alt.png|thumb|float|right|150px|A cadential <math>{}_4^6</math> progression<ref>Adapted from [[Walter Piston|Piston W]] (1962) ''Harmony'', 3rd ed., NY, Norton, p. 96.</ref> showing {{nowrap|I{{sup sub|6|4}}}} as a predominant chord.<ref name="Berry">Berry, Wallace (1987). ''Structural Functions in Music'', p.54. ISBN 0-486-25384-8.</ref> {{audio|Common cadential progression alt.mid|Play}}]]

In [[music theory]], a '''predominant chord''' (also '''pre-dominant'''<ref name="B&S"/>) is any [[chord (music)|chord]] which normally [[resolution (music)|resolves to]] a [[dominant (music)|dominant]] chord.<ref name="B&S">Benward & Saker (2009). ''Music in Theory and Practice: Volume II'', Glossary, p.359. Eighth Edition. ISBN 978-0-07-310188-0.</ref> Examples of predominant chords are the [[subdominant]] (IV), [[supertonic]] (ii), [[Neapolitan sixth]] and [[German sixth]].<ref name="B&S"/> Other examples are the [[submediant]] (vi), [[secondary dominant]] (V/V), iv and ii°. The predominant [[diatonic function|harmonic function]] is part of the fundamental [[chord progression|harmonic progression]] of many classical works.

The '''dominant preparation''' is a chord or series of chords that precedes the [[dominant (music)|dominant chord]] in a musical composition.{{Dubious|date=August 2011}} Usually, the dominant preparation is derived from a [[circle of fifths]] progression. The most common dominant preparation chords are the [[supertonic]], the [[subdominant]], the [[secondary dominant|V7/V]], the [[Neapolitan chord]] (N6 or {{music|b}}II6), and the [[augmented sixth chord]]s (e.g., Fr+6).

[[File:Progresión quintas.png|thumb|center|The [[circle progression]] features a series of chords derived from the circle of fifths preceding the dominant and tonic.]]

In [[sonata form]], the dominant preparation is in the [[development (sonata form)|development]], immediately preceding the [[recapitulation (music)|recapitulation]]. [[Ludwig van Beethoven]]'s [[sonata form|sonata-form]] works generally have extensive dominant preparation — for example, in the first movement of the ''[[Piano Sonata No. 8 (Beethoven)|Sonata Pathétique]]'', the dominant preparation lasts for 29 measures (mm. 169-197){{Citation needed|date=May 2010}}.

==List==
{{col-begin}}
{{col-break}}
*First inversion augmented mediant
**{{music|b}}III{{music|+}}{{sup sub|6|3}}<ref name="Berry"/> {{audio|Predominant first inversion augmented mediant.mid|Play}}
*Augmented dominant
**V{{music|+}} <ref name="Berry"/>
*Augmented sixths
**Fr{{sup sub|4|3}}{{citation needed|date=June 2013}} {{audio|Predominant French sixth.mid|Play}}
**Ger{{sup sub|6|5}}<ref name="B&S"/> {{audio|Predominant German sixth.mid|Play}}
**{{music|b}}II{{sup|6}}<ref name="B&S"/> {{audio|Neapolitan V I.mid|Play}}
*Second inversion tonic
**I{{sup sub|6|4}}<ref name="Berry"/> {{audio|Predominant second inversion tonic.mid|Play}}
**i{{sup sub|6|4}}<ref name="Berry"/> {{audio|Predominant second inversion minor tonic.mid|Play}}
{{col-break}}
*Subdominant
**IV<ref name="B&S"/> {{audio|IV-V-I in C.mid|Play}}
**iv{{citation needed|date=June 2013}}
*Submediant
**vi{{citation needed|date=June 2013}}
*Supertonic and secondary dominant
**ii<ref name="B&S"/> {{audio|Ii-V-I turnaround in C.mid|Play}}
**II (V/V){{citation needed|date=June 2013}} {{audio|V of V in C four-part harmony.mid|Play}}
**ii{{music|dim}}{{citation needed|date=June 2013}}
{{col-end}}

==Gallery==
{|
| [[Image:Ii-V-I turnaround in C.png|thumb|upright|[[ii-V-I turnaround]] in C ({{audio|Ii-V-I turnaround in C.mid|Play}}): the supertonic (dm) leads to the dominant (G7), which leads to the tonic (C).]]
| [[Image:FrenchSixth.png|thumb|upright|The ''[[French sixth]]'' chord; distinguishing tone highlighted in blue. {{audio|French sixth moving to V.ogg|Play}}]]
| [[Image:GermanSixth.png|thumb|upright|The German sixth; the distinguishing tone is highlighted in blue. {{audio|German sixth moving to V.ogg|Play}}]]
| [[Image:Neapolitan V I.png|thumb|upright|{{music|flat}}II6-V64-I {{audio|Neapolitan V I.mid|Play midi}} or {{audio|Neapolitan V I.ogg|Play ogg}} ({{audio|IV V I without Neapolitan.ogg|Play ogg}} of IV-V-I progression as usual, without Neapolitan sixth chord in place of IV).]]
|}

==See also==
*[[Approach chord]]
*[[Passing chord]]

==Sources==
{{reflist}}

{{Chords|collapsed}}

[[Category:Chord progressions]]
[[Category:Chords]]
[[Category:Diatonic functions]]

{{music-theory-stub}}

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