tonal harmony chapters 13-14 the dominant 7th...

Tonal Harmony Chapters 13-14

THE DOMINANT 7th CHORD

Chapter 13: The V7 Chord We have seen seventh chords used earlier in the

semester; however, we have not dealt with the details of

how composers have used seventh chords in music

Five most common seventh chords

Major Seventh

Major-Minor Seventh (Dominant Seventh) – Most Frequent

Minor Seventh

Half-Diminished Seventh

Fully-Diminished Seventh

Chapter 13: The V7 Chord Voice-Leading Considerations

For any seventh chord, the 7th of the chord almost

always resolves down by step

Do not confuse with the seventh scale degree

Downward resolution of the 7th as a general principle is

extremely important

Originated in music as a downward-resolving suspension or

descending passing tone

The downward resolution was the only acceptable to the ear

EXAMPLE 13-2 (Up vs. Down)

Chapter 13: The V7 Chord Voice-Leading Considerations

One must also consider the leading tone of the scale

When it is in an outer part, the leading tone almost

always resolves up by step

EXAMPLE 13-3

Chapter 13: The V7 Chord The V7 in Root Position

Resolution of Dominant 7th in Root Position to the Tonic

Chord in root position is more difficult than that of any

other combination

Remember the following…

The 7th of the chord must resolve down by step

The 3rd of the chord (leading tone), when in the top part, must

resolve up by step to the tonic

Chapter 13: The V7 Chord The V7 in Root Position

When you resolve the V7 to the root position tonic triad,

the tonic triad may or may not be complete

EXAMPLE 13-4

Strategies

Use an incomplete V7, omitting the 5th (or less commonly the 3rd)

and doubling the root

Use a complete V7, but put the leading tone (3rd of chord) in an

inner part and take it down a M3 to the 5th of the tonic triad

EXAMPLE 13-6, 13-7

Chapter 13: The V7 Chord Other Resolutions

The dominant seventh often moves deceptively to the

submediant triad

Voice-leading is the same as a V-vi progression

The leading tone resolves up by step to the tonic, and the other

upper voices move down to the nearest chord tone, resulting in a

doubled third in the vi chord.

Only exception is when the leading tone is in an inner voice in

the major mode

The V7 is always complete when moving to a submediant triad

EXAMPLE 13-14

Chapter 13: The V7 Chord Other Resolutions

Dominant seventh chords usually are followed by tonic or

submediant triads

Chapter 13: The V7 Chord Independent Practice (in class)

Complete Self-Test 13-1 (Part A #1-4), (Part C #3-4),

(Part D #1-2) in Tonal Harmony Textbook

Independent Practice (at home)

Complete Exercise 13-1 in Tonal Harmony Workbook


THE II7 AND VII7 CHORDS

Chapter 14: II7 and VII7 Chord Any diatonic triad may appear with a 7th added, but the

various diatonic seventh chords do not occur as frequent

as others

V7, ii7, viiø7, IV7, vi7, I7, iii7

After the dominant seventh chord, the next two common

seventh chords are supertonic and leading-tone seventh

chords

Chapter 14: II7 and VII7 Chord Voice-leading principles for writing these chords should

not be difficult

The 7th of the chord almost always resolves down by step

The 7th of the chord may be approached in various ways (as

suspension, passing tone, etc.)

Incomplete chords must contain at least the root and 7th

Doubled tones should NOT be the 7th of the chord or

leading tone

Chapter 14: II7 and VII7 Chord The II7 Chord

In major, this chord is a minor seventh chord

In minor, this chord is a half-diminished seventh chord

EXAMPLE 14-1

Like the supertonic triad, the supertonic seventh chord

moves to V, which may be delayed by a cadential six-four

chord

The V might also be represented by a viio6

EXAMPLE 14-2

Chapter 14: II7 and VII7 Chord The II7 Chord

The most common bass position for this chord is first

inversion

EXAMPLE 14-3

EXAMPLE 14-4

A much less typical use of the supertonic seventh is as a

substitute for a IV chord in a plagal cadence

EXAMPLE 14-5

Chapter 14: II7 and VII7 Chord The VII7 Chord

In major, this chord is a half-diminished seventh chord,

possessing a dominant function

It normally resolves directly to the tonic, but it may first

move to the V7

EXAMPLE 14-6

Certain inversion must be handled carefully to avoid parallels

Chapter 14: II7 and VII7 Chord The VII7 Chord

In minor, this chord is a fully-diminished seventh chord,

possessing a dominant function

It normally resolves directly to the tonic, but it may first

move to the V7

This chord contains 2 tritones, for which the tendency is to

resolve inward by step

If tendencies are followed, the tonic triad will have a doubled

third

EXAMPLE 14-10, 14-12, 14-14

Chapter 14: II7 and VII7 Chord Independent Practice (in class)

Complete Self-Test 14-1 (Part A #1-4), (Part B #1-4)

in Tonal Harmony Textbook


Complete Exercise 14-1 (Part C #1-2) in Tonal Harmony

Workbook


SECONDARY FUNCTIONS 1

Chapter 16: Secondary Functions 1 Chromaticism and Altered Chords

Chromaticism: the use of pitches foreign to the key of

the passage

Also referred to as essential chromaticism

These chords as also known as altered chords

Only chromaticism we have discussed so far is chromatic

nonchord tones

Referred to as nonessential chromaticism

Chapter 16: Secondary Functions 1 The most common sort of altered chord in tonal music is

the secondary function

Secondary Function: a chord whose function belongs

more closely to a key other than the main key of the

passage

EXAMPLE 16-2

Pay attention to the end of the passage. Does the F# in m. 7

sound like a nonchord tone?

What has happened hear?

Chapter 16: Secondary Functions 1 Secondary Dominant Chords

All diatonic chords (other than I) may be tonicized by

secondary V or V7 chords

EXAMPLE 16-3

Most of the accidentals create a leading tone to the root of the

chord being tonicized

Look at the V/IV. What chord is this really in the key of F

major?

Most composers will use a V7/IV to make the secondary function

clear

Chapter 16: Secondary Functions 1 Spelling Secondary Dominants

Find the root of the chord that is to be tonicized

Go up a Perfect 5th

Using that note as the root, spell a major triad or a major-

minor seventh

EXAMPLE 16-5

Chapter 16: Secondary Functions 1 Recognizing Secondary Dominants

If you encounter an altered chord in a passage, there is a

good chance it will be a secondary dominant

Is the altered chord a major triad or a major-minor seventh

chord? If not, it is not a secondary dominant.

Find the note a P5 below the root of the altered chord.

Would a major or minor triad built on that note be a

diatonic triad in this key? If not, it is not a secondary

dominant.

Captain Broccoli on Secondary

Dominants!

Chapter 16: Secondary Functions 1 Independent Practice (in class)






SECONDARY FUNCTIONS 2

Chapter 17: Secondary Functions 2 Secondary Leading-Tone Chords

Chords treated the same as secondary dominant chords

A small complication arises when a leading-tone seventh

chord is used as a secondary function.

Should it be a half or fully diminished seventh chord?

Use the following principles:

If the triad to be tonicized is minor, use viio7/

If the triad to be tonicized is major, use either viiø7/ or viio7/,

although fully diminished appears to be used most often

Chapter 17: Secondary Functions 2 Secondary Leading-Tone Chords

Leading-tone chords of ii, IV, iv, V, and vi are more common

than others

EXAMPLE 17-1

Two of these chords (viiø7/III and viio7/III) produce diatonic triads.

These can only be made clear in context

Chapter 17: Secondary Functions 2 Spelling Secondary Leading-Tone Chord

Find the root of the chord that is to be tonicized

Go down a minor 2nd or up a major 7th

Using that note as the root, spell a diminished triad, a half-

diminished seventh chord, or a fully-diminished seventh

chord

Chapter 17: Secondary Functions 2 Recognizing Secondary Leading-Tone Chords

If you encounter an altered chord in a passage, there is a good chance it will be a secondary leading-tone chord

Is the altered chord a diminished triad, a half-diminished seventh chord, or a fully-diminished seventh chord? If not, it is not a secondary leading-tone chord.

Find the note a minor 2nd above the root of the altered chord.

Would a major or minor triad built on that note be a diatonic triad in this key? If not, it is not a secondary leading-tone chord.

Chapter 17: Secondary Functions 2 Independent Practice (in class)





tonal harmony chapters 13-14 the dominant 7th...

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