Tonal Harmony Chapters 13-14 THE DOMINANT 7th CHORD Chapter 7 13: The V Chord п‚— 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 п‚— Five most common seventh chords п‚— Major Seventh п‚— Major-Minor Seventh (Dominant Seventh) вЂ“ Most Frequent п‚— Minor Seventh п‚— Half-Diminished Seventh п‚— Fully-Diminished Seventh Chapter 7 13: The V Chord п‚— Voice-Leading Considerations п‚— For any seventh chord, the 7th of the chord almost always resolves down by step п‚— Do not confuse with the seventh scale degree п‚— Downward resolution of the 7th as a general principle is extremely important п‚— п‚— п‚— 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 7 13: The V Chord п‚— Voice-Leading Considerations п‚— One must also consider the leading tone of the scale п‚— When it is in an outer part, the leading tone almost always resolves up by step п‚— EXAMPLE 13-3 Chapter 7 13: The V Chord п‚— The V7 in Root Position п‚— Resolution of Dominant 7th in Root Position to the Tonic Chord in root position is more difficult than that of any other combination п‚— Remember the followingвЂ¦ п‚— п‚— 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 7 13: The V Chord п‚— The V7 in Root Position п‚— When you resolve the V7 to the root position tonic triad, the tonic triad may or may not be complete п‚— EXAMPLE 13-4 п‚— Strategies п‚— п‚— п‚— 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 7 13: The V Chord п‚— Other Resolutions п‚— The dominant seventh often moves deceptively to the submediant triad п‚— Voice-leading is the same as a V-vi progression п‚— п‚— п‚— п‚— 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 7 13: The V Chord п‚— Other Resolutions п‚— Dominant seventh chords usually are followed by tonic or submediant triads Chapter 7 13: The V Chord п‚— Independent Practice (in class) п‚— Complete Self-Test 13-1 (Part A #1-4), (Part C #3-4), (Part D #1-2) in Tonal Harmony Textbook п‚— Independent Practice (at home) п‚— Complete Exercise 13-1 in Tonal Harmony Workbook Tonal Harmony Chapters 13-14 THE II7 AND VII7 CHORDS Chapter 7 14: II 7 and VII Chord п‚— Any diatonic triad may appear with a 7th added, but the various diatonic seventh chords do not occur as frequent as others п‚— V7, ii7, viiГё7, IV7, vi7, I7, iii7 п‚— After the dominant seventh chord, the next two common seventh chords are supertonic and leading-tone seventh chords Chapter 7 14: II 7 and VII Chord п‚— Voice-leading principles for writing these chords should not be difficult п‚— The 7th of the chord almost always resolves down by step п‚— The 7th of the chord may be approached in various ways (as suspension, passing tone, etc.) п‚— Incomplete chords must contain at least the root and 7th п‚— Doubled tones should NOT be the 7th of the chord or leading tone Chapter 7 14: II 7 and VII Chord п‚— The II7 Chord п‚— In major, this chord is a minor seventh chord п‚— In minor, this chord is a half-diminished seventh chord п‚— EXAMPLE 14-1 п‚— Like the supertonic triad, the supertonic seventh chord moves to V, which may be delayed by a cadential six-four chord п‚— п‚— The V might also be represented by a viio6 EXAMPLE 14-2 Chapter 7 14: II 7 and VII Chord п‚— The II7 Chord п‚— The most common bass position for this chord is first inversion п‚— п‚— EXAMPLE 14-3 EXAMPLE 14-4 п‚— A much less typical use of the supertonic seventh is as a substitute for a IV chord in a plagal cadence п‚— EXAMPLE 14-5 Chapter 7 14: II 7 and VII Chord п‚— The VII7 Chord п‚— In major, this chord is a half-diminished seventh chord, possessing a dominant function п‚— It normally resolves directly to the tonic, but it may first move to the V7 п‚— п‚— EXAMPLE 14-6 Certain inversion must be handled carefully to avoid parallels Chapter 7 14: II 7 and VII Chord п‚— The VII7 Chord п‚— In minor, this chord is a fully-diminished seventh chord, possessing a dominant function п‚— It normally resolves directly to the tonic, but it may first move to the V7 п‚— This chord contains 2 tritones, for which the tendency is to resolve inward by step п‚— п‚— If tendencies are followed, the tonic triad will have a doubled third EXAMPLE 14-10, 14-12, 14-14 Chapter 7 14: II 7 and VII Chord п‚— Independent Practice (in class) п‚— Complete Self-Test 14-1 (Part A #1-4), (Part B #1-4) in Tonal Harmony Textbook п‚— Independent Practice (at home) п‚— Complete Exercise 14-1 (Part C #1-2) in Tonal Harmony Workbook Tonal Harmony Chapters 16-20 SECONDARY FUNCTIONS 1 Chapter 16: Secondary Functions 1 п‚— Chromaticism and Altered Chords п‚— Chromaticism: the use of pitches foreign to the key of the passage п‚— п‚— Also referred to as essential chromaticism These chords as also known as altered chords п‚— Only chromaticism we have discussed so far is chromatic nonchord tones п‚— Referred to as nonessential chromaticism Chapter 16: Secondary Functions 1 п‚— The most common sort of altered chord in tonal music is the secondary function п‚— Secondary Function: a chord whose function belongs more closely to a key other than the main key of the passage п‚— п‚— п‚— 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 п‚— Secondary Dominant Chords п‚— All diatonic chords (other than I) may be tonicized by secondary V or V7 chords п‚— п‚— EXAMPLE 16-3 Most of the accidentals create a leading tone to the root of the chord being tonicized п‚— Look at the V/IV. What chord is this really in the key of F major? п‚— Most composers will use a V7/IV to make the secondary function clear Chapter 16: Secondary Functions 1 п‚— Spelling Secondary Dominants п‚— Find the root of the chord that is to be tonicized п‚— Go up a Perfect 5th п‚— Using that note as the root, spell a major triad or a majorminor seventh п‚— EXAMPLE 16-5 Chapter 16: Secondary Functions 1 п‚— Recognizing Secondary Dominants п‚— If you encounter an altered chord in a passage, there is a good chance it will be a secondary dominant п‚— Is the altered chord a major triad or a major-minor seventh chord? If not, it is not a secondary dominant. п‚— Find the note a P5 below the root of the altered chord. п‚— 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 п‚— Independent Practice (in class) п‚— Complete Self-Test 16-1 (Part A #1-5), (Part B #1-5) in Tonal Harmony Textbook п‚— Independent Practice (at home) п‚— Complete Exercise 16-1 in Tonal Harmony Workbook Tonal Harmony Chapters 16-20 SECONDARY FUNCTIONS 2 Chapter 17: Secondary Functions 2 п‚— Secondary Leading-Tone Chords п‚— Chords treated the same as secondary dominant chords п‚— A small complication arises when a leading-tone seventh chord is used as a secondary function. п‚— Should it be a half or fully diminished seventh chord? п‚— Use the following principles: п‚— п‚— If the triad to be tonicized is minor, use viio7/ If the triad to be tonicized is major, use either viiГё7/ or viio7/, although fully diminished appears to be used most often Chapter 17: Secondary Functions 2 п‚— Secondary Leading-Tone Chords п‚— Leading-tone chords of ii, IV, iv, V, and vi are more common than others п‚— EXAMPLE 17-1 п‚— Two of these chords (viiГё7/III and viio7/III) produce diatonic triads. These can only be made clear in context Chapter 17: Secondary Functions 2 п‚— Spelling Secondary Leading-Tone Chord п‚— Find the root of the chord that is to be tonicized п‚— Go down a minor 2nd or up a major 7th п‚— Using that note as the root, spell a diminished triad, a halfdiminished seventh chord, or a fully-diminished seventh chord Chapter 17: Secondary Functions 2 п‚— Recognizing Secondary Leading-Tone Chords п‚— If you encounter an altered chord in a passage, there is a good chance it will be a secondary leading-tone chord п‚— 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. п‚— Find the note a minor 2nd above the root of the altered chord. п‚— 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 п‚— Independent Practice (in class) п‚— Complete Self-Test 17-1 (Part A #1-5), (Part B #1-5) in Tonal Harmony Textbook п‚— Independent Practice (at home) п‚— Complete Exercise 17-1 in Tonal Harmony Workbook