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Diatonic 7th Chords
Transcript of Diatonic 7th Chords
Doubled tones would generally not be the chord 7th or the leading tone
7th of chord almost always resolves down by step
7th of chord may be approached in various ways Voicing Principles 7th Chords are a triad plus a 7th above the root Also Called Dominant 7th Chords Almost always major-minor 7ths In minor, you will have to raise the 7th Scale Degree Resolution The 7th of the chord (4th scale degree almost always resolves DOWN by step - kind of like a suspension) The leading tone (3rd of the chord) almost always resolves UP by step Root Position most difficult position to resolve
7th MUST resolve down
Leading tone MUST resolve up to tonic Read V7 in Root Position to determine whether to use a complete or incomplete chord WATCH FOR PARALLEL 5THS WHEN USING COMPLETE VOICING Inversions Actually easier to manage than root position
3rd of chord (leading tone) resolves up by step
7th of chord (4th scale degree) moves down by step
6/5, 4/3, 4/2 (or 2) The Approach Same pitch class (suspension figure)
Step above 7th (passing tone figure)
Step below 7th (neighbor tone figure)
None of above (appoggiatura figure)
least common II7 Most common of the nondominant 7th chords and can be found in most tonal era compositions. It will typically move to V VII7 in Major Half-diminished chord that has a dominant-like function Typically moves to tonic, but can detour to V7 Third inversion is rare VII7 in Minor Fully diminished if leading tone is present Subtonic generally used in sequences
or as a secondary dominant seventh
(definition in a few chapters) Tends to resolve to tonic, but can detour to V7 Contains two tritones - resolve inward when °5
and outward by step when +4 (tonic will have doubled 3rd) IV7 Chord Moves to V, usually via a detour through ii or ii7 When moving to V, parallel 5ths can result - use cadential 6/4 or double the 5th of the V chord
Otherwise, voice leading is smooth and can be handled like a dominant 7th
In minor, the 6th scale degree is raised, which will make it sound dominant, but will not function as such VI7 Chord Found in three forms Typically moves to V, passing through subdominant or supertonic chords on the way
Watch parallel 5ths if moving to R.P. V
Watch +2 in half-diminished (minor key) I7Chord Adding a 7th to a tonic triad takes away tonal stability Tends to move to IV, but can also go to ii or vi
Resolution must contain the 6th scale degree to the 7th of the chord can resolve down to it
M7 in major key, m7 in minor key, mM7 in jazz III7 Chord Occurs most often in sequences Usually progresses to vi7, but can also go to IV If used in sequences, alternate complete chords with incomplete chords...if inversions are used, 6/5 will alternate with 4/2 and 4/3 will alternate with 7