Leading Tone Seventh Chords

Homework: Workbook Chapter 22

#1 b,c,f
#2 a,b,f,g
"Longer Assignments" 1, 2
"Study and Analysis" #3

or Textbook all "Exercises"

In our discussion of melodic and rhythmic figuration, we saw how certain non-diatonic, dissonant and chromatic tones could be effectively incorporated into our writing and analysis to provide color and enhance certain voice leading situations. We will now turn to a formal discussion of dissonance and chromaticism.

1.  Viiº7 in minor

a. We know from our study of V65 that this chord leads particularly well to I. The normal resolution of the V65 has two very strong elements that lead us back to I.

1. the L.T. (in the bass) resolve to ^1 and
2. the ^4 (chordal 7th) resolve down to ^3

b. The root of the V chord is very stable and therefore does not have as strong of a gravitational push to I as the L.T. and ^4.
c. To intensify a "dominant like" chord we can move the root of the V chord up a Minor 2nd making it less stable.
d. When the V65 appears not with the root of the V, but with a minor second above, the interval between the bass and the altered root forms a fully diminished 7th. (notated as º7) Hence: The resulting chord is called a Fully Diminished 7th chord. Since it appears with the +^7 in bass, we called the chord a Viiº7

e. Like the V65, the Viiº7 can appear in inversions. By understanding that the "º" signifies a fully diminished 7th chord, we need not include accidentals in the figuration.

2.  Contrapuntal functions

a. The function of the various inversions of Viiº7 is similar to their V7 counterparts.

1. Viiº7 ~ V65 and acts as a leading tone - lower neighbor dominant type chord.
2. Viiº65 ~ V43 and acts as a passing chord connecting I and I6
3. Viiº43 ~ V42 and acts as the upper neighbor to I6
4. Viiº42 ~ ? To be discussed

3,4&5.  Resolving dissonant intervals and the Viiº and Viiº65

a. Just as the tritone between the ^7 and ^4 in a V7 will resolve with the ^7 ascending to ^1 and ^4 (chordal 7th) falling to ^3, in the Viiº7 so too will the ^7 rise to ^1 and ^4 (dim 5th) fall to ^3
b. As well, there is another tritone in the º7 chord between ^2 and -^6. In this dissonance, the ^6 forms a 7th against the bass and will thus resolve down as expected. The ^2 will often move to ^3 but occassionally we see it move to ^1
c. As with the resolution of the d5th in a Vii6, one should avoid movments from and interval of a dim5 to a P5 but the inversion of an Aug 4 may infact move to a P5 (the exception to this is when the outter voices move in ¶10ths)

6.  Resolving the Viiº43

a. Closely resembles the resolution of the V42
b. Bass ^4 resolves to ^3 of I6
c. Tritone between ^2 & ^6 will resolve inwards to a 3rd when the tritone is a d5
d. Tritone between ^6 & ^2 will resolve either to ^5 & ^3 or as movement from Aug4 to P4 as ^5 & ^1

GENERAL PRINCIPLES REGARDING RESOLUTION OF Viiº7 (and inversions)

a. the dim 7 must resolve to P5
b. All dissonances with the bass must resolve
c. Between upper voices, d5 resloves inward to a 3rd.
d. Sometimes A4 resolves irregularly to P4

7.  Approaching the 7th of the Viiº7

a. In minor , the IV, II, and VI all share the ^6 with the chordal 7th of the Viiº7. As such, when approaching the Viiº7 (inv) from these chords, it is common that the 7th is prepared.

b. The III in minor contains the -^7 and thus utilizes the ^6 (chordal 7th of Viiº7) as a passing tone resolving to the ^5 of I. Note that often the -^7 will be doubled in the III and with the doubling rising to the root (+^7) of the Viiº7 (inv) as a chromatic passing tone to ^1
c. Similar to the movement from -VII to V6 in minor, -VII can also move to Viiº7 with a chromatic passing tone in the bass.
d. Alternatively, similar to the movement from -VII to VI or IV6 in minor, -VII can move to Viiº42 where ^6 becomes a passing bass (to be discussed with Vii42).
e. Additionally, H&VL states that the chordal 7th of a Viiº7 can be approached as an incomplete neighbor. In fact leaping to the 7th is not unreasonable at all just keep in mind that as the chordal 7th it has a tendancy to resolve down by step.

The 7th of th º7 works well when introduced as: a common tone by preparation, a Passing tone or a Neighboring tone

8.  The 42 position.

a. Unlike the V42 whose bass resolves into a I6, the Viiº42 yields a I64 upon normal resolution. For now, we defer our discussion of the Viiº42. We will explore this special relationship in a few weeks.

9.  Approaching the 7th of the Viiº7

a. Sometimes we see the ^6 act as a 9-4 suspension resolving to the V7 (inv) instead of a litteral Viiº7 (inv). It is important to use your ear to determine when such an occurance is a Viiº7 with a deliberate hamonic change to V or simply a 9-4 suspension resolving to the V7.

10,11,12.  Viiº7 over tonic pedal, with a melodic Aug2nd and with voice exhange.

a. Here H&VL is simply pointing out various other usages of the Viiº7 as a chord substituting for V over a tonic pedal, as a chord supporting a melodic Aug2nd and as the bookends for a voice exchange with a passing chord inbetween.

13.  Enharmonic relationships

a. Although H&VL defers this subject to a later chapter it is critical to understand that the Aug 2nd in the Viiº7 can be enharmonically reinterpreted as a minor 3rd. As such we can think of the Viiº7 as divided into 4 equal divisions of minor 3rds. As a result the inversions of Viiº7 can each be root position Viiº7 in another key. This ambiguity is a wonderful and very important feature in chromatic modulation.

14.  Viiø7 in Major

a. When the V65 appears not with the root of the V, but with a Major second above, the interval between the bass and the altered root forms a minor 7th. The resulting chord is called a Half-Diminished 7th chord (notated as ø7). Since it appears with the nat^7 in bass, we called the chord a Viiø7. Viiø7 does appear in inversions but not as frequently as Viiº7. When resolving Viiø7 (inv) avoid ¶5ths by resolving to a doubled ^3.