Applied V and VII

Homework: Workbook Chapter 25

prelminaries 1 and 2
applied chords 1,2, and 3
longer assignments 1
study and analysis 1

OR

Homework: Textbook Chapter 25

all exercises

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In Theory II we saw the use of a pivot chord to prepare an applied dominant. We saw how the forces of the leading tone within a chord lead the ear to a new tonal center (tonic) even if only briefly. The type of voice leading we called tonicization (for a brief moment) or modulation (for a more large scale shift in the tonal center). We will now see that a leading tone chord need not only be applied to the Dominant within the key . As well, since we have seen the close parallel between the V7 (inv) and the Viiº7(inv) and Viiø7 (inv) we will see that we may use any of these chords to lead to new tonal centers.

1.  New Usages

a. Review Chapter 14 sections 3 &4
b. Applied Chords (from Chapter 14) V (inv), V7 (inv), Vii6
c. Applied Chords (with dominant functions) VII (inv), Viiº (inv in M or m), Viiø (inv in M only)

Note: It is very important to understand the function of the applied chord in relation to that which it is applied. To be sure we can see the use of an applied chord to create a cadential effect in some other key area. However, just as we have seen such useages as V6 as a LN chord to I5 , Vii6 as a passing chord between I6 and I5 and soforth, It is equally common to see the applied chord act in similar ways. In such cases, the voice leading functions exactly the same in the tonicized key area as it would in the original key.

2.  Cross Relations

a. Applied chords can add to a bit of chromaticism in our writing. In simple textures its a good idea to keep the chromatic motion within a single voice. (avoid a cross relation between the outter voices except when it occurs with voice exchange)
b. When the bass carries the applied leading tone, a cross relation between the bass and an inner voice is OK
c. Cross relations may be softened by interpolating passing tones or passing chords.

3.  Applied chords as altered diatonic Chords.

a. We have seen that via mixture we can chromatically alter a chord. Sometimes applied chords function as altered forms of these triads and seventh chords. In such cases a syntactical analysis may yield more than one correct solution and we must look to the larger context to understand which meaning is more pertinent.

5, 6 & 7.  Altered II and IV

a. Of all the applied chords, those that lead toV are the most prominant. Such chords will contain the +^4 as a leading tone to the Dominant scale degree ^5. Thus, when II and IV carry a +^4, they will act as applied dominants. Be very careful to avoid ¶ and hidden 5ths from an applied Vii of V to V. A good solution is to move to a V7

8.  Deceptive cadences

a. Sometimes an applied chord appears where one would expect a cadential tonic. In this type of situation we have another instance of a "deceptive" - like cadence

9.  Chords applied to IV

a. In major, V of IV is the tonic triad. Therefore, to clearly identify the chord as a tonic triad, we need to add the -^7. In minor, we need to raise the ^3

10.  Chords applied to III

a. A review of chapter 15 reminds us that in minor, there is a strong tendancy to tonicize III as the V7 (inv) of III as well as the Vii of III exist naturally in the key. In major however, we must raise the +^2 and +^4 to yield a V of III and Vii of III

11.  Chords applied to II in Major

a. H&VL states that Vof II and Vii of II are only possible in Major "for the diminished quality of II in minor prevents it from simulating a tonic." These words are true ONLY if you want the goal of the applied chord to be a tonic. Keep in mind that just as we have seen in sequences by descending 5ths that contain chordal 7ths, the goal motion of an applied chord need not always be to tonic.
b. The applied chord to II will carry a +^1
c. In moving to II the progression I-V-of-II (heretofore notated as V>II) will carry a similar 5-6 Sycope as we have seen in the past.
d. The Vii >II is an alteration of I. Thus we may introduce Vii>II when we might otherwise expect to hear a tonic. The presents a very nice "deceptive"-like effect.

12.  Chords applied to VI

a. In minor, V>VI is the same as III and requires no special attention.
b. In minor, V7>VI and Vii>Vi require our first use of -^2.

1. As the chordal 7th in V7>VI, -^2 resolves down to ^1 as expected
2. As the dissonant diminished 5th in Vii, -^2 has a tendancy to resolve down. Remember we try to avoid d5>P5

c. In Major, V65>VI and Vii7>VI yield a chromatic embellishment of the deceptive cadence with a passing +^5 in the bass.
d. H&VL asks why c above is not possible in minor. The answer is that the bass would remain on ^5 and notbe chromatically altered. As well by applying Vii>VI or V>VI you lessen the deceptive nature of VI

13.  Chords applied to VII

a. Like II in minor, H&VL states that one can not tonicize Vii in major because it is a diminished triad. Again, whereas this may be a valid point in our discussion at this juncture, it certainly does not mean that you cant have an applied chord to Vii. The point here, as it is with V>II in minor is that an applied chord which resolves to a diminished triad will not sound as if it is necessarily reaching its resolution. It will be active upon its goal and will therefore not carry the cadential effect normal to a tonic chord.
b. In minor, VII is a major triad and thus can be the object of an applied chord. Often we will see a tonicized VII immediately followed by a V6 allowing for a stepwise chromatic bass.

14.  Irregular resolutions of applied chords

a. At the very end of Music Theory I, we saw how via 5-6 technique the II6 and IV chord were closely related. We then expanded that concept to any two chords that share two tones. Just as we often find II6 in place of IV, or our friendly deceptive VI in place of I or even more recently our discovery of Viiº as a "alternative" dominant, applied chords that apparently lead to a given chord may, alternatively move to the objects close relations.

15.  Apparent applied chords

a. Do not confuse this topic heading with "apparent 7ths" discussed in unit 24
b. Here H&VL states that sometimes its hard to distinguish between the use of mixture and that of an applied chord or an applied chord resolving to a close relative.

Note: We have now become familiar with various kinds of "deceptive" and "substitute" chords. Using applied chords that resolve unexpectedly to these deceptive and substitute chords is a very effective way of leading the ear to colorful and enriching places.

16.  Descending 5ths

a. Since the motion from an applied V to its "tonic" is by descending 5th, applied chords work well in sequences of Descending 5ths
b. As an applied dominant of the following sequential step, it may be necessary to chromatically alter the descending 5ths sequence.

17.  Sequences based on 5-6

a. The 5-6 syncope technique over a stationary bass can be enhanced by chromatically altering the 63 as an applied 63(or 65) to the following 53. This technique is particularly effective when the chromatic alteration occurs in the bass or, when a 53 variant allows the chromaticism to occur in the soprano.

b. With applied dominants, we can now rise in sequence from V to I in minor

18.  Sequences rising in 3rds

a. As we have discussed, sequences rising in 3rds are less effective due to the nondirectional nature of root progressions by ascending 3rds. (we recall the I-III progression as sounding very similar to I-I6 and thus being less effective as a unique syntax) However by interpolating applied dominance we get a feeling of forward motion that makes such progressions much more convincing.

19.  Sequences falling in 3rds

a. As we have discussed, sequences rising in 3rds are less effective due to the nondirectional nature of root progressions by ascending 3rds. (we recall the I-III progression as sounding very similar to I-I6 and thus being less effective as a unique syntax) However by interpolating applied dominance we get a feeling of forward motion that makes such progressions much more convincing.

20.  Applied dominants

a. In music theory I we saw a brief mention of a V chord that was followed by an intermediary harmony. We heard this relationship as a back relating dominant. That is, the V was heard as a dominant to the harmonic material immediately preceding it. Once again H&VL reminds us that this occassionally happens. It is very important to understand that in order for such an odd syntax to work, the rhythmic and textural context must make it clear that the V chord is back relating.