Homework: Workbook Chapter 27
Preliminaries all
Longer Assignments 1, 2
Study & Analysis #2 and #6 & #7
or
Workbook Chapter 27
Preliminaries all
Text Chapter 27 Excercises: Preliminaries #1 & 2
Study & Analysis #2 and #6 & #7
Ninths
1. The Dominant Ninth chord
a. When the ^6 is added to a V7 we get a Dominant chord that contains a 9th above the root position dominant.
b. We call this chord a "Dominant 9th Chord"
c. The Dominant 9th Chord most likely contains the 7th Thus, we have a 5 note chord with nomenclature V97
d. We remember in a 4 voice setting that we can omit the chordal 5th (the root defines the chord, the 3rd defines the mode, and the 7th creates a necessary dominant dissonance)
e. The chordal 9th (^6) appears frequently in the soprano but may appear in other voices
f. In minor the chordal 9th contains the -^6. As we have seen -^6 can appear in major as well through the use of mixture.
NOTE: It is interesting to look at a root position 5 voice V97 and then take away the root of the chord. Notice what remains: A viiº7 or viiø7 >1
2. Melodic functions of the 9th
a. The chordal 9th of a dominant 9th chord is very versitile and can act as: UN, LN, IN, Suspension, P,
b. Unlike the chordal 7th which can only resolve outside of the dominant chord, the chordal 9th may resolve within the chord.
c. Be careful to distinguish between a ^6 that functions as part of the Dominant 9th and a ^6 which is simply a melodic figuration.
d. Since the 9th can resolve within dominant harmony as ^6-^5, it does not intensify the gravitational pull of the dominant like that of the chordal 7th.
e. The chordal 9th does add a dissonance though, thereby strongly supporting the leading nature of the V7
3. Unresolved 9ths
a. Since the 9th does not carry the full gravitational force as the 7th, it is sometimes left unesolved.
b. Please note that whereas this is true, I find the example In 27-6 a Adler to be much more relevant than 27-b. In fact if we look carefully at 27-6b we see that the chordal 9th of the V7 (C) does resolve into the Bb in the very next bar .
4. Unprepared 9ths
a. When the dissonant 9th clearly acts as part of the dominant harmony it need not be prepared.
b. Please note that whereas this is true, I find the example In 27-6 a Adler to be much more relevant than 27-b. In fact if we look carefully at 27-6b we see that the chordal 9th of the V7 (C) does resolve into the Bb in the very next bar .
5. 9ths in applied dominants
a. 9ths occur as freely in applied dominants as in true dominants.
6. 9ths in sequences of descending 5ths
a. Since the dominant 9th resolves to the ^5 of the tonic triad, it stands to reason that a sequential progression of descending 5ths will allow the 9th to resolve satisfactorily.
b. Characteristically beautiful is the sequence of applied dominant 9ths by descending 5ths.
7. Inversions of V97
a. Most often appears in root position.
b. Adler states that when a V97 is inverted the tone of resolution of the dominant 9th is anticipated in a voice other than the bass. As a result the effect of the suspended dissonance resolving is weakened. (review chapter 21 section 12) This is undoubtedly true for the typical 9-8 suspension-resolution.
c. As well, it should be noted that inversions of V97 with the tone of resolution present in voices other than the bass do occur. It is wise in such cases have a wide space between the chordal 9th and the tone of resolution to create clarity in the function of the dominant 9th. (can you guess why?... think harmonic series)
c. If you do use inversions of V97 be sure to calculate the correct figuration!! V7=V97, V65=V765, V43=V543, V42=V432
8. Relationship between V97 and VII7
a. A very interesting situation arises when we invert a V97. If we follow adlers thinking and avoid placing the tone of resolution in a voice other than the bass, than we are forced to drop the ^5 from the V97 entirely since the ^5 will be the tone of resolution for the Dominant 9th. Therefore our standard 4 part texture has now been reduced to a 3 part texture and we may again reintroduce the ^2 which we previously dropped to make room for the chordal 9th. The result.... In major we arrive at an inversion of a dominant 9th that shares an identical spelling as a Viiø7 or, in minor a viiº7. One can exploit this relationship effectively in their writing.
9. 9ths above a pedal point.
a. This seemingly confusing point simply states that when a 97 is applied to a I chord, we arrive at a V7>IV. Just like we discusses with applied dominants to IV, it is best to clearly establish the tonic I before using it as an applied dominant or applied dominant 9.
10. 97-86 double suspension.
a. We have previously learned about the 9-8 suspension and the 7- 6 suspension. When these two are combined we can sometimes fall into a V97
Elevenths & Thirteenths
11. V7 with unresolved 4ths and 6ths ("dominant eleventh and thirteenth chords"
a. The dominant 11th and 13th are built on dominant V7 chords with an added 11th above and 13th above the root position bass.
b. As composers began to draw on the added 9th, 11th, and 13th so too did their impressions of the necessity to resolve dissonances. As the classical era gave way to Romanticism, we see unresolved dissonances particularly when they are combined with V7 chords.
c. This gives rise to a huge modification of our concept of dissonance. NOTE: All dissonance is relative. The stronger the dissonance the more the ear will hear the necessity for that dissonance to resolve. If a tone is secondary in its dissonant function, the ear may focus on the primary dissonance for resolution thereby freeing the composer to utilize the secondary dissonance in a less traditional manner.
d. With very wise words, H&VL states: "Unless the listener hears an unresolved dissonance clearly, it will create a mess rather than the expressive effect the composer intended. As a consequence, such dissonances must appear in a prominent part, almost always the soprano. "
e. When added to a Dominant 7th chord, the 11th & 13th occur on ^1 and ^3 respectiely. As such, when the dominant 7th chord, with these added tones resolves to I, we find that the 11th and 13th have often acted as "pedal" points for the resolution to the I chord.
d. Although it is not mentioned in H&VL, a similar effect happens with the Dominant 97 resolving to a deceptive cadence. Since the chordal 9th occurs on ^6, the resolution of the dominant 9th to a deceptive VI will yield a pedal on ^6
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