Complexity : 4/10 (intermediate)
In C scale, this is G-B-D-F.
The V7 chord is unstable and actively seeks resolution. The main motive for this instability is the diminished fifth interval between the 3rd and the 7th, which seeks resolution to a major 3rd or minor 3rd, with the 7th moving down, and the 3rd moving up.
A strong discord also exists between the root and the 7th and the 7th falling a step to its resolution makes the chords of resolution either I or VI.
GENERAL
- In root position, the fifth may be omitted.
- The inversions of the dominant seventh must be complete.
RESOLUTIONS
- Best :: V7-I, Good :: V7-VI, Acceptable :: V7-IVb
- The 3rd of the chord (being the leading tone of the scale) has a strong tendency to move to the tonic center (or root). This combined with the strength of root movement by 5th provides for a strong resolution tendency to I, and makes V7-I a powerful perfect cadence.
- Ornamental resolution is occasionally used. In this, the 7th moves either to the the 5th or the root of the chord before finally resolving. Resolution to IVc is also used as a decoration to the perfect cadence (the progression being V7-IVc-I).
- The inversions will resolve only to the tonic chord.
- The seventh may be transferred from one voice to another, resolving in the latter. In this case, the part which originally had the 7th must fall.
USAGE
- Broadly speaking, any chord which involved some form of V-I can be harmonized by some form of V7-I. In most cases, though, it is more fluent to introduce the seventh as a passing note.
- When the fourth note of a scale is repeated (or tied) weak to strong and falls a step, the strong note is to be harmonized as V7d.
- If a part leaps from the leading note up a diminished fifth and then falls a step, the leap is from the 3rd to 7th of a dominant seventh.
- If a part leaps up a 7th from the dominant and falls a step, the leap is from the root to the 7th of the dominant.
- Do not use V7 as the a substitute for V as the second chord of an imperfect cadence. The cadential effect is destroyed.
CADENCES
- V7-I is a perfect cadence. V7-VI is an interrupted cadence.
- V7b-1, V7c-I and V7d-Ib can be used as inverted perfect cadences. V7d-Ib is the most common, but all are good.
- In harmonizing a cadence involving V7-I, introduce the 7th as late as possible. Otherwise the cadence tends to feel unnaturally drawn out.
Showing posts with label usage. Show all posts
Showing posts with label usage. Show all posts
Jun 11, 2008
Jun 9, 2008
Unaccented Passing Notes
Complexity : 3/10 (simple)
A passing note is termed 'unaccented' when it is on a weaker beat or part of beat than the note that precedes it.
- Two passing notes may be used simultaneously in different parts, provided they move in parallel 3rds or 6ths. (called unessential 3rd or 6th). The movement MUST be parallel. Unessential 3rds or 6ths must NOT be quit in contrary motion.
- Two parts may take the same passing note simultaneously in contrary motion, at least an octave apart.
- Passing note and harmony note should be struck together only if the form a concord (3rd, 5th or 6th).
- Avoid passing notes that produce a minor 9th above the 3rd or 7th of the scale.
- Introducing passing notes increases the danger of introducing incorrect harmonic progressions (consecutive 5ths or 8s, exposed 8s etc). Parts that are incorrect without passing notes are incorrect with them. In addition, passing notes may also produce consecutive 5ths or 8s which also must be avoided.
- Never have more than 2 passing notes simultaneously. It creates congestion.
A passing note is termed 'unaccented' when it is on a weaker beat or part of beat than the note that precedes it.
- Two passing notes may be used simultaneously in different parts, provided they move in parallel 3rds or 6ths. (called unessential 3rd or 6th). The movement MUST be parallel. Unessential 3rds or 6ths must NOT be quit in contrary motion.
- Two parts may take the same passing note simultaneously in contrary motion, at least an octave apart.
- Passing note and harmony note should be struck together only if the form a concord (3rd, 5th or 6th).
- Avoid passing notes that produce a minor 9th above the 3rd or 7th of the scale.
- Introducing passing notes increases the danger of introducing incorrect harmonic progressions (consecutive 5ths or 8s, exposed 8s etc). Parts that are incorrect without passing notes are incorrect with them. In addition, passing notes may also produce consecutive 5ths or 8s which also must be avoided.
- Never have more than 2 passing notes simultaneously. It creates congestion.
Second Inversion of Triads
Complexity : 2/10 (simple)
A chord is said to be in its second inversion, when the 5th from the root is in the bass.
- Two types need to be considered - cadential and passing.
Cadential Second Inversion
Only 2 are possible - Ic and IVc. They move to V and to I respectively on the same bass. The resolution must not be more strongly accented than the cadential second inversion.
These chords should NOT be approached by leap from the first inversion of another chord.
Uses of Ic
- This can be used as the first chord in a half-close, Ic-V.
- This can precede V in an interrupted or a perfect cadence. Of course, rhythm considerations set above must be met.
- Dominant of scale in S or B, lasting for 2 or more beats at a half or full close, must be harmonized as Ic-V, to avoid too long a halt.
Use of IVc Cadential
This may be used to decorate a perfect or a plagal cadence provided the final tonic bass lasts at least 3 beats. Its use is not very frequent.
Passing Second Inversion
Only IC and Vc are possible. The bass is approached and quit by step and the second inversion is always on the weak beat. Ic lies between IVa and IVb, and Vc will lie between Ia and Ib.
A chord is said to be in its second inversion, when the 5th from the root is in the bass.
- Two types need to be considered - cadential and passing.
Cadential Second Inversion
Only 2 are possible - Ic and IVc. They move to V and to I respectively on the same bass. The resolution must not be more strongly accented than the cadential second inversion.
These chords should NOT be approached by leap from the first inversion of another chord.
Uses of Ic
- This can be used as the first chord in a half-close, Ic-V.
- This can precede V in an interrupted or a perfect cadence. Of course, rhythm considerations set above must be met.
- Dominant of scale in S or B, lasting for 2 or more beats at a half or full close, must be harmonized as Ic-V, to avoid too long a halt.
Use of IVc Cadential
This may be used to decorate a perfect or a plagal cadence provided the final tonic bass lasts at least 3 beats. Its use is not very frequent.
Passing Second Inversion
Only IC and Vc are possible. The bass is approached and quit by step and the second inversion is always on the weak beat. Ic lies between IVa and IVb, and Vc will lie between Ia and Ib.
Subscribe to:
Posts (Atom)
Posts
