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Chapter 10

Chapter 10. The Dominant Seventh Chord Embellishing the Tonic Harmony. Dominant Seventh in Root Position – V 7. Built on ^5 Major Triad + minor 7 th above root (Mm7) Manifests itself as Major in both Major & minor keys Frequent substitute for V – intensifies resolution to I

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Chapter 10

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  1. Chapter 10 The Dominant Seventh Chord Embellishing the Tonic Harmony

  2. Dominant Seventh in Root Position – V7 • Built on ^5 Major Triad + minor 7th above root (Mm7) • Manifests itself as Major in both Major & minor keys • Frequent substitute for V – intensifies resolution to I • Must be ‘complete’ in root position

  3. Chordal Resolution • Seventh resolves stepwise downward: ^4 - ^3 • Please resolve the TRITONE • d5? – interval of a third • A4? – interval of a sixth • The third (leading tone of I) resolves to tonic • Alto or Tenor – downward to dominant ^7-^5 • Do not add a passing tone (7-(6)-5) = //5 w/another part • Soprano – upward to tonic ^7-^8

  4. Complete Vs. Incomplete • A Great Rule of Thumb • Incomplete – Complete • Complete – Incomplete • Eliminates parallels fifths • Incomplete V7 • Remove the 5th; double the root • Complete V7 = Incomplete I • Results in a tripled root • Can only appear at cadences • The root and the seventh must never go to ^3 in tonic = direct octaves “So easy even a cat can do it!” -Dexter Don’t trust the dog!

  5. The Cadential Dominant Seventh • Immediately precedes tonic in an authentic cadence • Rarely appears at a half cadence which prefers V • Seventh may be approached by passing tone, neighbor tone, appoggiatura, or suspension • Rules regarding Complete – Incomplete (or vice versa) still apply

  6. Arpeggiated tonic prolongation within the phrase • Tonic tonality is prolonged or extended prior to the cadential formula • Facilitated through choral arpeggiation or embellishing passing and neighbor tones • When doing a voice-leading reduction with arpeggiated notes, be sure to choose essential notes that make the smoothest connection to the next harmony

  7. Prolongation of Tonic Harmony Using Embellishing Chords • Determining whether chords within a phrase have essential (primary) function or embellishing (secondary) function • Judgments are based on the context of a particular passage • Secondary chords may prolong the tonic harmony via V, V7 , or even IV • Example 10.10 – dominant triads functioning as embellishing or linear chords by passing & neighboring motion consonant passing and neighboring chords Ex. 10.10

  8. V as an Embellishing Chord to I • The dominant is frequently used to embellish tonic either by passing or neighboring motion. Ex. 10.11 • The embellishing V in the first measure functions in a passing capacity

  9. V7as an Embellishing Chord to I • Ex. 10.12 shows an embellishing and cadential V7 to I • B – C# - D comprise the melodic line • F# acts as an inverted pedal tone

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