dominant to tonic
DESCRIPTION
Resolving the V7 and its Inversions. Dominant to Tonic. Let’s stack some 3rds!. Let’s create a V7 chord by stacking 3rds on scale degree 5. SATB style, anyone? What is the quality of the intervals between the chord tones?. Resolving the dissonant intervals. - PowerPoint PPT PresentationTRANSCRIPT
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Dominant to TonicResolving the V7 and its Inversions
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Let’s stack some 3rds!
Let’s create a V7 chord by stacking 3rds on scale degree 5.
SATB style, anyone? What is the quality of the intervals
between the chord tones?
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Resolving the dissonant intervals
1. *A chordal seventh (almost) always resolves DOWN by step*
2. In a dominant to tonic cadence, scale degree 7 leads to scale
degree one
3. When a root position V7 moves to a root position I, one chord must
be incomplete.
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Mozart Piano Sonata in C Major
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The breakdown
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Incomplete, you say?
Yes, to avoid those dreaded parallel 5ths!
An incomplete chord is one that is lacking 5th, which is considered the least essential interval.
An incomplete I/i chord: Written with 3 roots and one third.
An incomplete V7 chord: The root is usually doubled and the 5th is left
out.
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One more example
V7 to I in G major
Notice how the last chord is missing the 5th
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Inversions of V7 to I
Root position 1st inversion (3rd in bass)
Bass must resolve up to tonic 2nd inversion (5th in bass)
Bass usually resolves down a step to tonic
3rd inversion (7th in bass) Must resolve to a first inversion I chord.
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First inversion- V65
Notice how the leading tone resolves upward
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2nd Inversion 43
The tri-tone between scale degrees 7 and 4 resolves inward
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3rd Inversion 42
Scale degree 4 in the bass resolves downward
the leading tone resolves upward to G
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If you take anything away…
Just remember:
The chordal 7th (scale degree 4) resolves DOWN to scale degree 3
The leading tone (scale degree 7) resolves UPWARD to scale degree 1 (tonic)