elementary harmony

The Dominant Seventh and Supertonic Seventh Chords

Review "Chords Larger Than a Triad," page 30, and "In version of Chords," page 31, both in Chapter 2, for the terminology of seventh chords and their figured bass sym-bols. Also review Chapter 4for the spelling of dominant seventh chords.

Beginning with the first music examp les in Chapter 4, we have seen many seventh chords and have learned to spe ll and to recognize them as such . Then why has it been necessary to delay the study of these important structures for so long?

As you know, a chord can be built in thirds and include a seventh above the root, such as the F in G B D F; and when so used, the seventh is considered a chord tone . On the other hand, the interval of a seventh above the root is a dissonance that must be hand led with the same techniques and the same care as the nonharmonic tones we have just studied. So the seventh has a dual personality, as it were-a chord tone and a melodic dissonance s imultaneous ly.

The Seventh as a Nonharmonic Tone

278

In pre-seventeenth-century music, a seventh above the lowest soundin g voice was considered a lmost excl us ive ly a rh ythmically weak dissonance, like the passing sev-enth (V87) in Figure 4.11. Not until early in the seventeenth century was the seventh combined with a tri ad in a strong rhythmic position to form what we now call a sev-enth chord. But even so, the seventh was treated as though it were a traditional disso-nance, that is, requiring the same attention to the note of approach and to the note of resolution. This treatment continued up to the twentieth century and is sti ll valid today when writing in traditional styles.

Having completed our study of nonharmonic tones , we can now see how four of these figures function in the use of the seventh chord. They are shown in Figure 13. 1 for the V in G major, but the principles apply to all types of seventh chords in any in-

T h e D o m i n a n t S e v e n t h a n d S u p e r t o n i c S e v e n t h C h o r d s 2 7 9

v e r s i o n a n d i n b o t h m a j o r a n d m i n o r k e y s . N o t e t h a t t h e f o u r n o n h a r m o n i c f i g u r e s a r e

o n e s i n w h i c h t h e d i s s o n a n c e r e s o l v e s d o w n . I f y o u s i n g t h e s o p r a n o l i n e w h i l e p l a y -

i n g t h e h a r m o n y f o r a n y o n e o f t h e f o u r , i t s h o u l d b e o b v i o u s t h a t t h e c i r c l e d n o t e

m u s t d e s c e n d .

F I G U R E 1 3 . 1

( 1 1 ) P a s s i n g t o n e l " i g u r e

( c ) A p p o g g i a t u r a f i g u r e

( s k i p f r o m b e l o w )

6

7

( d ) S u s p e n s i o n l " i g u r e

6 7

( d ) U p p e r n e i g h b o r f i g u r e

7

P a s s i n g T o n e F i g u r e I n t h e s o p r a n o p a s s i n g t o n e f i g u r e G - F - E ( F i g u r e 1 3 . 2 ) , t h e

a l t o l e a p s a b o v e t h e s o p r a n o t o c o m p l e t e a f u l l t r i a d . A l s o n o t e t h e s u s p e n s i o n i n t h e

t e n o r a t t h e s a m e t i m e a s t h e s e v e n t h .

F I G U R E 1 3 . 2 P a s s i n g T o n e F i g u r e

r - - - -r

~-~J 1 J

-

J~J

C : 1 6 y 7

4

B r a h m s , " I m H e r b s t , " O p . 1 0 4 , N o . 5

S u s p e n s i o n F i g u r e T h i s f i g u r e , F - F - E , i s i n t h e l a s t t h r e e n o t e s i n t h e s o p r a n o ( F i g -

u r e 1 3 . 3 ) . T h e V

7

i s i n v e r t e d , b u t t h a t d o e s n o t a f f e c t t h e d i s s o n a n c e t r e a t m e n t .

280 The Dominant Seventh and Supertonic Seventh Chords

FIGURE 13.3 Suspension Figure

Haydn , Missa brevis, St. Joann is de Dea, Hob. XXII:7 Allegro

do - na, do - na no bis pa cem

J J II

Appoggiatura Figure The figure C-F- E is again in the last three notes in the soprano.

FIGURE 13.4 Appoggiatura Figure

Mozart, Vesperae solemnes de Confessore, K. 339 Allegro vivace

pr in Cl - pi - 0 et nunc et

J J v

Upper Neighbor Figure The figure is B-C-B, this time in the bass , with the V7 in the third inversion.

Ch<


F I G U R E 1 3 . 5 U p p e r N e i g h b o r F i g u r e

S u l l i v a n , H . M . S . P i n a f o r e

M o d e r a t o

E v - ' r y s t e p w i t h c a u t i o n f e e l - i n g ,

~ ~

I " ' " < f I L i l - t - - - - - - - - + - - - - l ' - - + - t - - - - - t - - - - 1

16 Y 4

2

16

C h a r a c t e r i s t i c s o f t h e D o m i n a n t S e v e n t h C h o r d

1 . T h e V

7

i s f r e e l y u s e d i n a n y i n v e r s i o n , i n b o t h m a j o r a n d m i n o r .

2 . T h e V

7

c a n b e c o m p l e t e o r i n c o m p l e t e . I f i n c o m p l e t e , t h e f i f t h i s u s u a l l y o m i t -

t e d . A c o m p l e t e V

7

i s o f t e n f o l l o w e d b y a n i n c o m p l e t e t o n i c t r i a d , o r a n i n c o m -

p l e t e V

7

b y a c o m p l e t e t o n i c t r i a d .

F I G U R E 1 3 . 6

a . I n c o m p l e t e V

7

N i c h t s c h n e l l

S c h u m a n n , O a s S c h i f f l e i n , O p . 1 4 6 , N o . 5

y 7

b . C o m p l e t e V

7

L e n t a m e n t e

B e e t h o v e n , E l i g i s c h e r G e s a 1 1 g , O p . 1 1 8

y 7


3. In inversion, all chord members are usually present, as demonstrated in Fig-ure 13.7, where each of the three inversions shows all four tones present.

FIGURE 13.7

Hymn: Greenland

4. The passing five-four-three (V j ). When used as a passing chord, the V7 is found between I and 16 or the reverse, fulfilling the same function as vii

0 and the passing vg. In its use between 16 and I, shown in Figure 13.7, the seventh descends as expected. But between I and 16, shown in Figure 13.8, the seventh ascends, moving in tenths with the bass line.

FIGURE 13.8

Hymn: Duke Street

5. When the seventh chord is repeated, the seventh may appear in another voice; the last seventh in the series resolves conventionally.

FIGURE 13.9

Weber Mass in G 1

Allegro J I I

7 "

> > I ~ " ~ -

-~ -

- ~ ~ . ~ -.. ~ -~ . .. ~

- -@) I J > >7 -~ ~ ff J. > ~ ;:: -0--

- A

v - > > I

...... ;;.m!.I' . ,(,.,

The


6 . T h e s e v e n t h o f t h e c h o r d m a y d i s p l a y a n o r n a m e n t e d r e s o l u t i o n , s i m i l a r t o

t h o s e d e s c r i b e d f o r t h e s u s p e n s i o n . O n e p o s s i b i l i t y i s s h o w n i n F i g u r e 1 3 . 1 0 .

F I G U R E 1 3 . 1 0

B a c h , " E s i s t g e n u g ! " ( # 2 1 6 )

J m J

r r

r = =

7 . W h e n t h e s e v e n t h c h o r d i s a r p e g g i a t e d , t h e r e s o l u t i o n o f t h e s e v e n t h m a y b e

d e l a y e d , o r e v e n i m p l i e d .

@ F I G U R E 1 3 . 1 1

S c h u b e r t , S o n a t a i n A M i n o r f o r P i a n o , D . 5 3 7

T h e S u p e r t o n i c S e v e n t h C h o r d

L i k e t h e s u p e r t o n i c t r i a d , t h e s u p e r t o n i c s e v e n t h c h o r d i s c o m m o n l y u s e d t o p r e c e d e

t h e d o m i n a n t . I n f a c t , i n t h e " f u l l c a d e n c e " ( p a g e 1 1 1 ) , t h e p r o g r e s s i o n I - i i

7

- V - I

( m o s t o f t e n ii ~-see b e l o w ) i s f a r m o r e c o m m o n t h a n t h e 1 - I V - V - I o r t h e I - i i - V - 1

p r o g r e s s i o n . ' I n a d d i t i o n , t h e s u p e r t o n i c s e v e n t h i s u s u a l l y t h e p r e f e r r e d c h o i c e f o r a

d o m i n a n t p r e p a r a t i o n e l s e w h e r e i n t h e p h r a s e .

T h e s u p e r t o n i c s e v e n t h c h o r d i s a m i n o r s e v e n t h c h o r d i n a m a j o r k e y , i i

7

, a n d a

h a l f - d i m i n i s h e d s e v e n t h c h o r d i n a m i n o r k e y , i i 0

7

.

2

' I t m i g h t s e e m l o g i c a l t h a t I V

7

c o u l d a l s o b e u s e d , a s i n l - I Y

7

- Y - I . P r o g r e s s i n g f r o m I V

7

t o V p r e -

s e n t s s e v e r a l p a r t - w r i t i n g p r o b l e m s , i n c l u d i n g d i f f i c u l t y i n a v o i d i n g p a r a l l e l f i f t h s , a n d c o n s e q u e n t l y t h e

u s e o f I V

7

i s m u c h l e s s c o m m o n t h a n m i g h t b e e x p e c t e d .

' I n m i n o r , t h e s u p e r t o n i c c h o r d w i t h a r a i s e d f i f t h ( # 6 ) i s r a r e l y u s e d a n d w i l l n o t b e c o n s i d e r e d

h e r e . S i n c e 1 6 r e s o l v e s u p w a r d a n d t h e s e v e n t h o f t h e c h o r d r e s o l v e s d o w n w a r d , t h e t w o m e e t o n t h e s a m e

n o t e , r e s u l t i n g i n a d o u b l e d l e a d i n g t o n e . T h i s i s n o t a p r o b l e m i n m a j o r , s i n c e 6 m a y r e s o l v e i n e i t h e r

d i r e c t i o n .


3 . i i E i s f o u n d i n t h e m o s t c o m m o n o f t h e p a s s i n g s i x - f o u r c h o r d p r o g r e s s i o n s :

I V

6

- 1 - i i E . R e v i e w t h e p a s s i n g s i x - f o u r o n p a g e 1 7 5 .

@ F I G U R E 1 3 . 1 4

B a c h , " D u F r i e d e f U r s t , H e r r J e s u C h r i s t " ( # 4 2 )

1 J ~ [ J _ I J

I V 1 6 i i 6

6

4 5

4 . T h e s e v e n t h i s c o m m o n l y h e l d o v e r t o b e c o m e t h e r o o t o f t h e t o n i c s i x - f o u r .

S i n c e t h e r o o t o f l i s a d i s s o n a n c e ( a f o u r t h a b o v e t h e b a s s ) , t h e s e v e n t h o f i i

7

,

s i m p l y b y s t a n d i n g s t i l l , b e c o m e s a n o t h e r d i s s o n a n c e , w h i c h t h e n r e s o l v e s

d o w n b y s t e p , t a k i n g c a r e o f b o t h d i s s o n a n c e s .

F I G U R E 1 3 . 1 5

B a c h , ' ' Y o n G o t t w i l l i c h n i c h r ! a s s e n " ( # 1 9 1 )

C : v i

i i 6 j j 7 1 6

4

r . . .

\ . : /

o r

r . . .

I i I 1

1 J 1 J

i i 6 ' 6

\ . : /

5 4

A S S I G N M E N T 1 3 . 1 S p e l l t h e i i

7

i n e a c h m a j o r k e y a n d t h e i i 0

7

i n e a c h m i n o r k e y .

S i m p l y s p e l l t h e t r i a d a n d a d d t h e t o n i c t o n e o f t h e k e y . I n D : i i = E G B ; a d d t o n i c , D ;

i i

7

= E G B D .

I n t h e W o r k b o o k : D o A s s i g n m e n t 1 3 . 1 a . A n s w e r s a r e g i v e n .

A S S I G N M E N T 1 3 . 2 H a r m o n i c a n a l y s i s . L o c a t e e a c h V

7

, i i

7

, a n d i i 0

7

. D e s c r i b e t h e

a p p r o a c h a n d r e s o l u t i o n o f t h e s e v e n t h i n e a c h o c c m T e n c e .


(1)

@ (2)

Vin. I

Vin. II

"

Viola llH ~

Cello r- - ,,,,,.

,.;' " !.I

._,

" !.I ~~

t.J ~

-llE!

.--

,

p

I

Mozart, Symphony No. 41 (Jupiter), K. 551

p

p

p

~ I

Beethoven, Quartet, Op. 18, No. 3

-------------

- ()

l

I

I!;!! .. ,I


@ ( 3 )

A d a g i o n o n t r o p p o J = 8 0

B e e t h o v e n , Q u a r t e t , O p . 1 8 , N o .

~

V i n . I

V i n . I I

V i o l a

~ ' f ~ ' f m ' f ~ ' f I # ' ' f # ' ' f

C e l l o

p

. _ _ _ _ ,

. _ _ _ _ ,

p

p

( 4 )

B a c h , " O M e n s c h , b e w e i n d e i n S t i n d e g r o s s " ( # 2 0 I )


(5) Mozart, Sonata fo r Pi ano, K . 28 1

fr

@ (6)

@

Andante sostenuto Mende lssohn, Songs Without Words, Op. IO, No. 6

'1

(7)

Allegretto non tanto Chop in, Mazurka, Op. 30 , No. I

~r-

ASSIGNMENT 13.3 Write dominant seventh chords with the root in the bass. Num-be rs (1)-(4) demonstrate the nonharmonic fig ures show n in F igure 13.1. Ind icate be low each of these the fig ure used .

" JJ, +I I I I I .. - -

~

-

, v -

~ < (I ) (2)

" -

I I I 7

I

-

7 #

I

-

I

-

(3)

-~

I 7

JJ,

(4)

-~ ~ ~

I I -

7 #

-

"

In In

A

'~

. ;

( 5 )

I

, ~ -

\

.

I

. ;

( 8 )

. ;

\

y

~ ~

7 7

# #

-

7 6 7

~

#

: : ;

( 9 )

" '

~ -

( 6 )

"

"

" --~-

~

-

~

7

~

~

7 5 #

#

I n A p p e n d i x E : A n s w e r s t o ( 4 ) - ( 6 ) a r e g i v e n .

~


~

( 7 )

"

. , . . , L ~ L I .

( J O )

. ;

, , "

-

--

-

7 #

4

7 8 7

" ' -

, ,

- -

. =

I n t h e W o r k b o o k : A n s w e r s t o t h e e n t i r e a s s i g n m e n t a r e g i v e n .

A S S I G N M E N T 1 3 . 4 W r i t e d o m i n a n t s e v e n t h c h o r d s i n i n v e r s i o n . I n d i c a t e b e l o w

e a c h e x a m p l e t h e n o n h a r m o n i c u s a g e r e p r e s e n t e d b y t h e s e v e n t h o f t h e c h o r d .

I

"'~

-

. ;

( I )

,

~

I

y

. ;

( 4 )

~

, "

\

"

=

-

6

5

-

~

j j

4

3

'

~

~

( 2 )

"

( 5 )

, ,

"

=

-

6

-

~

6

5

. ;

7 6

4

3

=

, ,

. ,

"

-

( 3 )

" ~

6

( 6 )

. ;

: ;

-

-

4

3

4

2

~

~

. =

6


\

/\ .lJ. I I

~ (7)

,. .... - ;: .. -

6 6 A 2

I

r .

6

.. -! I ~

-

(8) ~

-' ~ - -

" ~

I

I

;:

4 2

I

r.

6

In Appendix E: Answers to (7 )1 (5), and (6) are g iven.

I

(9)

-

-v "

v " -

In the Workbook: Answers to the entire assignment are g iven.

I I

-

~

6 6 A' 2

I

r

6

ASSIGNMENT 13.5 Write examples of the supertonic seventh chord. Write a har-monic analysis below each exercise. Solve some of the exercises in open score.

/\ I I ~

~-t) ( I )

\ v

I I I

"' -~ v

t) (4)

\

I\ .lJ. .fl ' -_-11'~ " ::::

~

-

t) (7)

,,

.. ..,.. , . .,, -

\ I

-

;:

I 6 5

I -

I 7

-

I

I I ~

--

I

-~

-- -

- - -~ -

~

I I I I 6 6 6 8 7

4 5

.. I ~" -

"

(2)

" I

.lJ. I - ~

-

(5)

I 6

-

" .

I

I

I ='

6 5

I - -

I I 7 7

.lJ.

"

-

(8)

-~ " -,.

I

I -

I I ='

-

(3)

~ I

I I ~

- v -

(6)

r

l

~--

-r

- -~ . - ~

I r' I

4 6 2

In Appendix E: Answers to (7 ), (3), (5), and (8) are given.

I

='

~

-

I

-v

4 3

I

(9)

-v

In the Workbook: Answers to the entire ass ignment are given.

I I

- -

I I

4 # 3

I

- =

I 6 5 4 3

I

~

r

r

r

I I r

" ~ - -~=

"

-

- ;: -

~ r

I I

6 6 6 6 5 A'

2


A S S I G N M E N T 1 3 . 6 W r i t e e x t e n d e d e x e r c i s e s u s i n g b o t h d o m i n a n t s e v e n t h a n d s u -

p e r t o n i c s e v e n t h c h o r d s . F o r e x e r c i s e ( 3 ) , s u p p l y y o u r o w n f i g u r a t i o n . F o r e x e r c i s e s

( 4 ) a n d ( 5 ) , t h e b a s s l i n e o n l y i s g i v e n .

\

( I )

~:

. . ~

~

-

-

- - ~

6

7 6 -

A 6 2

2 4

3

6 x

5

.

- -

-

-

-

~

6 4

3

6 6 8 7

5

x 4 6 7 7

7 6 x

2 x

~r::l:J:J

- 6 6

6 5 8 7 4 # ~ #

4 5 - 5 - -

3 2 x - -

I ' f J i L # . . ' I ' I I ~--+--+-----+~

. I f .

~

( 3 )

- - -

"

~

'

I

~:~ : : 1: ~lJJ I~

#

- - -

I

I

-----


(4)

~ f (5)

#

A 2

F 6 fr

4 3

6 6 # #4 5 2

Intervals in the V7 Chord

6 ,6 4 3

lr Prr lrr fM 4 6 6 6 7 2 5 5 #-

4 6 2 5

4 3

6 7 4 #

Inte rvals in the V7 chord are the same as those fo r the major tri ad except fo r those in which one of the tones is the seventh of the chord, as shown in Figure 13. 16.

FIG URE 13. 16

~ 7 3 7 5 7 7 7 3 7 5 -& -& G: v 1117 clS 1113 M2 A4 M6

Of the interva ls la rge r than the major second , a ll a re usefu l, thoug h m7, d5 , and m3 are the most common.

ASSIGNMENT 13.7 S pe ll inte rva ls from the V7 cho rd. From any key, majo r or m inor, spe ll the V7 chord, then spe ll the minor seventh , the d imi n ished fi ft h, and the minor third as in the preced ing list. In the Workbook: Answers to the entire assignment are given. Do Assignment 7 J C. Answers are given.

The V7 Chord in the Melodic Line

In te rva ls fro m the V 7 c ho rd are ofte n incorporated in the me lodi c line. In Fig-ure 13. J 7a, the entire V7 is outlined; in b we see the inte rval from 7 down to 3.

FIGURE 13. 17

(a) Bb: y 7= FACEb 3 5 7 Germany

I ~ ~ p Eff f f3 y7

(b)

~ AS! inte inte

( I )

~ (2)

~ (3 )

:l

(4)

~

(I

j

(2

~ I

(3

A s s i g n m e n t 1 2 . 6

C h a p t e r 1 3

5 9 4 3 6 - 4 3

v

16 v

6 6 - 4 #

5 4

j j 06 i 6 v

4

A s s i g n m e n t 1 3 . 3

#

7 7

# #

6 9 8 4 #

5 4 3

v 6

5

v

7

~

A n s w e r K e y 4 5 1

452 Answer Key

Assignment 13.4

6 5

Assignment 13.5

6

Chapter 14

6 5

7 7

Assignment 14.3

6 x VI ii 06 V

6

6

7 6 4 3

4 # 3

7 7

6 x VI ii 06 V

4 2

4 # 3

4 2

6 5

6

Chapte1

elementary harmony

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