| A | B |
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| How can you expand I (tonic) by using V^7 | The inversions of V^7 prolong an underlying tonic through melodic-contrapuntal activity= Their bass tones function as neighbors (complete or incomplete) to the bass tones of I or I^6 or as passing tones leading from one to the other |
| V^6 and VII^6 compared with the inversions of V^7 | The inversions of V^7 have an even stronger urgency to move to the tonic= REASON: Because of the dissonances (2nd or 7th [as well as tritone]) that they contain |
| V^7 and its inversions: Basic function | To create movement within an extended tonic harmony (often the opening tonic of a large-scale harmonic progression) |
| V^7: 7th of the chord | In the inversions of V^7 (as in the root position), the contrapuntal function of the chord 7th (s.d. 4) imposes a descending stepwise resolution to s.d. 3= As in the root position, the 7th can appear as a descending passing tone, an upper neighbor, or an upper incomplete neighbor entering by leap |
| V[6/5] | (Like V^6...) Has the leading tone (s.d. 7) as its bass and functions similarly as a neighboring chord (e.g. VII) to I= Any of the remaining chordal tones can appear in the soprano= The most characteristic soprano progression is s.d. 4-3= The bass of V[6/5] ALWAYS ascends to s.d. 1 except in those cases wher it forms part of an expansion of V^7= In an expression, such as V^[6/5] leading from I^6 to I, the bass of V^[6/5] is/might be involved in a dissonant relationship (diminished 5th) with s.d. 4 in one of the upper parts= Because the diminished 5th involves the bass it must resolve according to the "TRITONE RESOLUTION RULES" |
| V[4/3] | (Like VII^6...) Has s.d. 2 as its bass= V[4/3] resembles VII^6 so closely that they are almost interchangeable chords |
| V[4/3]: Bass | Is a more neutral tone than that of V[6/5] (or V[4/2]) and can move convincingly either to s.d. 1 or 3= RESULT: V[4/3], like VII^6 forms a natural connection between I and I^6 and appears very frequently as a passing chord within an extended tonic= Typically, use of V[4/3] requires the normal descending resolution (EX; its function as a neighbor of I, or [very frequent] as a passing chord leading down from I^6 to I) |
| I-V[4/3]-I^6 | When V[4/3] leads from I up to I^6 with parallel 10ths (less often 3rds) above the bass, s.d. 4 ascends to complete this motion (s.d. 4 [the 7th of the root position] moves up to s.d. 5 rather than down to s.d. 3)= Sometimes, the 10ths above the bass lie in an inner part= HOWEVER, more often, they occur in the soprano |
| V[4/3]: When/where does it most often occur? | Often occurs in a stepwise bass line= However, it can form part of a double-neighbor figure, together with V^6 or V[6/5] |
| What chords do V[6/5] and V[4/3] resemble? | Resemble V^6 and VII^6 |
| V[4/2] | s.d. 4 is its bass tone, so V[4/2] must move to a chord whose bass tone is s.d. 3 to resolve the dissonance by step-wise descent= For now, the only possibility is a progression to I^6 (V[4/2]-I^6= [Is actually the most frequent]) |
| V[4/2]: Bass | The bass of V[4/2] has two characteristic functions: Descending Passing Motion from V to I^6 and Upper Neighbor (complete or incomplete) to I^6= Very characteristic: The soprano leaps up a 4th from s.d. 5 to 8 (or more frequently) from s.d. 2 to 5 |
| V[4/2]: What does it occasionally pass from to what? | V^7-V[4/2]-I^6= The 7th of the V^7 transfers from one of the upper voices to the bass of V[4/2] and, of course, resolves in the bass= This provides a convenient way of moving from V^7 to I^6 (which cannot be done directly) |
| Double-Neighbor and Passing Figures in the BASS | Create opportunities for moving from V^7 to an inversion or from one inversion to another= Such progressions occur often= The chordal 7th (s.d. 4) will resolve in the last voice in which it appears |
| Inversions of V^7: Incomplete Chords | In general (and especially in 4-part vocal style), inversions of V^7 almost always appear as complete chords unless there are fewer than four parts= Incomplete chords are seldom necessary/desirable |
| Inversions of V^7: Common Tones | In the inversions of V^7, s.d. 5 appears in one of the upper parts and is available as a common tone (with I)= Repeating this common tone in the same voice produces a smooth connection with I and helps to reduce voice-leading hazards |
| Inversions of V^7: When is it NOT better to repeat the common tone | EX: If the soprano demands the skip s.d. 5-8, repeating the common tone becomes impossible unless the inversion of V^7 is incomplete |
| In moving from one of the inversions of V^7 to tonic harmony, what creates a bad set of hidden octaves | The resolution of the 7th of V^7 (s.d. 4-3) combined with the melodic motion s.d. 5-3 |
| In moving from one of the inversions of V^7 to tonic harmony, what should you avoid doing if you want to avoid creating a bad set of hidden octaves? | Do not proceed in similar motion to s.d. 3 doubled at the unison or the octave |
| In cases where you want the melodic motion s.d. 5-3 | Avoid using V^7 or its inversions= Use instead V[5/3] or V^6 |
| Passing Chords | (One way to expand tonic harmony through the use of V^6, V^7 and its inversions, and VII^6) VII^6 and V[4/3] are often used as passing chords between I and I^6= If s.d. 2 is in the soprano, V[4/3] is not possible |
| Neighbor Chords | (One way to expand tonic harmony through the use of V^6, V^7 and its inversions, and VII^6) V^6 or V[6/5] can be used as LN (=lower neighbor) to I[5/3]= V[4/3] and VII^6 as UN (=upper neighbor) to I^[5/3] as well as LN to I^6= V[4/2] as UN to I^6 |
| Incomplete-Neighbor Chords | (One way to expand tonic harmony through the use of V^6, V^7 and its inversions, and VII^6) V[6/5] and V[4/2] can be approached by leap as long as they resolve correctly= This produces the incomplete-neighbor figure in the bass |
| More Elaborate FIgures | (One way to expand tonic harmony through the use of V^6, V^7 and its inversions, and VII^6) These involve leaps from one inversion of V^7 to another |
| What normally precedes/comes before the I at an Authentic Cadence? | A root-position V or V^7 normally precedes the I at an AU, the leap of a 5th or 4th in the bass strongly articulating the phrase ending |
| What type of motion and from what to I produces a much weaker articulation? | A stepwise bass motion to I (from VII^6, V^6, V[6/5], or V[4/3]) produces a much weaker articulation= Very occasionally, a CONTRAPUNTAL CADENCE of this sort (contrapuntal because it is based on a stepwise progression) will end a phrase or a group of measures within a larger phrase (such cadences are almost never used at the end of a piece or exercise) |
| I as a Neighboring or Passing Chord | Just as s.d.'s 1, 3, and 5 (normally the stable degrees of the scale) can become active tones if the context makes them dissonant, the triad formed by these three tones (normally the most stable of all triads) can function as a passing or neighboring chord subordinate to another chord |
| The use of V^7 and its inversions: Melodic Dissonance | The use of V^7 and its inversions presents many possibilities for the effective use of melodic dissonance= In using such dissonances, remember that changing direction after a leap (especially one that creates tension) helps to produce a satisfactory melodic line |
| Leaps from I to V^7: Leap of an ascending 7th in the soprano | Resolving the 7th of V^7 produces a desirable change of direction after the leap= |
| Leaps from I to V^7: Downward leap from scale degree 3 to raised scale degree 7 | Results in a diminished 4th that occurs in minor with a downward leap from s.d. 3 to raised s.d. 7 |
| Leaps from I to V^7: What creates an unbalanced effect | The inversion of the diminished 4th (the augmented 5th)= THe tone following the leap does not change direction |
| Leaps within V^7: Leap from the root of V^7 to its 7th | Best in the soprano voice, but possible in the bass |
| Leaps within V^7: Leap of a diminished 5th | Will work well in bass or soprano as long as the 7th resolves= The augmented 4th is unsatisfactory because the tone following the leap does not change direction |
| Leaps in inner voices | Should be avoided, with the exception of diminished 4ths between I and V in minor |
