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Java Games: Flashcards, matching, concentration, and word search. |
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| vii^º6 | Has three notes in common with V (including both the leading tone and scale degree 4)= Thus, it is a dominant family chord= Due to its DIMINISHED quality, however, it CANNOT represent V or V^7 in a cadential progression (i.e. replacing V^7 with vii^º6 defers cadential closure, turning a cadential progression into a contrapuntal one) |
| vii^º6: What type of chord is it | ([I^6-vii^º6-I] and [I-vii^º6-I^6]) It is ALWAYS a SUBORDINATE CHORD: It connects I and I^6 as a PASSING CHORD, or functions as an UPPER NEIGHBOR of I or a LOWER NEIGHBOR of I^6 |
| Rules for Usage | Never use vii^º6 in [5/3] position= Never double the leading tone (i.e. the 6th above the bass or root of the chord)= REsolve the leading tone when it is in the soprano or bass and you're moving to a tonic family chord= Like all local contrapuntal chords, it is best if vii^º6 occurs on a metrically unaccented beat= Avoid moving from a d5 to a P5, unless the bass and soprano move up, by step, and form 3 consecutive 10ths |
| vii^º6: Soprano Motions | Most typical are those that result in a voice exchange or parallel 10ths= Also, [1-7-1], [3-7-1], [1-4-3], and [5-4-3] work well |
| vii^º6: Doubling | Most common doubling is the BASS= Doubling the 3rd above the bass is also good (since it permits resolution of one of the TRITONES, a complete chord, and stepwise voice leading) |
| vii^º6: Treatment of the Augmented 4th or Diminished 5th | Ideally, you want to resolve the Augmented 4th, and especially, the Diminished 5th= Is also nice if all the voices move by step and the tonic chord of resolutions is COMPLETE= Often, this is not possible, however, especially when moving to I^6 (which MUST be complete)= In such cases, it is common to (a) move from an Augment 4th to a Perfect 4th, or (b) skip down a 3rd from the leading tone (if it occurs in an INNER VOICE) |
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