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Chapter Fifteen Other Diatonic Seventh Chords Introduction Most commonly encountered seventh chords built on 5th, 2nd and 7th degree The other diatonic built on 1st, 3rd, 4th, and 6th degree are much less commonly used in traditional tonal music One context in which they are relatively common is in circle-of-fifths sequences The IV7 Chord Similar to the subdominant triad, subdominant seventh moves to V (or iio6) Often passing through some form of the ii chord on the way The resolution to ii7 (possibly inverted) is easy to handle, only the 7th needs to move When the iv7 moves directly to V, //5ths may result if the 7th of the chord is placed above the 3rd, Correct by: o Use of Candential 64 OR o Doubling the 5th of the V chord Example 15-4 features a circle-of-fifths sequence using seventh chords. A metric device which is known as hemiola (e.g. meter is in 34 but sound as if they are in 24), has been in used for many centures The subdominant seventh in minor with a raise 6th is a major-minor seventh chord, but it DOES NOT have a dominant function (raised 6th going to leading 7th tonic) The VI7 Chord The submediant seventh is found in three forms o vi7 o VIM7 o #viø7 7 vi or VIM7 typically move toward V, usually passing through subdominant or supertonic chords, or both on the way It is relatively easy to progress to IV o In minor, when the root of the submediant seventh moves up by step to rasied 7th, the 6th must be raised to avoid an interval of +2. The chord that results when 6th is raised is a half diminished seventh: #viø7 ø7 #vi usually serves as a passing chord between two chords of dominant function (V or viio) #viø7 move most smoothly to the otherwise unusual root position viio #viø7 can move directly to V65 instead of viio if 1st leaps to 5th The I7 Chord In major key, the tonic seventh chord in its diatonic form is a M7 chord In minor key, it is a m7 chord. The minor-major seventh chord in minor, possible but quite rare (used freely in jazz) Adding a 7th deprives it of tonal stability, and no longer serves as a harmonic goal or resting place. Demand resolution which tends to move to IV or sometimes to a ii or vi The chord of resolution MUST be one that contain the 6th degree (7th can resolve to 6th) The 7th of the chord is frequently analyzed as an NCT (passing tone) The III6 Chord In major key, the diatonic median seventh chord is a iii7 In minor key, it is a IIIM7 The iii7 usually progresses to a VI(7), but it may also be followed by a IV chord Seventh Chords and the Circle-of-Fifths Sequence Usual harmonic functions of most diatonic chords are closely related to the circle-of-fifths sequence One of the most commonly used sequential patterns (iv7 – VII7 – IIIM7 – VIM7 - iiø7 – V7 – i) If the chord used in a circle-of-fifths sequence, follow these rules about voice leading, o If the seventh chords are in root position in four-part texture, COMPLETE chords will alternate with incomplete chord o If the seventh chords are inverted in a four-part texture, either 65 chords will alternate with 42 chords, or 43 chords will alternate with root position chords o Except the bass, every voice either stays the SAME or move down BY STEP In three-part textures, circle of fifths sequence will usually be in root position. Principle about 4part texture holds true