ENTRY 7
DOMINANT 7th, THE PREDOMINANT AREA
AND
CHORALE HARMONIZATION
* The dominant 7th chord, just like all of the 7th chords, is made up of four notes, and it can be inverted in three different ways. This chord is usually found just before the end of a phrase, and it is used to form cadence.
Figured Bass Symbols Identifying the 7th Chord Inversion.
* When using the dominant 7th as a cadence, it has two tendency notes that have to be resolved, the chordal seventh and the leading tone. The chordal seventh resolves to the third and the leading tone to the first.
THE IMAGE BELOW SHOWS
In the soprano part of bar 1, B, the leading-tone is resolved up by step to C, and in bar 2, B, the leading-tone is resolved down to G by a leap.
In the alto part of bar 1, F, the 7th degree is resolved down by step to E, and in bar 2, it follows the same pattern.
In the tenor part of bar 1, B, the leading-tone is resolved up by step to C, and in bar 2, it follows the same pattern.
* The predominant chords are chords that resolve to the dominant they expand a basic-phrase into a predominant area. This area is set up as tonic-predominant-dominant-tonic or T-PD-D-T.
This is an example of how the predominant area is set up.
* Two most commonly used predominant chords are the second and fourth chords, these chords harmonies with the dominant in both major and minor keys.
* The predominant area expands when the I moves to chords such as the IV, ii first-inversion, or ii that can move to either V or the V7th and return the I chord in major-keys.
I-IV-V-I Chord Progression in the Predominant area in C Major
* This expansion also takes place in minor-keys, but this time, the 1st degree of the minor scale moves to iv or ii and then to V or V7th returning to the 1st degree of the minor scale.
I-IV-V-I Chord Progression in Scarlatti's Sonata in D Minor
These Are Examples of Arpeggiated V7-1 Chords
A Performance of The Arpeggiated V7-1 Chords
A Video on The Expansion of The Predominant Area
Comments
Post a Comment