LESSON 2

VOICE-LEADING CHORDS

Ø The dominant-function chords are chords usually used to expand the tonic area, which is the vii⁰ triad (usually in 1^st inversion), and the 7^th chords vii^ø7 and vii⁰⁷. They are sometimes used to substitute the dominant harmonies, and both the dominant and leading chords use notes of the same degree, such as the 7^th, 4^th, and 2^nd degree. The harmonizing of these chords is weak, and they work well at the beginning or in the middle of a phrase expanding the tonic area.

Ø The triad of the leading tone vii⁰⁶ chord lies between two of the tonic chords having scale degree two in the base. The first one of the tonic chord is in root position, and the note in the bass is scale degree one. While the tonic chord that follows the vii⁰⁶ chord has a scale-degree three in the bass, and it is a first inversion chord. In this event, the vii⁰⁶ form a passing tone chord with the melodic lines of the bass ascending and the soprano descending.

This is an image of the vii⁰⁶ in the key of D major as a passing tone chord

                                                     I                 vii⁰⁶                I⁶

                     

Ø The vii⁰⁶ leading-tone triad chord is also employed to embellish the tonic chords as a neighboring tone chord. Whenever this takes place, both of the tonic chords use scale degree one in the bass, while scale degree two is in the bass of the vii⁰⁶ chord.

This is an image of the vii⁰⁶ in the key of D major as a neighboring tone chord

                                            I                vii⁰⁶                        I

 

Ø The diminished 7^th chord can also be used as a neighboring tone chord to embellish the tonic chords. When this takes place, all of the chords are in root position. The tonic chord has scale degree one in the bass, while the vii⁰⁷ chord using scale degree seven in the bass.

This is an image of the vii⁰⁷ in the key of D major as a neighboring tone chord

                                              I                 vii⁰⁷              I                     

Ø All of the notes in the vii⁰⁷ chord must resolve. However, there is only one chord note that can be resolve to either the scale degree above or below it, while others can only be resolve to only one scale degree. For example, the leading tone, which is the root, can only be resolved up to scale degree one. While the 4^th and 6^th scale degrees move down by step, the 4^th scale degree is resolved down to the 3^rd, while scale degree 6 resolve down to 5. Scale degree 2 being the only one that can move either up or down, can move up by step to scale degree three, or down by step to scale degree one to avoid parallel movements.

This is an image of the vii⁰⁷ in the key of d minor as a neighboring tone chord

                                           i                          vii⁰⁷                      i                                       

This is a video of myself performing the G7 chords Beginning with G7, Gdom7, Gm7, G^ø7, G⁰⁷

This is a video of myself performing the A7 chords Beginning with A7, Adom7, Am7, A^ø7, A⁰⁷

This is a video of myself performing the B7 chords Beginning with B7, Bdom7, Bm7, B^ø7, B⁰⁷

In this video, you'll be able to view

 

Ø One of the usual inversions for the vii⁰⁷ chord.

Ø How the 7^th chord is built.

Ø How it tells about the lowering of scale degree six in minor scales.

Ø How the diminished 7th chord is resolved two the tonic.

Ø Similarities of the V⁷ and the VII⁰⁷ chord.

Ø The questioning off parallel 5^th.

THE DOMINANT FUNCTION

IN THIS VIDEO YOU WILL VIEW

Ø Purpose of the dominant function.

Ø various types of dominant functions.

Ø What dominant function do chords have in common?

Ø Text importance of the 7th chord.

Ø The purpose of the 4th chord.

Ø Additional information on the 5th Scale degree.