V7 writing Flashcards
the 7th almost ALWAYS resolves DOWN BY STEP
When it’s an outer part, the LEADING TONE almost ALWAYS resolves up by step
V7 assumed to be a maj-min 7th
7th of the chord (4) –> (3)
3rd of the chord (7) –> (1)
the ONLY common exception for the 7th of the chord is when V43–> I6, the (4)–> (5)
the (4)–> (5)
Approaches to the 7th
- suspension figure
- passing TONE figure
-neighbor TONE figure
-appoggiatura figure
if the chord preceding the 7th is of the SAME PITCH class
suspension figure
if the chord preceding the 7th is a STEP ABOVE the 7th
passing tone figure
if the chord preceding the 7th is a STEP BELOW the 7th
neighbor tone figure
if the chord preceding the 7th is neither a step above, below, or of the same pitch class
appoggiatura figure
2 ways to arrive at a complete i chord
1) use an incomplete V7- double root & omit 5th
2) use a complete V7 but put the leading tone (3) in an INNER PART and FRUSTRATE natural resolution by taking it down a M3 to the 5th of the tonic triad
so move 7th to a 5th i think
V7 –> vi (VI) progression
- bass (root) moves UP by step to (6) aka the root of the vi chord
- leading tone (7)/third resolves UP by step BUT if it’s in an inner voice, it can move DOWN by step to 6
- other voices move by step
no II 5ths or 8ves!!
Inverted V7 chord
- 3rd resolves up by step (7)–> (1)
7th (4) resolves DOWN by step to (3)
V65
resolves to I
V43
resolves to I or I6
V42
resolves to I6
doubling the root and omitting the 5th applies when you’re writing an INCOMPLETE CHORD
if the V7 chord is complete then it will typically result in the I chord being an incomplete triad
to arrive at a complete I chord you must either double the root and omit the 5th if it’s an incomplete V7 or frustrate natural resolution by moving leading tone to an inner voice from a 7th to a 5th
in a deceptive resolution, the 3rd chord tone is doubled with a VI or vi
double the third in first inversion
7–> 1 and 4–>3 are the most important tendency tones to remember when resolving V7 chords
don’t omit root or 7th
