Root position ii7 is often used near the end of a phrase, leading to V. It typically moves to a dominant function chord. The ii7 chord is the most common non-dominant seventh chord. Non-dominant seventh chords: specific chord details ii7 All non-dominant seventh chords function the same as their triad counterparts, but I∆7 should not be substituted for I when I is used in a structural context, like at a cadence.Part writing for non-dominant seventh chords is not as specific as for dominant and leading tone seventh chords. In a minor key we use: i7, iiø7, III∆7, iv7, and VI∆7. In a major key we use: ii7, iii7, IV∆7, and vi7. Non dominant seventh chords are any seventh chord build on a scale degree other than 5 or 7. It is used less commonly in 3rd inversion. In third inversion, it is usually followed by V7 or either a cadential 6/4 or passing 6/4 chord. In first and second inversion, it usually resolves to I6 to avoid part writing errors. The root position vii˚7 chord resolves to I or V6/5. This creates a highly dissonant chord with tendency tones that create forward motion. The vii˚7 chord contains two tritone intervals that need to be resolved. Parallels can be avoided by doubling the 3rd of the I chord or re-voicing the chord so that parallel 5ths are replaced by parallel 4ths. Parallel 5ths are a common problem in part writing the viiø7 chord. 2-1 or 2-3 (or stay on 2 if moving to V6/5). When part writing, scale degrees move from: It normally resolves to a I chord, but can also move to V6/5 first. The viiø7 chord is used less often than V, V7, and vii˚ chords. Leading tone seventh chords can also move to V7 and its inversions before resolving to tonic. In general, both chords resolve using the same scale degree motions to a tonic chord: Part writing these chords can be challenging due to the possible parallel and unequal 5ths that can develop due to the tritones in the chords. The viiø7 and vii˚7 chords are leading tone seventh chords. All chords will be complete and each V7 chord will resolve in the following way: Part writing for V7 chord in inversion is less complicated than the root position V7. The leading tone will resolve to scale degree 1, or can go to 6 if it’s in an inner voice. In a V7-vi progression, the bass moves from scale degree 5 to 6. Memorize the scale degree movements between V7 and I. It must move down to scale degree 5, and must be an inner voice. In this option, it is impossible to resolve the leading tone to scale degree 1. The third option is to use a complete V7 and a complete I chord. An incomplete V7 chord will omit the 5th of the chord. The second option to have an incomplete V7 chord move to a complete I chord. The omission of the 5th and triple root is necessary to avoid doubling the 3rd of the chord or to avoid contrary or parallel 5ths. The first option is to have a complete V7 chord move to an incomplete I chord, where the I chord omits the 5th of the chord. There are three ways to part write a V7-I progression when V7 is in root position. The added chordal seventh also creates a tritone interval between scale degrees 4 and 7, which increases its dissonance and its need to move to tonic to resolve. The leading tone most often resolves up to tonic and the chordal seventh always resolves down by step. The V7 chord is strong because it has two tendency tones: the leading tone and the chordal seventh. It is not typically used for a half cadence due to its strength. Due to its strength, it is used most often in root position at cadences, and most often found in inversions within a phrase. The dominant seventh chord is a frequent substitute for V. The V7 chord, also called the dominant seventh chord, is the most frequently used and strongest seventh chord in music. Seventh chords can be separated into dominant seventh chords, leading tone seventh chords, and non-dominant seventh chords. Note, each is constructed using a simple motive repeated in sequence at various pitches in the key.To review the types of seventh chords found in tonal music, see Chapter 5.2. Listen to each of the melodies below and notate it on the staff. This rhythmic motif may not appear in every beat of the melody, but for each example there is one motif that is primarily used throughout. Step 2) On the staff notate the rhythm of one melodic motif that is used to construct each melody. The first two are in 4/4 time, while the second are in 9/8. Step 1) Listen to each of the melodies below. 7.2 Melodic Material: Create/Vary/Repeat and Sequences: Aural Training exercises Create/Vary/Repeat
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