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Topics
lmportant
Concepts
Lead ing-Tone
Seventh Chord
Figu re 12.2
The Leading-Tone Seventh Chords
The Half-Diminished
Seventh Chord
The Fully Diminished
Seventh Chord
Resolution of Tritones
Resolution of Root and
Seventh Factors
Macro Analysis Symbols
Both the vii'7 and viioT are associatecl very closely with the dominant scventh chord becausc
they have three notesin
cornmon with the V7
Figure 12.1
In Major
CM: Vr vii"
Threc tones in common
CITT: V
Three tones in comnton
In the vii'7 the vri inclicates a chclrcl on the scventh scitle step. the ' shows that the qualitl
of the chorcl is climinishecl-ntinor (also known as hul.f-climirtishetl). and the t rneans that it
is a seventh chorcl. The o in the vii" clesigni,ltes a clirninished-diminished (usr.rally abbreviated
to ditr-rinished or fLtllt' diminishetl) seventh chord. The vii" occurs in rnajor keys
and thc viioT in minor keYs.
Compclsers frequently sr-rbstitutc leading-tone triads and seventh chords for the dclminant
to lencl varicty and diversification. In figule 12.2. Beethoven alternated the V7. \'iio".
and 'n'iiot freely to represent dornittant harmony.
IJccrhoren: Piano Sonata no.5. op. 10. ncl. I in C Minor. I (Allegro molttt c coll brio). l3-16.
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ln Hartnonic Minor
All three of these chords represent dominant function
217

Figure 12.3
Since V7, viio7, and vi'1 all represent dominant harmony, composers intermixed them
freely. In figure 12.3, the seventh (B-flat) of the viioT moves down to the root (A) of the
V7 chord.
Mozart: Piano Sonata, K. 283 in G Major, III (Presto), m. 64-69.
DM: vii'7 V8 viioT Vq viioT Vl vii'7
Progressi0ns fronr
vii"7 and vli"l
Figure 12.5
a)
CM:viiP! I6
I st Inversion
Resolution of
l"ritane and
Seventh Factons
218
h)
Dominant harmony
p
V X I
Like the dominant seventh, with which they share three common tones. vt1"7 and vlt']
usually resolve to the tonic (I or i), either directly (figure 12.4a-b) or through the dominant
seventh (fisure 12.4c-d\.
FiE u re 12"4
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CM: viirT I cm: vii o7 i CM: vii rr cm: vii o7
V3 I
. . a A
cm: vll - x i6 CM: vii P{ 16
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Figure 12.5 shows resolutions of the leading-tone seventh chords in all inversions.
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2nd Inversion
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3rd Inversion
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cm: viioj i6 CM: viie I rl
cm: vll j it v
The diminished seventh chord (vii"?) contains two diminished fifths, which tend to resolve
inward. If both are resolved. the result will be a doubled third factor on the tonic
chord (figure 12.6a), but composers often prefer the normal doubling, as shown in {igure
12.6b.
The 5tr-i.rc.tr.iral Flerrients of Music
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'12"7
Figure 12.6
The two tones in the leading-tone seventh chords (vn'7 and viioT) that are nearly always
resolved are the root of the chord (the leading tone), which moves upward to the
tonic note, and the seventh factor, which resolves downward by step.
Mozart: Don Giovanni, K. 521 (Act I, Scene XIII), m. 1 1 6-117.
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Macro Analysis
Syrn
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Figure
'12.8
Beethoven: Sonata no. 5 in
Cr '\:y
Uneven 5ths okay
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In macro analysis, the harmonic motion involving leading-tone seventh chords is represented
with a dotted slur. The following example illustrates prolongation of specific harmonies.
To prolong means to lengthen the duration of a harmony through various musical
devices. Many chorales have a harmonic rhythm of one chord per beat. In other forms of
music. harmonies are often prolonged through measures of music, lasting for many beats.
C Minor, op. 10, no. 1,I (Allegro molto e con brio), m. 1-10.
Ii're Leading-Tclne
Seventh Chords 219
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Figure 12.9
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Elizabeth Jacquet cle la GLrerre: Suite in D Minor. Sarabande. nr. 21 2g.
dnr:
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VII -5
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vii"i
(-lassical lleriod
( 1750- I tt25 i
220
o
H istory
The lcading-tone seventh chorcls were not characteristic
o1'the rrusic of the Renaissar.rcc
period.
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With the ascendancy of the mii.ior-nrinclr tonal systent. leading-tone seventh chor-cls took
their placc its part of the harrnonic vocabulrry. FigLrre 12.9 shows tvpical usc .f the 'ii.r
during the baroclLre period.
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The classical period continuecl the use of leacling-tone seventh chrlrcls with little change in
apprclach lhlm the baroque. The illustration by Mozart in figure 12.10 is repr.csentativc clf
the use of these chclrds in the classical pcriocl.
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Mozart: Piano Sonata, K.284 in D Major, III (Variation V), m. l4-lj.
Ronritntie l)t,riocl
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Figure 12"'! 1
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Wagner: Rienzi Overture, m. 346-352.
Molto piu stretto
Harmonic reduction:
The romantic period saw a more relaxed and somewhat fieer use of leading-tone seventh
chords. Figure 12.11 shows six consecutive diminished seventh chords in descencling
chromatic motion. No Roman numeral analysis is given for the first five measures since
functional harmony is temporarily suspended.
Diminished seventh chords in parallel motion:
ihe i-.eadinq-T11-1s
5eventh f hc;rds
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Johnson: "A Black SmokeRag."
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With the gradual breakdown of functional harmony, leading-tone seventh chords were
used less. Nevertheless, nonfunctional diminished and half-diminished seventh chords
were still very much a part of the harmonic vocabulary of this period.
For most music written for performance in concert halls, leading-tone seventh chords
ceased to exist except for those styles that make a conscious use of functional harmony.
Popular songwriters and jazz artists consider leading-tone seventh chords an integral part
of their style. Ragtime, an early twentieth-century precursor of jazz, used the leading-tone
seventh chords, as shown in figure 12.12.
vt hi vii"//V ( Ii )
V7
Very common chord progression in ragtime music
ati*ns Voice leading around diminished and half-diminishedseventh
chords is usually quite
smooth. Resolve the seventh factor of the viioT or vii'7 (and inversions) down one dia-
tonic scale degree. Resolve the root of the viioT and vii'7
12.l3a and b).
upward to the tonic note (figure
Voice LeadinE
and the vii"7
and vi'7
Sorne Prtfalls
to Avsid
FiEure'N2.13
222
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a. Normal
practice
b. Normal
practice
DM: vtt^1 dm: viioT DM: viisS
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Avoid parallel P5ths (between third and seventh factors) in resolving the half-diminished
seventh chord (figure l2)3c and e). Double the third factor of the tonic triad to avoid
these parallels (figure l2.l3e and t).
c. Avoid
parallel P5ths
d. Unequal
5ths okay
e. Avoid f. Doubled 3rd in
parallel P5ths tonic chord avoids
parallel P5ths
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om: vll'5 DM: vii'7
( As signments I 2. I - I 2.8, page s 22 3-228 ; WorkbooUAntholo gy I 2A- I 2 K )
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Assignment 14.1 Spell vii.7 or viioT in the keys indicated.
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d{m: vii'7
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Ff,M: viirT
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ff,m: vii'7 cm: viioT am: viioT AM: viiPT
em: viioT cfm: viioT GbM: viiPT
Assignnxent
12.2 Each example
is a phrase of a chorale melody as harmonized
by Bach.
Keyboard Assignment
BbM: viiri
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aDm: vil"'
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Play each of the tollowing chorale phrases, adding the alto and tenor voices. play the soprano'
alto, and tenor with the right hand and the bass voice with the left hand. Suggested
voicing for leading-tone seventh chords in three of the phrases is:
Phrase 1
Chord l0:
Written Assignment
Phrase 2 Phrase 3
Chord 3: Chord 6:
I ' Add the alto and tenor to each phrase according
to the figured bass symbols.
2. Make a harmonic analysis of each chord.
3. Sing the chorale phrases
in class.
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Ir:trc 5eventh i-.hr:i-,:i:
223

Alternate Directions: Macro Analvsis
L Complete step I above.
2. Make a macro analysis of each chorale, including letter names and slurs.
l. Herzliebster Jesu, yvus hust du verbroc'hen (Dearest Jesus, How Hast Thou Transgressed), BWV 245, m. l-3 (Modified).
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2. Jesu, rneine Freude (Jesr.rs. My Joy). BWV 3-58. rn. l-2 (Modified).
3. Hilf, Herr Jesu, lass gelingen (Help, Lord Jesus, Send Good Speed). BWV 344, m.9-12.
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*These
are passing tones. Do not harmclnize them.
xThese are suspensions-9th to octave above the bass note and ,lth to 3rd above the bass note.
Each of the above chorale melodies was harmonized by Bach. When you have completed
your harmonization, look up the phrases (by title) in any edition of the 37I Boch Chorale
Harmonizations. Compare your results with those of Bach.
224 The Slructurai Elements of lVlusic

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Assignment 12.3
The fbllowing waltz melody is typical of those written during the late eighteenth century
and much of the nineteenth century.
1. Determine the harmonic rhythm.
2. Make a list of possible harmonizations for the rnelody. using procedures or-rtlined in
chapter 10, Harmonic Progression and Hzrrmonic Rhythrn.
3. Compose a harmonization of the melody usin-u block chords.
zl. Fxlm the block chclrds. l'ashion an acc()mpanirnent that will Lrccentuate the waltz ch:lracteristics
of the melody.
5. Make an arrangement for piano and/or any -group of instruments (or l'oices) that arc
played by mernbers of the class.
6. Be sure to include at least one or twtt leadin-{-tone seventh chords.
7. Avoicl ! chords except the cadentill I!.
Allegro (d.=72)
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Assignment 12"4
l.
Allegro ( ).=l2t
'\'"'siqnment
12.5
li r i']1"nt 1?.6
Hannonize the following waltzrnelodies
usin,e the same procedure described in assi-en-
ment 12.3. Employ a harmonicrhythm
of one chordper
rxeasLlre. One or fwo exceptions
can be made.
Write a composition.
l. Make it l6 measures in length. consisting of for,rr 4-tncasure phrases.
2. Make the first and thircl phrases the same.
a--) Second and fourth phrases may be of any relationship to the tlthers.
Write in $ meter and B-flat minor.
5. Include at least two or three leading-tone seventh chords.
6. Write for piano or any group of instrumcnts that are played by class t-ttentbers.
.
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Write an original composition of any form you wish and firr any contbination of instru-
ments you choose. The only restriction is that you demonstrate the conventiclnal ttse of
leadins-tone seventh chords.
T i're !-eadincr-Tone Seventh Chords
l j
22s

Assig n ment
Each example is a phrase of a chorale melody as harmonized by Bach.
Keyboard Assignment
If your instructor requests, play each chorale phrase on the piano, adding the alto and
tenor voices. Voicing for leading-tone seventh chords is given in assignment 12.2.
Written Assignment
l. Add alto and tenor voices according to the figured bass symbols.
2. The slash mark (/) found in chorale 4 indicates that the sixth above the bass note
should be raised one half step.
3. Make sure your voice leading conforms to recommended practice.
4. Analyze each chord-blanks are provided.
5. Play your harmonization in class.
6. Analyze cadence types.
Alternate Directions: Macro Analysis
Complete steps l-6 listed above, including a line of letter names and slurs.
l. Meines Lebens letzte Zeit (The Last Hour of My Life), BWV 381, m. l-2 (Modified).
2. Herzliebster Jesu, was hast du verbrochen (Dearest Jesus, How Has Thou Transgressed), BWV 245, m. 10-11
(Modified).
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3' Machs mit mir, Gott, nach deiner Giit (Do With Me as Thy Goodness Prompts Thee), BWV 377, m.3-4 (Modified).
2 3 4 5
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4. Nun sich der Tag geendet hat (When Now the Day Is at an End), BwV 396, m. 5-6 (Modified).
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2 3 4 5
5. Herr Jesu Christ, du hast bereir (Lord Jesus Christ, Thou Has Already), BWV 333, m. 3-4 (Modified).
A.sslgnment
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Keyboard Assignment
If your instructor requests, play each chorale phrase on the piano, adding soprano, alto,
and tenor voices according to the figured bass symbols. If you have difficulty with this
assignment, become familiar with the chords first, then work on a good soprano
melody.
The Leading-Tone
Seventh Chords 227

47
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Written Assignment
1. Write out each figured bass on a separate sheet of paper, leaving a line above for the
soprano and alto.
2. Complete the soprano, alto, and tenor voices.
3. Be sure to observe good voice leading.
4. To help you write an interesting soprano melody, observe assignments 12.2 and 12.1.
Each contains rnodel soprano melodies.
5. Make sure your soprano melody has only one climax tone (highest pitch) and does not
wander about airnlessly.
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