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Resolving the V7 and its Inversions. Dominant to Tonic. Let’s stack some 3rds!. Let’s create a V7 chord by stacking 3rds on scale degree 5. SATB style, anyone? What is the quality of the intervals between the chord tones?. Resolving the dissonant intervals. - PowerPoint PPT Presentation
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Dominant to TonicResolving the V7 and its Inversions
Let’s stack some 3rds!
Let’s create a V7 chord by stacking 3rds on scale degree 5.
SATB style, anyone? What is the quality of the intervals
between the chord tones?
Resolving the dissonant intervals
1. *A chordal seventh (almost) always resolves DOWN by step*
2. In a dominant to tonic cadence, scale degree 7 leads to scale
degree one
3. When a root position V7 moves to a root position I, one chord must
be incomplete.
Mozart Piano Sonata in C Major
The breakdown
Incomplete, you say?
Yes, to avoid those dreaded parallel 5ths!
An incomplete chord is one that is lacking 5th, which is considered the least essential interval.
An incomplete I/i chord: Written with 3 roots and one third.
An incomplete V7 chord: The root is usually doubled and the 5th is left
out.
One more example
V7 to I in G major
Notice how the last chord is missing the 5th
Inversions of V7 to I
Root position 1st inversion (3rd in bass)
Bass must resolve up to tonic 2nd inversion (5th in bass)
Bass usually resolves down a step to tonic
3rd inversion (7th in bass) Must resolve to a first inversion I chord.
First inversion- V65
Notice how the leading tone resolves upward
2nd Inversion 43
The tri-tone between scale degrees 7 and 4 resolves inward
3rd Inversion 42
Scale degree 4 in the bass resolves downward
the leading tone resolves upward to G
If you take anything away…
Just remember:
The chordal 7th (scale degree 4) resolves DOWN to scale degree 3
The leading tone (scale degree 7) resolves UPWARD to scale degree 1 (tonic)
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