Because of its descending passing-tone origin, the seventh almost always resolves down by step. The chordal seventh resolves down by step to F. Complete the V chord by adding the resolution of the chordal seventh and the two remaining voices. The chordal seventh resolves down by step to G. Example 18—6 demonstrates the most common preparation and resolution of a chordal seventh using a ii 7 chord as an example, but this treatment can be used for any seventh chord.
Consider the following example:. Example 18—7 shows a progression where a vi 7 chord, prepared by a iii chord, resolves to a ii chord. Again, we see the falling-fifth motion between the root of the vi 7 chord A and the resolution ii chord D. The seventh of the vi 7 chord G is prepared as a common tone in the preceding iii chord, and resolved downwards by step to F. These same rules may be used for any other seventh chord.
A iii 7 chord, for example, typically resolves to vi. These two seventh chords, vi 7 and iii 7 , occur less frequently than other seventh chords. When they do, they are usually found in root position. Note: Because chordal sevenths are inherently dissonant, they are typically treated with great care. Keep the following guidelines in mind when approaching and resolving seventh chords as you write music and complete exercises in this style:.
Chordal seventh should be prepared as a common tone: Ideally, a chordal seventh should be prepared as a common tone by the preceding harmony in order to lead as smoothly as possible into the dissonance. If the seventh cannot be prepared as a common tone, approach by step is the next best alternative.
Leaping to the chordal seventh should be avoided. Chordal seventh descends by step: Because of the origin as accented passing tones, chordal sevenths must always resolve downwards by step. Falling-fifth root motion: In most cases, the root of the chord of resolution will be a fifth below the root of the seventh chord. Now consider the following example Example 18—8b clarifies the voice leading in the first three chords.
The chordal seventh E b is prepared as a suspension by the preceding I chord. It then resolves down by step to D in the following V chord, whose root B b is a fifth down. Some seventh chords behave in predictable ways, performing the same musical functions again and again in different musical contexts.
In the following sections, we will explore the specific roles played by a pair of commonly encountered seventh chords: the supertonic seventh chord and the subdominant seventh chord. The dominant seventh chord and leading-tone seventh chords are special cases and will be discussed on their own in Chapter 19 and Chapter 20 , respectively.
As discussed above, seventh chords frequently resolve by falling-fifth or rising-fourth root motion. The ii 7 chord, then, typically moves to the dominant. We will discuss the relationship between the supertonic and dominant in greater detail in Chapter Example 18—10 follows the same progression seen in Example 18—9, but adds two nonharmonic tones above the V chord E and C , delaying the arrival of the chordal third and fifth D and B until a beat later.
Note that the suspended fourth above the bass C in the tenor delays the obligatory descending stepwise resolution of the chordal seventh:. Finally, the supertonic seventh chord can also appear in root position. Though occurring less frequently than when it is in first inversion, the root-position supertonic seventh chord is another possible lead-in to V. As in the examples above, the seventh of the ii 7 chord is held over as a common tone from the I chord this time in the soprano.
In Example 18—11, though, the third of the ii 7 chord F appears in an upper voice instead of the bass and is therefore not obligated to step up to the root of the V chord see F—G in the bass of Example 18—9. Instead, it is held as a common tone, and thereby ends up preparing the seventh of the V 7. Because of this, ii 7 typically moves to a V 7 chord instead of a triad.
Note, too, the proper resolution of the seventh of the ii 7 chord: the C in the soprano steps down to the leading tone B of the V 7 chord. When they do, they tend to follow the same conventions described above. By far, IV 7 appears most frequently in root position. In this guide, we will be covering all four — major 7 chords, dominant 7 chords, minor 7 chords, and minor 7 flat 5 chords.
By the end of this article, you will be able to both understand and play 7th chords confidently. To make a major 7 chord, start out with a basic major triad. To turn that into a major 7 chord you just need to add the 7th scale degree. To turn it into a C major 7 chord we just need to add the B note. Dominant 7 chords are very similar to major 7 chords and only differ by one note.
To turn a major 7 chord into a dominant 7 chord, you just need to lower the added note by a half step. Simply imagine or write the notes of seventh chords in closed spacing without any doublings to identify these chords, as we did previously. A seventh chord in which the triad quality is diminished and the seventh quality is minor. For example: B—D-F-A.
Another name for a major-major seventh chord, a seventh chord with a major triad and a major seventh. A seventh chord in which the triad quality is major and the seventh quality is minor. Another name for a minor minor seventh chord, a seventh chord with a minor triad and a minor seventh. Another name for a fully diminished seventh chord, a seventh chord with a diminished triad and a diminished seventh.
When applied to an interval, the term "quality" modifies the size descriptor in order to be more specific about the exact number of semitones in the interval. When applied to triadic harmony, "quality" refers to the size of the different intervals that make up the harmony. Skip to content I. A seventh chord is a four-note chord whose notes can be arranged in thirds. When stacked in its most compact form in thirds, the lowest note of a seventh chord is called the root , the lower middle note is called the third , the upper middle note is called the fifth , and the highest note is called the chordal seventh.
There are five common qualities of seventh chord. These qualities are the major-major seventh chord , major-minor seventh chord , minor-minor seventh chord , half-diminished seventh chord , and the fully diminished seventh chord. There is another common way of naming seventh chords: the major-major seventh chord is also often called the major seventh chord , the major-minor seventh chord is also often called the dominant seventh chord , the minor-minor seventh chord is also often called the minor seventh chord , and the fully diminished seventh chord is also often simply called the diminished seventh chord Within major and minor keys, seventh chords have particular qualities that correspond to scale-degrees.
These are the same in every major and minor key, which makes memorizing them useful. Seventh chords are identified by their root , quality of triad and chordal seventh, and inversion. A four-note chord whose pitch classes can be arranged as thirds.
The lowest note of a triad or seventh chord when the chord is in root position. The note of a triad or seventh chord a third above the root. The note of a triad or seventh chord a fifth above the root. The note of a seventh chord a seventh above the root.
A seventh chord whose triad is major and whose seventh is major. A seventh chord whose triad is major and whose seventh is minor. Since the quality is minor, there is a minor third above the root E-flat and a perfect fifth above the root G.
The slash identifies E-flat as the bass note. Write the E-flat on the staff. Then write a C and a G above it to complete the chord again, see above. When there are spaces between chord tones, the chord is in open position Caug above. In certain musical situations, only one of those positions will be useful or desirable. Each triad quality has its own distinct sound, and to an extent that sound is preserved even when the chord is inverted when the pitch classes are arranged so that a pitch class other than the root is in the lowest voice.
A four-note chord whose pitch classes can be arranged as thirds is called a seventh chord. Like with a triad, the pitch classes belonging to a seventh chord occupy adjacent positions a four-pitch-class clump on the circle of thirds. The four members of a seventh chord are the root , third , fifth , and seventh.
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