The Dominant Seventh Chord

Inversions of the V7 Circle Resolution of the V' Nonresolution of the Topics Macro Analysis Symbols Noncircle Resolution of the V' Seventh Factor Resolution of the V7

Important The dominant seventh chord is a diatonic seventh chord built on the fifth scale degree of Concepts the major, harmonic minor, and melodic minor scales. The major triad (root, third, fifth) and minor seventh (from root to seventh) create a distinctive sound that is universally Dominant linked to the dominant function. Seventh Chord The y7 is found almost as frequently as the dominant triad. Figure 11.1 is typical of the widespread use of the y7.

Figure 11.1

Louise Reichardt: "Die Blume der Blumen" ("The Flower of Flowers"), m. 1-4.

l " I ~ . tJ r r r I

" I - , I tJ .. • ......

.. .~ tb . f . I I ....

v7 v7 v

Inversions of the V7 The various positions of the y7 are illustrated in figure 11.2. The numbers you see desig­ nate the various positions of the chord and indicate intervals above the bass note. Interpret the first example in the chart as:

7 = Interval of a diatonic seventh above bass.

5 = Interval of a diatonic fifth above bass. 3 = Interval of a diatonic third above bass.

199 ~~-~----

Viewing the chart below you will see that the 7 (seventh above G) is F, the 5 (fifth above G) is D, and the 3 (third above G) is B. Baroque period composers often deleted some of the numbers to make manuscript copying less tedious. In figure 11.2, the column on the right shows the symbols in the sim­ plified form we will use throughout this text.

Figure 11.2 Analysis Showing All Intervals above the Analysis as Simplifed Position Bass Tone for Conventional Use Root Position 7 5 V3 1st Inversion 2: I' ] 6 V53

2nd Inversion ~~] V~

3rd Inversion 6 V~ V~ orV2

Progressions including the dominant seventh chord are handled in the same manner as Macro Analysis any V chord. For dominant seventh chords, include a 7 along with the letter name, for ex- Symbols ample, G7. •

Figure 11.3

Joplin: "Maple Leaf Rag."

~ r--- .. ," I ==-­ tJ I-' 9·,--f..-. 9· ~. ... ,I - 7th resolves ~own

~ ~ r--. ~ r-- ..I : , ­ .. r---t-­ -,j ... ~ q. .. -

200 The Structural Elements of Music History

Renaissance Period In music of the Renaissance period, composers didn't think in terms of chords. However, (1450-1600) certain dissonant sonorities that suggest the dominant seventh chord occurred with some frequency.

Baroque Period Early baroque period composers, such as Monteverdi and Scheidt, introduced the y7 (1600-1750) chord, as well as functional harmony in general. In early sevcnteenth-century music. ex­ amples of dominant seventh chords are scarce and the chords are treated very conserva­ tively. In figure 11.4, the seventh is prepared and resolved as a suspension, clearly indicat­ ing its dissonant status.

Figure 11.4

Monteverdi: "Lasciatemi Morire" ("Oh, Let Me Die") from Lamento d'Arianna.

r"'fI i }.

.0--­ U 1 " I~r "'" I r etc. fI I

tJ 1­ - IT' & & p R etc. Sl '-----J I I~~bj : J 0 '/~ I I

~ Dominant 7th chord

Later in the baroque period y7 chords were more plentiful and became an integral part of the style.

Classical Period In the classical period the dominant seventh chord was in constant use. The treatment was (1750-1825) similar to that of the baroque period.

Romantic Period In the romantic period. dominant seventh chords were plentiful, but freer voice-leading (1825-1900) treatment gradually dcveloped. In figure 11.5, note the descending nature of the bass and the absence of resolution of the seventh factor. In this example tonality is temporarily sus­ pended so no Roman numeral analysis is provided. The seventh factor had by this time achieved nearly consonant status.

Figure 11.5

Chopin: Mazurka in F Minor. op. 68, no. 4, m. 1-4.

4 Sotto voce

The Dominant Seventh Chord 201 Post-Romantic and In the post-romantic and impressionistic period the functional use of the dominant sev­ Impressionistic Period enth chord and functional harmony in general was on the wane. Chords weighted more (1875-1920) heavily with dissonance (9ths, 11ths, and 13ths) became common, and the major-minor seventh chord declined in use as a dominant function.

Contemporary Period For most music written for performance in concert halls or opera houses, the V7 (192O-Present) chord ceases to exist except for those styles that make conscious use of functional harmony.

Jazz and Popular Throughout both Europe and America, popular music continued to use functional har­ Music (1900-Present) mony. Folk and popular songs, as well as the earlier forms of jazz and blues, were laced with dominant seventh chords. Even into the 1960s, folk and popular songs, mainstream jazz, and blues had changed little in regard to the dominant seventh. Indeed, at the present moment, V7 is alive and well in the hands of rock and rock-derivative styles. Written in the early 1950s, figure 1l.6, from a jazz composition by Charlie Parker, illustrates straightforward circle progressions involving V7.

Figure 11.6

Parker: "Au Privave." © 1956 Atlantic Music Corporation. Hollywood. CA.

F F " -- - u .. ..

I n I :

u I '" FM: I ii7 I ii7

Applications The dominant seventh chord can be resolved in a number of ways, but the most common resolution is by a circle progression (V-I). Resolution of the Dominant Seventh Chord

1. The seventh factor of the V7 resolves down one scale step to the third factor of the Circle Progression tonic triad. The seventh factor may be in any voice (soprano, alto, tenor, bass). 2. When the seventh factor is the bass note (Vi), it must resolve to the third factor of I, and the tonic triad must automatically be in first inversion (0). 3. Noting the illustrations, you will observe that if you will first resolve the seventh factor down a step, the three remaining voices will move smoothly to notes of the I triad. In the first, second, and third inversion examples the common tone (C) is retained in the same voice, whereas in the root position example, all three upper voices move in simi­ lar motion to the nearest chord tones.

202 The Structural Elements of Music 4. In all four examples, all four factors of the y7 are present. In unusual instances, an in­ complete y7 may be necessary. In such cases omit the fifth factor.

Figure 11.7

Root First Second Third Position Inversion Inversion Inversion

[ I I i [ --

eM: I I

Figure 11.8 shows typical y7 resolutions in circle progressions.

Figure 11.8

L. Viola Kinney: "Mother's Sacrifice," m. ] 5-21.

I ! [ I , ~, -4-.-,: J I I [ I I I d ,;~, I - I I J J ______, " ---' -1+: ­ t.J a- ~ (L. T.) a- a­ ~. (L. T.) P [­ 7th factor If solves j 7th factor esolves .... n i~: ~ -- B- -e­ -­ ~--4- - ...... UI

PM: V7 TV V7

Joplin: "Maple Leaf Rag."

r--1 i -,­ -ti ....-I

A~M: I (v1\ I ® '----//

5. In figure 11.9, the seventh factor of the chord and the leading tone are both resolved. In such cases omit the fifth factor of the tonic triad and triple the root.

The Dominant Seventh Chord 203 Figure 11.9

Both leading tone and 7th factor resolve:

I I --== CM: V; T *Tonic triad has tripled root and no fifth.

Sometimes a y7 is diverted temporarily from its normal resolution to 1. A typical example Noncircle is y7 to vi or VI (see figure 11.10). Notice the doubling of the third factor of the vi chord, Progressions with which avoids parallel perfect fifths. Resolution Figure 11.10 Root Position Root Position Third Inversion

, '-­ -j---­ ~ ~ilr~=r-Fr , ---­ 17th factorresolvesi 17th fac~orresolves ,1 7th factor resolves I (~rt~~ ~ --1 ~,- i - ._ __ ,r r---­

CM: V7 vi VI V~ 111

Roots progress either by 2nd or 3rd.

Bach: 0 Herre Gott, dein gottlichs Wort (0 God, Our Lord, Thy Holy Word), BWV 184, m. 1-2 (Modified).

l M· '.~' - -;-- -=-+-~ r--­ ...- ~.±±~ ­ ~ :I ----. ~ I r I ~ I r I \ I r-; 1 I, I I I I J L­___c== ~1 I -t ----.--­ 7F" ,...... ~f;=-=L;p - I i I I ~ -­ c:::---'---o------, ~oot ascends one step

vi V GM: I VI 111 IV (Y71\.J I

In rare instances the seventh factor of the y7 chord cannot be resolved in the same voice. Nonresolution of No standard voice-leading pattern can be identified in such cases. Observe good voice­ Seventh Factor leading principles cmd avoid parallel perfect intervals.

204 The Structural Elements of Music Figure 11.11

Chord roots move Chord roots ascend by step byP5 r 7th factor does 7th factor does (~~n~o~tr~e~SO~l~ve~~~~~n~o~t~re~S~O~lv~e~~~

CM: V7 ii

The following illustration by Mozart shows the iv6 triad as an embellishment of the V7.

Figure 11.12

Mozart: Sonata for Violin and Piano in G Major, K. 379, I, m. 70-73.

" I ~ ~ .

tJ I I f /':\ " I

I "$ T~ ~tJ ..fJI :: 7th factor does not resolve /':\ J " I I { -@-'­ TI Tl tJ .. 1: .. 1: Chord root descends one step

iv 6 B iv 6

(Assignments 11.1-11.8, pages 207-216; Workbook/Anthology 11A-11H)

The Dominant Seventh Chord 205 Assignment 11.1 Spell V7 in the keys indicated.

1. (Ex.) 2. 3. 4. 5. 6. 7. ± ,~ n II ~ IP II ~j, 11k\~t 11##11 II ~\k II DM: V7 dm: V7 FM: V7 E~M: V7 C~M: V7 BM: V7 e~m: V7

8. 9. # 10. # II. 12. 13. # 14. ,~ II#OB# II #1 • II~h II ##~I II ## ". II ~l II D~M: V7 F#M: V7 EM: V7 b~m: V7 g#m: V7 a#m: V7 B~M: V7 15. 16. 17. 18. 19. 20. 21. ,~ II #1 II ### II Vi II II ### II ~ d#m: V7 bm: V7 f#m: V7 em: V7 am: V7 AM: V7 gm: V7

22. 23. 24. 25. 26. # 27. 28. +tl , II ti II~ II ti II #ft I II ~1i II ~1}\fu 2] CM: V7 GM: V7 A~M: V7 em: V7 e#m: V7 G~M: V7 a~m: V7

Assignment 11.2 Each exercise consists of two chords, the first of which is a dominant seventh chord. 1. In the first column of blanks, name the key and mode (examples: am, EbM). 2. In the second column, write the analysis of both chords. Remember that the first is al­ ways a dominant seventh. 3. In the third column, write the letter (a, b, or c) that represents the type of progression present in the example: a. Circle progression-seventh resolves down one scale step. b. Noncircle progression-seventh resolves down one scale step. c. Noncircle progression-no resolution of seventh.

1 2 3 4 5 A • I . I . L I I I i j

tJ I I Til I I '1­ 1Tr I 'j I j j ,~ j ~j LJ I I : ~~ I r r I I Key Chord Analysis Type

1. (Ex.) Gmajor V~ I a

2.

3.

4.

5.

The Dominant Seventh Chord 207 Key Chord Analysis Type 6.

7.

8.

9.

10.

Assignment 11.3 Each exercise consists of two chords, the first of which is a dominant seventh chord.

1. At least one voice-leading error can be found in each example. 2. Find the particular error (or errors) and describe each briefly in the blanks provided on page 209.

1. 2. 3. 4. 5. 1...Jl I I I I oil L I I J I tJ I -r-- f---r I I r •II r r r ) I J 1 I I J I : -F- --+-- ·k­ -f'­ I I I I I I I I I 6. 7. 8. 9. 10. II II tI. I I II tI =±== I I .1 .11. I 1 -#­ ~- i-­ -- - i "I I r r. I i- r r ! .J .; r, ) IL I J I I ~ I : ~. -­ I I I I r r r I I

208 The Structural Elements of Music 1. ______

2. ______

3. ______

4. ______

5. ______

6. ______

7. ______

8. ______

9. ]0. ______

Assignment 11.4 The following musical examples are transcriptions from music literature.

1. Make a complete harmonic analysis of all excerpts. 2. Circle nonharmonic tones and name them, using the standard abbreviations. 3. Above the staves, bracket each phrase and indicate phrase relationships with letters. Review chapter 6. 4. Label other compositional aspects such as sequences, melodic repetition, rhythmic repetition. 5. Below the analysis, bracket each cadence and indicate the type (perfect authentic, im­ perfect authentic, half, deceptive, or plagal). 6. Get a recording of each of these works from your music library and listen to each movement in its entirety.

Alternate Directions: Macro Analysis 1. Make a complete macro analysis of each of the excerpts, including letter names and slurs. 2. Complete steps 2-6 listed above.

1. Kuhlau: Piano Sonatina, op. 55, no. 4, II, m. 1-27. CD Track 83

Andante can espressione ~ (~~-~~~~~-m-~~~~~ ) 1 p~======? :

B~M: I I

The Dominant Seventh Chord 209 > .IL' -­ " ' - -­

+ I - -+_. • 0 p -!­ ----­

/ .IL' L 1\ I .~' .IL . - j: ' .. ~ t-.~ - ).-'­ - i&-/l­ - ~ n .~ ~ ----r · , It) ~ .... ~ I I I I pp 22--======P ~ :f :$ -,f ,20 .~' ~11- - - 23 - -!­ 24 '---..-/ 25 26 27 - .~-- , -.(L -.(L ~ , :e --,~ I .­ ' 0 -& ---. ) : · ,..,.---­ ~ i 0 · u '!' '!' • ~ I

2. Beethoven: Piano Sonata, op. 57, 111. 9-16. CD Track 84

~.. ~ ~ ~-.. ~ - .. . .. I I ..­ Ip 2--====- =====­ 3 4 -======­

1 *:: -.: .... .' -,; .. -,; 7~ 71 D~M:

~ .. :-:----. : .. - : u I ::: ~ ~ 5 cresco 6 _ = 7P ~ ~. . ~ J .

I~ .­ I ~. r ". ~ a I

210 The Structural Elements of Music 3. Haydn: Symphony no. 97 in C Major, Hob. 1:97 in C Major, I, m. 76-91 (Modified). CD Track 85

fI • lI,' •I .~-

'­ - - It.> 1 P 2 3' 4 ~. -{l­ ;-- : • • ~ '. • • ~ ~ -+=± - rJ -- I

GM:

,., ~ ., -- I r-- r-­ I I J " >-­ It.> 5 ~ ~ 6 7 ~ 8

I ! I J ~ J J ~ ~ ~ J ~ J .oJ J I"' I .. -- :

I I I

~ ~ ~ • n ,~ / t.>____ ->'--- ' i,...... j 9 10 II 12 ~---:::::::=:=: jL .. i t fq:

I I I

~ fI n ,-;--. #tF~t{l-~ ~ ~ ~ {I- ~ ./!. ) • '-- , u 15 16 3 3 3­ l3 14 . . j .. jL : . t ~ ­ I I I

The Dominant Seventh Chord 211 Assignment 11.5 Keyboard Assignment Before completing the following chorale-style hannonizations on paper, play them on the piano using the right hand for the soprano, alto, and tenor and the left hand for the bass voice. The example shows correct procedure.

I I I

~ u I

i~~~I I DM: I ii6 V7* I *Use this position of V' to avoid parallels.

Written Assignment After you have completed the keyboard portion of the assignment, write out the harmo­ nizations on paper, using these guidelines: 1. Add the alto and tenor to the following chorale-style harmonizations. 2. Analyze each chord using Roman numerals.

2

, J,I. ,., I I I I I I I. U U

) : . . • I I I I FIgured bass: 6 7 7 8 8

DM:

3 4 ·1 ..J,I. * J I I I I I I I . tJ

) . 11 .. . . I I I I I I. 6 7 I 6 7 8 8

AM: ~M:

212 The Structural Elements of Music 5. 6. ,u. I . . tJ 11

:

I I I I I 1# 16 6 fV 7 r 5 2

em: gm:

Assignment 11.6 1. Harmonize the following folk song either at the piano or on paper. 2. Select no more than one chord per measure. In some instances, a single chord will har­ monize more than one measure. 3. At the piano, play the melody with the right hand and the accompaniment figure with the left hand. 4. Use only the following chords:

Fm (ii or ii6 ) AI, (IV) em (vi) 5. Make up your own accompaniment figure or select one from those shown below. 6. All of the arrangements should be played in class whether written out on paper or sim­ ply improvised at the keyboard.

If you cannot think of a good accompaniment figure yourself, choose one of these. Each example shows how the pattern can be fit into I and V7. You will have to figure out how the accompaniment pattern can be made to support other chords.

Accompaniment Figures.

1. 2. 3. ?'hr r r IJ , ~ II r Ci r I j Ei f II eiF r I af F II 4. 2: Vj, EIEJ ~ ItEU r

Folk Song: "The Sailor."

flt,J If J ] IJ ] J I] J j IJ J J I] J J IJ j J 10 J J IJ

The Dominant Seventh Chord 213 Assignment 11.7 Keyboard Assignment Before completing the following chorale phrases on paper, play them on the piano using the right hand for the soprano, alto, and tenor and the left hand for the bass voice. For an example of correct procedure, see assignment 11.5. All of these chorales have been har­ monized by Bach.

Written Assignment Once you have completed the keyboard portion of the assignment, write out the harmo­ nizations on paper using these guidelines: 1. Add the alto and tenor to the chorale phrases using good voice-leading procedures. 2. Analyze each chord using Roman numerals.

Alternate Directions: Macro Analysis Complete steps 1 and 2 listed above, including a top line of letter names and slurs above the Roman numerals.

1. 0 wir annen Sunder (Oh, We Poor Sinners), BWV 407, m. 1-2 (Modified).

I I

I

2. Jesu, deine tiejen Wunden (Jesus, Thy Deep Wounds), BWV 194, m. 3-4 (Modified).

1":\ ,., I I I I I I I I ~u ? ~ I I I r I 6 6 7 5

B~M: vi

214 The Structural Elements of Music 3. Es spricht der Unweisen Mund wahl (The Lips of the Foolish Say), BWV 308, m. 5-6 (Modified).

1 I I .

, tJ 1I ~ · I I I I I r I 4 6 6 7 r 2

FM: IV

4. Straf mich nicht in deinem Zorn (Punish Me Not in Thy Wrath), BWV 115, m. 9-10 (Modified and Transposed).

, I I I /"':\

\v I ( J r I I I I I 4 6 6 6 7 r 2 4

E~M: 11

5. 0 Gatt, dufrommer Gatt (Oh God, Thou Faithful God), BWV 45, m. 3-4 (Modified).

1 .110 ~, I I /"':\ , tJ

"

Ll J • f · I I I r 6 4 6 6 7 2 5

EM: ii6

Assignment 11.8 Keyboard Assignment 1. If you have difficulty with this type of assignment, get familiar with the figured bass first. With the thumb of your right hand, play the bass notes. Add the other notes of the chord (from figured bass) with the fingers still available. Do not worry about voice leading at this point.

The Dominant Seventh Chord 215 2. Once you are familiar with the hannony, play the bass voice with your left hand, and begin work on an interesting melodic line. Throughout the study of keyboard harmony, let the right hand take the soprano, alto, and tenor while the left hand plays the bass.

Written Assignment 1. On a separate sheet of paper write out each figured bass, leaving a staff above for the soprano and alto. 2. Complete the remaining three upper voices according to the figuration supplied. 3. To help in writing the soprano voice: a. On a piece of scratch paper, write out the notes of each chord, including doubled notes. b. From this sketch, begin writing the entire soprano melody, giving it a desirable con­ tour-one climax tone and distinct directional movements. c. Remember to maintain a majority of steps rather than skips in your melody. 4. When the melody is complete to your satisfaction, add alto and tenor voices. 5. Make a complete Roman numeral analysis of all exercises.

1. r.\ 2: ~, ,. e ~ F I • r r 1 4 6 3 6 7 2 3 B~M:

2. ,. r.\,. ?:,e F I F F I r r 1 r I 4 6 6 3 7 2 5 3

DM:

3. r.\ ;>:e • ,. I ! I r, F I f I I r r 6 6 6 7 5 CM:

4.

?:§# e II f r F r r I r r 6 6 7 5 AM:

5. r.\ 2: e ,. F I f II r 16 F r 6 r 5

CM:

216 The Structural Elements of Music