Traditional Harmony

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Heiserman,
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Lesson1:PRELIMINARYKNOWLEDGEANDSKILLS
Overview
11PlacementofVoices
12VoiceMotion
13FiguredBassandAnalysis
Lesson2:PRIMARYTRIADSINROOTPOSITION
Overview
21PartWritingPrimaryTriads(Major)
22PartWritingPrimaryTriads(Minor)
23RepeatedTriads
24Cadences
Lesson3:PRIMARYTRIADSINFIRSTINVERSION
Overview
31PartWritingFirstInversionPrimaryTriads
32FirstInversionProgressions
33Cadences
Lesson4:PRIMARYTRIADSINSECONDINVERSION
Overview
41TypesofSecondInversionTriads
Lesson5:THEDOMINANTSEVENTHCHORD
Overview
51PartWritingtheDominantSeventhChordtoTonic
52PartWritingtheSubdominantTriadtotheDominantSeventhChord
53MelodicPreparationoftheSeventhoftheDominantSeventhChord
LESSON6:SECONDARYTRIADSINISOLATION
Overview
61SecondaryTriads
LESSON7:THELEADINGTONEANDSUBTONICTRIADS
Introduction
71Overview
72PartWritingtheLeadingToneTriad
73SubtonicTriad
LESSON8:RELATINGCHORDSCALESTOTRIADS,EXTENDEDCHORDSANDALTERED
CHORDS
Introduction
81Overview
82PartWritingSupertonicTriad
LESSON9:THESUBMEDIANTTRIAD
Introduction
91Overview
92PartWritingSubmediantTriad
LESSON10:PRINCIPLESOFPROGRESSION
Introduction
101Overview
102RootMovement
103ChordGroups
104ChordProgression
LESSON12:ALTERNATIVEPRINCIPLESOFTRIADICVOICELEADING
Introduction
http://www.waybuilder.net/sweethaven/Humanities/Music/TraditionalHarmony/DavidL.Heiserman,
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121VoiceLeadingofRepeatedTriads
122VoiceLeadingofTriadswithRootMovementbyFifth
123VoiceLeadingofFirstInversionTriads
124Cadences
LESSON13:SECONDARYDOMINANTCHORDS
Introduction
131StructureandAnalysis
132DominantoftheDominantChords
133PartWritingSecondaryDominantChords
LESSON14:LESSCOMMONSECONDARYDOMINANTCHORDS
Introduction
141LessCommonSecondaryDominantCords
LESSON15:SECONDARYLEADINGTONECHORDS
Introduction
151StructureandAnalysis
152SecondaryLeadingToneChords
LESSON16:COMMONCHORDMODULATION
Introduction
161RelationshipofKeys
162FourStepProcess
Lesson1:PRELIMINARYKNOWLEDGEANDSKILLS
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Inthislesson,youwilllearnvoicing,ranges,doubling,spacing,openandclosepositions,typesof
voicemotion,objectionablevoicemotion,figuredbass,andanalysis.
Aftercompletingthislesson,youwillbeableto:
Nameandidentifytherangesofthefourvoices.
Writevoicedoublings.
Writecorrectvoicespacinginopenandcloseposition.
Identifyvoicemotions.
Identifycrossedvoices,overlappingvoices,parallelvoices,andhiddenvoices.
Writefiguredbassandanalysis.
1.VoiceNames.
a.Thefourvoicesintraditionalfourpartwritingaresoprano,alto,tenor,andbass.Theseareoften
abbreviatedasSATB.Thesopranoisthehighestvoiceandisnotatedinthetrebleclefstaffwithits
stemsup.Thealtoisthesecondhighestvoiceandisnotatedinthetrebleclefwithitsstemsdown.
Thetenoristhethirdhighestvoiceandisnotatedinthebassclefwithitsstemsup.Thebassvoiceis
thelowestvoiceandisnotatedinbassclefwithitsstemsdown(Figure11).
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Figure11.SATBNotation
b.Whenthesopranoandaltoortenorandbassareinunison(soundingthesamepitch),thestemsgo
upanddownonthesamenotehead(Figure12).
Figure12.StemmingSharedNoteHeads
NOTE:Thesopranopartisoftencalledthemelody.Thealtoandtenorpartsarecalledtheinner
voices.Thebasspartiscalledthebassline.
2.VoiceRanges
Thenormalsingingrangeforthesoprano,tenor,andbassvoicesisanoctaveandasixth(Major
13th).Thealtorangeisanoctaveandafifth(Perfect12th).Figure13showsthenotesofeachvoice
range.Avoidusingtheextremerange(thehighestorlowestnoteortwo)ofeachvoiceunlessdictated
bythevoiceleading.
Figure13.SATBRanges
3.VoiceDoubling
Infourpartwriting,thethreenotetriadmusthaveoneofitstonesduplicated.Whenthetriadisinroot
position(bassvoicehastherootofthechord),thebassvoiceandoneofthethreeuppervoiceswill
havethesameletternamenote.Thisdoublingcanbeattheunisonoranyoctaverelationship.
Doublingdoesnotchangetheharmonicstructureofthechord,butitmayalteritscolorandresonance
(Figure14).
Figure14.VoiceDoubling
SELFREVIEWEXERCISE11
Writetheinnervoicesofeachtriad.Useonethirdanddoubletheroot.Thealtovoiceshouldhaveanotehigherthan
thetenorvoice(Figure15).Staywithinthevoiceranges.
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Figure15.VoiceDoublings
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AnswerKey
4.VoiceSpacing
a.Thedistancebetweenthesopranoandthealtovoicesmustbeasimpleintervalofanoctaveor
less.
b.Thedistancebetweenthealtoandtenorvoicesmustalsobeasimpleinterval.
c.Thedistancebetweenthetenorandthebassvoicescanbeeitherasimpleoracompoundinterval.
However,therearerestrictionsoncertainsimpleintervalsbetweenthetenorandbassvoices.These
restrictions,calledlowintervallimits,dictatehowlowsomeintervalsmaybevoiced.Therestricted
intervalsaretheminorsixth,thetritone,thethird(Majororminor),andthesecond(Majororminor).
Therearenolimitsontheotherintervalswithinthebassvoicerange(Figure16).
Figure16.LowIntervalLimits
d.Figure17showsincorrectandcorrectvoicespacing.
Figure17.IncorrectandCorrectVoiceSpacing
Correcttheimproperlyspacedvoicing.Repositionthealtoandtenorvoices.Donotchangethesopranovoice(Figure
18).
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Figure18.CorrectVoiceSpacing
AnswerKey
NOTE:Thetermchordisoftenusedwhenreferringtoatriad.
5.OpenandClosePosition
a.Triadscanbewrittenineitheropenorclosepositions.Inopenposition,thedistancebetweenthe
sopranoandthetenorisaninthormore.Incloseposition,thedistancebetweenthesopranoandthe
tenorisanoctaveorless(Figure19).
Figure19.OpenandClosePositionTriads
b.Thebassvoiceisnotconsideredindeterminingopenorcloseposition.
Rewritethefollowingtriadsinopenposition.Useoneroot,onethird,andonefifthofeachchordtocompletethe
exercise(Figure110).
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Figure110.TriadsinOpenPosition
AnswerKey
Rewritethefollowingtriadsincloseposition.Useoneroot,onethird,andonefifthofeachchordtocompletethe
exercise(Figure111).
Figure111.TriadsinClosePosition
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6.VoiceMotion
Goodpartwritingdependsonthesmoothconnectionoftheindividualpartsandtheirindependenceof
motion.Theterm"motion"isusedtodescribetherelativechangeinpitchoftwoormorevoiceparts.
Voicemotionisusuallydescribedinsimpleintervals.Thefourtypesofmotionaresimilar,parallel,
contrary,andoblique.
a.Similarmotionoccurswhentwovoicesmoveinthesamedirectionbutproducedifferentnumerical
intervalnames(Figure112).
Figure112.SimilarMotion
b.Parallelmotionoccurswhentwovoicesmoveinthesamedirectionandproducethesame
(numerical)intervalname(third,sixth,etc.).Intervalquality(perfect,Major,minor,augmented,or
diminished)isnotconsideredindeterminingparallelmotion.AMajorthirdtoaminorthirdisparallel
motion(Figure113).
Figure113.ParallelMotion
NOTE:Whenvoicesmoveinthesamedirection,themotioncanbecalleddirectmotion.Similarand
parallelmotionsaredirectmotion.
c.Contrarymotionoccurswhentwovoicesmoveinoppositedirections(Figure114).
Figure114.ContraryMotion
d.Obliquemotionoccurswhenonevoicesustainsorrepeatswhiletheothervoicemoves(Figure1
15).
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Figure115.ObliqueMotion
NOTE:Whenvoicesmoveindissimilardirections,themotioncanbecalledindirectmotion.Contrary
andobliquemotionsareindirectmotion.
Writethetypeofvoicemotioninthecorrespondingblanksprovidedbelowthemeasures.Onthesecondlinewrite
whetherthemotionisdirectorindirect.Thefirstmeasurehasbeendoneforyou(Figure116).
Figure116.IdentifyVoiceMotion
AnswerKey
7.ObjectionableVoiceMotion
a.CrossedVoices.CrossedvoicesoccurwhenthesopranodoesNOThavethehighestpitch,thealto
thesecondhighest,thetenorthethirdhighest,orthebassthelowestpitch.Donotwritecrossed
voices(Figure117).
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Figure117.CrossedVoices
b.OverlappingVoices.Overlappingvoicesoccurwhentwoadjacentvoicesmoveinsimilarorparallel
motionandthelowervoiceascendstoapitchabovethatjustleftbytheuppervoice.Overlapping
voicesalsooccurwhentheuppervoicedescendstoapitchbelowthatjustleftbythelowervoice.Do
notwriteoverlappingvoices(Figure118).
Figure118.OverlappingVoices
NOTE:Measure1ofFigure118alsohasaspacingerrorbetweenthealtoandtenorvoices.
c.ParallelVoices.
(1)Parallelperfectprimes,perfectfifths,perfectoctaves,anddissonantintervals(seconds,sevenths,
augmented,anddiminished)shouldbeavoided.Donotwriteparallelprimes,fifths,octaves,and
dissonantintervals(Figure119).
Figure119.ObjectionableParallelVoices
NOTE:Parallelperfectfifthsandparallelperfectoctavesareusuallycalledparallelfifthsandparallel
octaves.Repeatednotesarenotconsideredparallelfifthsoroctaves.
(2)Ahiddenfifthoroctaveoccurswhentwovoicesapproachafifthoranoctaveinsimilarmotion.A
hiddenfifthoroctaveisobjectionableonlywhenitoccursbetweenthesopranoandbassvoice,and
thesopranoisapproachedbyaleap(Figure120).
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Figure120.ObjectionableHiddenFifthandOctave
(3)Parallelfifthsandoctavesbycontrarymotionoccurwhentwovoicesmovebycontrarymotionfrom
oneintervaltothesameinterval.Anoctavetounisonhasthesameeffect.Donotwriteparallelfifths
oroctavesbycontrarymotion(Figure121).
Figure121.ObjectionableParallelsbyContraryMotion
Correctthecrossedvoices.Useonlytheexactpitch(octave)indicatedtocompletetheexercise(Figure122).
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Figure122.CorrectCrossedVoices
AnswerKey
Drawasolidlinetoindicatetheoverlappingvoicesanddrawadottedlinetoindicatetheoverlappedvoicesineach
measure.Writethenamesofthevoicesoverlappingandthenotesthatoverlap.Theremaybemorethanone
overlappingvoiceineachmeasure.Thefirstonehasbeendoneforyou(Figure123).
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Figure123.IdentifyOverlappingVoices
AnswerKey
Drawalinetoindicatetheobjectionableparallelmotionineachmeasure.Labelparallelfifthswithabracketandthe
number5andparalleloctaveswithan8.Thefirstonehasbeendoneforyou(Figure124).
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Figure124.IdentifyObjectionableParallelMotion
AnswerKey
Drawalinetoindicatetheobjectionablehiddenmotionineachmeasure.Labelhiddenfifthswitha5andhidden
octaveswithan8.Thefirstonehasbeendoneforyou(Figure125).
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Figure125.IdentifyObjectionableHiddenMotion
AnswerKey
Drawbracketstoindicatetheparallelvoicesbycontrarymotionineachmeasure.Labelparallelfifthsbycontrary
motionwitha5andparalleloctavesbycontrarymotionwithan8.Thefirstmeasurehasbeendoneforyou(Figure1
26).
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Figure126.IdentifyParallelVoicesbyContraryMotio
8.FiguredBass
Figuredbassisashorthandmethodofindicatingharmonicaccompanimentforabassline.Arabic
numbersplacedunderthebassnotedesignatetheintervals(usuallyreducedtosimpleintervals)
abovethebassnote.Thefiguredbassdoesnotindicatewhichvoice(soprano,alto,ortenor)has
whichpart(root,third,orfifth)ofthechord.Theintervalsstaywithinthekeysignatureunless
chromaticallyaltered(lesson2).Figuredbassdoesnotindicateopenorcloseposition(Figure127).
Figure127.FiguredBassExamples
Writethenotesabovethebassnotethatareindicatedbythefiguredbassnumbers.Thefirstmeasurehasbeendone
foryou(Figure128).
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Figure128.FiguredBass
AnswerKey
9.RomanNumeralAnalysis
a.Romannumeralswrittenunderthestaffindicatechordanalysis.Theyarenotusedbelowthebass
noteexceptforanalysis.TheRomannumeralidentifiesthecorrespondingscaledegreeonwhichthe
triadisbuilt.UppercasenumeralsrepresentMajortriads.Lowercasenumeralsrepresentminor
triads.Uppercasenumeralswithaplussign(+)indicateanaugmentedtriad.Alowercasenumeral
withacircle(o)indicatesadiminishedtriad(Figure129).
Figure129.QualityofTriads
b.Therootofthetriad,notnecessarilythebassnote,isindicatedbytheRomannumeralswhetherthe
triadisinrootpositionorinaninversion(Figure130).
Figure130.RootinRelationtoBassNote
NOTE:Romannumeralanalysiscanbecombinedwithfiguredbasstoshowacompleteanalysis
(triadroot,triadinversion).
WritetheRomannumeralanalysisbelowthebassclefstaff.TheexerciseisinMajorandminorkeys(Figure131).
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Figure131.RomanNumeralAnalysis
Lesson2:PRIMARYTRIADSINROOTPOSITION
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Inthislesson,youwilllearnaboutprimarytriadsinrootposition.Thislessonincludesdoubling,figured
bass,andbasicprinciplesforpartwritingrootpositionprimarytriadsinMajorandminor.
Aftercompletingthislesson,youwill:
Identifyrootpositiontriads.
PartwriterootpositionprimarytriadsinMajorandminor.
Identifyauthentic,plagal,andhalfcadences.
1.PrimaryTriads
a.Theprimarytriadsaretriadsbuiltonthetonic,subdominant,anddominantscaledegrees.They
establishthetonalcenter(Figure21).
Figure21.PrimaryTriads
NOTE:Thetonic,subdominant,anddominantscaledegreenotes(scalesteps)arecalledprimaryor
tonalnotes.Thesupertonicchordisasecondarytriad,butthesupertonicscaledegreecanfunctionas
aprimarynote.
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b.TheprimarytriadsarebuiltonthesamescaledegreesinbothMajor(I,IV,V)andminor(i,iv,V)
keys(Figure22).
Figure22.PrimaryTriadsinMajorandMinor
NOTE:Inaminorkey(harmonicminor),thedominanttriadisMajor.Thethirdofthetriadisraised
withanaccidentaltocreatealeadingtone.
2.RootPosition
Atriadisinrootpositionwhentherootofthetriadisinthebassvoice(Figure23).
Figure23.RootPositionTriad
3.DoublingofRootPositionTriads
Whenatriadisinrootposition,therootofthechord(thebassnote)isdoubled.Thisdoublednote
maybeinanyoftheuppervoices(Figure24).
Figure24.RootPositionDoubling
4.FiguredBass
a.Thenumerals , ,5,or3indicateatriadinrootposition.
NOTE:The3representsthenoteanintervalofathirdabovethebassnote(thethirdofthetriad).The
5representsthenotetheintervalofafifthabovethebassnote(thefifthofthetriad).The8represents
thenotethatisthedoubledrootofthetriad(Figure25).
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Figure25.FiguredBass
b.Usuallythesenumeralsareomitted.Abassnotewithnonumeralsisunderstoodtorepresenta
triadinrootposition(Figure26).
Figure26.RootPositionFiguredBass
NOTE:Thefiguredbassisacompletefiguredbasswhenalluppervoicesarerepresentedinthebass
figuring(includingdoublings).Essentialfiguredbassisthatnumbering(orchromaticsign)whichis
neededtorepresentthetriad.Figure25iscompletefiguredbass.Figure26isessentialfiguredbass.
c.Chromaticalterationsareindicatedbyaccidentalsplacedbelowthebassline.
d.Thechromaticsignistheaccidental(#, ,or )necessarytoraiseorlowerthenotebeingaltered
withinthekey.Itdoesnothavetobea#toraiseora tolower.
e.Achromaticsignusedinthefiguredbassreferstothenoteathirdabovethebassifnonumber
accompaniesthechromaticsign(Figure27).
f.Aslashthroughanumbermeanstoraisethenoteofthatintervalahalfstep(Figure27).
Figure27.ChromaticAlterationinFiguredBass
5.BasicPrinciplesforPartWritingTriads
a.Keepthecommontone.
b.Connecttheremainingvoicestothenearestavailablechordtones.
First,lookforhalfstepmovement.
Next,lookforwholestepmovement.
Finally,connectanyremainingintervals.
c.Checkyourpartwritingforobjectionablevoicemotion.
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25CADENCES
18.Authentic,Plagal,andHalfCadences
a.AuthenticCadence.TheVtoIorVtoichordprogressionataphraseendingiscalledanauthentic
cadence.Itisaperfectauthenticcadencewhenbothtriadsareinrootpositionandthetonicscale
degreeappearsinthesopranoofthetonictriad.Otherwise,itiscalledanimperfectauthentic
cadence.Authenticcadencescreatethefeelingoffullstopandarecommonlyfoundatfinalcadences
(Figure237).
Figure237.AuthenticCadences
b.PlagalCadence.TheIVtoIorivtoichordprogressionataphraseendingiscalledaplagal
cadence.Itisaperfectplagalcadencewhenbothtriadsareinrootpositionandthetonicscaledegree
appearsinthesopranovoiceofbothtriads.Otherwise,itisknownasanimperfectplagalcadence.
Theplagalcadence,commonlycalledtheAmencadence,lacksthedirectionaldriveoftheauthentic
cadenceandprovidesalessfinalending(Figure238).
Figure238.PlagalCadences
c.HalfCadence.Whenanychord,regardlessofinversion,movestotheVchordataphraseending,a
halfcadenceoccurs.Aphrasethatendswithahalfcadencedoesnothaveafeelingofrepose.It
createsafeelingofsuspensethatisusuallyresolvedinthenextphrasewithafinalcadence(Figure2
39).
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Figure239.HalfCadences
d.PlagalHalfCadence.WhentheI(i)chordmovestotheIV(iv)chordataphraseending,aplagal
halfcadenceoccurs.Aswithahalfcadence,theplagalhalfcadencecreatesafeelingofsuspense.
Thisisusuallyresolvedinthenextphrasewithafinalcadence(Figure240).
Figure240.PlagalHalfCadences
Partwriteandanalyzethefollowingprogressions.Writethenameofeachcadenceinthespaceprovided(Figure2
41.PartAandPartB).
Figure241.PartA.RootPositionProgressions
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Figure241.PartB.RootPositionProgressions
6.PartWritingtheIChordtotheVChord
a.Therootofthetriadisinthebassvoice(Figure28).Therootofthedominantchordcanbeeither
upaperfectfifthordownaperfectfourthfromthebassnoteofthetonicchord.
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Figure28.BassNote
b.Onenoteinthetonicchordisalsofoundinthedominantchord.Thisnoteiscommontobothtriads
andiscalledthecommontone.Whenconnectingthetonictothedominantchord,keepthecommon
toneinthesamevoice(Figure29).
Figure29.CommonTone
c.Toachievethesmoothestpartwriting,movevoicesthesmallestdistance.Movetheremainingtwo
voicesdownbysteptothenearestchordtone.First,connectthehalfstepmovementandthenthe
wholestepmovement(Figure210).
Figure210.DescendingMovementbyStep
d.ThescalepatternforconnectingtheIchordtotheVchord(Figure211).
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Figure211.ItoVScalePattern
NOTE:RememberthatArabicnumbersindicatescaledegreesnottriadnumbers.
7.PartWritingtheVtotheIChord
ThescalepatternforconnectingtheVtotheIisthereverseoftheItotheVconnection(Figure212).
Figure212.ConnectingVtoI
PartwritethefollowingItoVandVtoIprogressions(Figure213).
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Figure213.ItoVandVtoIProgressions
AnswerKey
8.PartWritingtheItoIVChord
a.Therootofthetriadisinthebassvoice(Figure214).Therootofthesubdominantchordcanbe
eitheraPerfectfourthuporaPerfectfifthdownfromtherootofthetonicchord.
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Figure214.BassNote
b.Keepthecommontoneinthesamevoice(Figure215).
Figure215.CommonTone
c.Movetheremainingtwovoicesupbysteptothenearestchordtone.First,connectthehalfstep
movement,andthenconnectthewholestepmovement(Figure216).
Figure216.AscendingMovementbyStep
d.ScalepatternforconnectingtheIchordtotheIVchord(Figure217).
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Figure217.ConnectingItoIV
9.PartWritingtheIVChordtotheIChord
ThescalepatternforconnectingtheIVtotheIchordisthereverseoftheItoIVchordconnection
(Figure218).
Figure218.ConnectingIVtoI
PartwritethefollowingItoIVandIVtoIprogressions(Figure219.PartAandPartB).
Figure219.PartA.ItoIVandIVtoIProgressions
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Figure219.PartB.ItoIVandIVtoIProgressions
AnswerKey
10.PartWritingtheIVChordtotheVChord
a.Therootofthetriadisthebassnote(Figure220).TherootofthedominantchordisaMajor
secondabovetherootofthesubdominantchord.
Figure220.BassNote
b.Thereisnocommontone.Movetheupperthreevoicesdowntothenearestchordtonesincontrary
motiontothebassvoice.First,connectthehalfstep,nextconnectthewholestep,andthenconnect
theminorthirdmovement(Figure221).
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Figure221.ContraryMotiontoBass
c.ThescalepatternforconnectingtheIVchordtotheVchord(Figure222).
Figure222.ConnectingtheIVtoV
d.WhenconnectingtheIVtoV,failuretomovetheuppervoicescontrarytothebassvoicecauses
motionproblemsofparallelfifthsandoctaves(Figure223).
Figure223.ObjectionableParallelFifthsandOctaves
PartwritethefollowingIVtoVprogressions(Figure224).
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Figure224.IVtoVProgressions
AnswerKey
11.PartWritingtheVChordtotheIVChord
Thedominantchordisusuallynotconnectedtothesubdominantchord.However,thedominantcan
progresstothesubdominantwhenitimmediatelygoesbacktothedominantchord.Theupperthree
voicesmovecontrarytothebassvoice(Figure225).
Figure225.ConnectingVtoIVtoV
12.PartWritingtheiChordtotheVChordandVtoi
Connectingtonictodominantanddominanttotonicinminorissimilartoconnectingtonictodominant
anddominanttotonicinMajorkeys.Therootisinthebassvoice.Keepthecommontone.Connect
theremainingtwovoicesbyhalfsteptothenearestchordtones.Remembertoraisethethirdofthe
dominantchordinminor(Figure226).
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Figure226.ConnectingitoVandVtoI
PartwritethefollowingitoVandVtoiprogressions(Figure227.PartAandPartB).
Figure227.PartA.itoVandVtoiProgressions
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Figure227.PartB.itoVandVtoiProgressions
AnswerKey
13.PartWritingtheiChordtotheivChordandivtoi
Connectingtonictosubdominantandsubdominanttotonicinminorissimilartoconnectingtonicto
subdominantandsubdominanttotonicinMajor.Therootisinthebassvoice.Keepthecommontone.
Connecttheremainingtwovoicesbysteptothenearestchordtone.First,connectthehalfstep
movements,andthenconnectthewholestepmovement(Figure228).
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Figure228.Connectingitoivandivtoi
Partwritethefollowingitoivandivtoiprogressions(Figure229.PartAandPartB).
Figure229.PartA.itoivandivtoiProgressions
Figure229.PartB.itoivandivtoiProgressions
AnswerKey
14.PartWritingtheivChordtoVChord
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a.Connectingthesubdominanttodominantinminorissimilartoconnectingsubdominanttodominant
inMajor.Therootisinthebassvoice.Movethethreeuppervoicesdowntothenearestchordtonesin
contrarymotiontothebassvoice.First,connectthetwovoiceswithhalfstepmovements,andthen
connecttheminorthirdmovement(Figure230).
Figure230.ConnectingivtoV
b.WhenconnectingtheivtoV,avoidthemelodicaugmentedsecondbetweenthesixthscaledegree
andtheraisedseventhscaledegree.Thisintervalshouldnotappearinthesamevoice(Figure231).
Figure231.MelodicAugmentedSecond
c.Connecttheupperthreevoicescontrarytothebasstoavoidtheaugmentedsecond.
PartwritethefollowingivtoIVprogressions(Figure232).
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Figure232.ivtoVProgressions
AnswerKey
15.PartWritingtheVChordtotheivChord
Thedominantchordisusuallynotconnectedtothesubdominantchordinminor.However,the
dominantcanprogresstothesubdominant(minor)whenitimmediatelygoesbacktothedominant.
Theupperthreevoicesmovecontrarytothebass(Figure233).
Figure233.ConnectingtoVtoivtoV
16.PicardyThirdEnding
ThefinaltonicchordofacompositioninaminorkeyisoccasionallymadeMajor.Theraisedthirdof
thetriadisborrowedfromtheparallelMajorandisknownasthePicardythird.ThePicardythird
usuallyoccurswhenconnectingthedominanttotonicchordatthefinalcadence(Figure234).
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Figure234.PicardyThirdEnding
NOTE:UseanuppercaseRomannumeralIforanalysiswhenusingthePicardythirdbecauseofthe
Majorqualityofthetonicchord.
17.Anytriadcanfollowitself
Whentriadsrepeat,youcanrepositionthevoiceswithinthechord.
a.Movetheupperthreevoicesinsimilarmotionupordowntoanotherchordtone(Figure235).
Voicesshouldnotoverlap.
Figure235.UpperVoiceRepositioning
b.Repositiontwooftheuppervoicessothatthetriadchangespositionfromopentocloseorfrom
closetoopen(Figure236).Thethirdvoicehasacommontone.
Figure236.ChangingTriadPosition
c.Thebassvoicecaneitherremainonthesamepitchorjumpanoctave(Figures235and236).
NOTE:Whenrepositioningatriad,youdonothavetheproblemofhiddenorparallelfifthsoroctaves.
Youstillmustmakesurevoicesdonotoverlap,cross,orviolatevoicerangeandintervallimits.
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Lesson3:PRIMARYTRIADSINFIRSTINVERSION
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Inthislesson,youwilllearntheprimarytriadsinfirstinversion.Thislessonincludesdoubling,figured
bass,analysis,partwritingprocedures,andcadences.
Identifyfirstinversionprimarytriads.
PartwritefirstinversionprimarytriadsinMajorandminor.
Identifyimperfectcadences.
1.FirstInversionTriads.
a.Atriadisinfirstinversionwhenthethirdofthechordisinthebassvoice.Thefifthandtherootare
voicedabovethethird(Figure31).
Figure31.FirstInversionTriad
NOTE:Therootofthetriadremainstheroot(scaledegreeuponwhichthetriadisformed)regardless
ofitspositioninthetriad.
b.Firstinversiontriadsallowforsmoothvoiceleadingofthebassvoiceandprovideharmonicvariety.
2.DoublingofFirstInversionTriads.
a.Whentheprimarytriadisinfirstinversion,doubletherootorfifthofthechord(Figure32).The
upperthreevoiceswillhaveonerootandtwofifthsortworootsandonefifth.
Figure32.FirstInversionDoubling
b.Youwilldeterminewhichnotetodoublebythevoiceleadingnecessarytomakethevoicesconnect
smoothly.
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NOTE:Itisbettertodoublethesopranowithaninnervoicethantodoublethetwoinnervoices.
However,botharecorrect(Figure33).
Figure33.DoublingAlternatives
3.FiguredBassforFirstInversionTriads.
a.Thenumeralsindicateatriadinfirstinversion(Figure34).
NOTE:The3representsthenoteanintervalofathirdabovethebassnote.Thatnotewhichisthe
thirdabovethebassvoiceisthefifthofthetriad.The6representsthenotetheintervalofasixth
abovethebassnote.Thatnoteistherootofthetriad.
Figure34.FirstInversionFiguredBass
b.Afirstinversiontriadcanalsobeindicatedbythenumbersand.Theaddednumberdictatesthe
doublednote.Thisisusuallynotdoneinbassfiguring(Figure35).
Figure35.CompleteFirstInversionFiguredBass
c.Usually,onlythe6appearsunderthebassnote.Theintervalofthethirdisunderstood.You
determinewhichnote(rootorfifth)todouble(Figure36).
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Figure36.EssentialFirstInversionFiguredBass
NOTE:Firstinversiontriadsarecalledsix(6)chords.Youshouldnotconfusethiswiththeadded6th
chords(atriadwiththenoteaMajorsixthabovetherootofthetriadadded)inpopularharmony.The
6,whenusedwithanalphabetletter,representsafournotechord.WhenusedwithaRomannumeral,
the6representsatriad(threenotechord)withthethirdasthelowestnote(Figure37).
Figure37.Added6thChordand6Chord
4.AnalysisofFirstInversionTriads.
TheRomannumeralindicatesthescaledegreeuponwhichthechordisconstructed(therootofthe
triad).Inafirstinversiontriad,thebassnoteisnottherootofthechord.However,youcandetermine
therootofthechordfromthebassnote.Sincethebassnoteisthethirdofthechord,therootisthe
intervalofathirdbelowthebassnote(orasixthabovethebassnote).Thenumber6identifiesthe
intervalthatistherootofthechord(Figure38).
Figure38.RootIdentification
5.Theprocedureforpartwritingfirstinversiontriadsisidenticaltopartwritingrootposition
triads.
a.Keepthecommontone.
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b.Connecttheremainingvoicestothenearestavailablechordtones.
First,lookforhalfstepmovement.
Next,lookforwholestepmovement.
Finally,connectanyremainingintervals.
c.Checkyourpartwritingforobjectionablevoicemotionsandothermistakes.
NOTE:Inpartwritingrootpositiontriads,youfollowedspecificscalepatternsforeachprogression.
However,whenpartwritingfirstinversiontriads,youmustmakechoicesthatarenotsetpatterns.
Yourchoicesaredeterminedbythesmoothest(generallytheclosest)voiceleading.
6.Applythepartwritingproceduretoaprogressionwithafirstinversionchord(Figure39).
Figure39.ProgressionwithFirstInversion
a.First,keepthecommontone.PlaceaCinthetenorvoice(Figure310).
NOTE:ThesecondchordisaCtriad(Ichord)infirstinversion.ThenotesofthechordareC,E,and
G.Thefourth(doubled)notecanbeeitheraCoraG.TheE(thethirdofthechord)isalreadypresent
inthebassvoice.YoushouldnotusetheEinanyoftheuppervoices.TheCiscommontoboth
chords.
Figure310.CommonTone
b.Connectthehalfstepmovement.Theonlynoteofthetriadlefttovoicebeforedeterminingthe
doublednoteistheG.(TheCandtheEhavealreadybeenvoiced.)TheGisnotahalfstepfrom
eitherthesopranoAorthealtoF(Figure311).Gotothenextstepoftheprocedure.
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Figure311.NoHalfStepMovement
c.Connectthewholestepmovement.TheGisawholestepfromboththesopranoAandthealtoF.
YoucanplacetheGineitherthesopranooraltovoice(Figure312).
Figure312.ChooseWholeStepMovement
d.Thelastvoice(sopranooralto)canbeeitheraCoraG.Remember,infirstinversiontriadsyoucan
doubleeithertherootorthefifthofthechord.
(1)IfyouplacedtheG(fromstepc)inthesopranovoice,youmustdecidewhichdoublednote(theG
orC)issmoothervoiceleadingforthealtovoice.TheGisawholestepfromthepreviousaltonote.
TheCisafourthfromthepreviousaltonote.Therefore,theGisthebetternotetodouble(Figure3
13).Askipofafourthinaninnervoice,whenyouhaveacloservoicetoleadto,ispoorpartwriting.
Figure313.AltoVoiceMovement
NOTE:IfthealtovoicemovesdowntoaC,thetwoinnervoicesaredoubled.Remember,itisbestto
doubleaninnervoicewiththesopranoinfirstinversiontriadswhenyouhaveachoice(Figure314).
Figure314.PoorVoiceLeading
(2)IfyouplacedtheG(fromstepc)inthealtovoice,youcanplaceeitheraGoraCinthesoprano
voice.TheGproducessmoothervoiceleadingandisthebestalternativeatthistime(Figure315).
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However,theCproducesamelodyline(soprano)withaskip.(Thiscanbeimportantinkeepingthe
melodylineinterestingforexercisesinthenextlessons.)Bothmovementsarecorrect.
Figure315.SopranoVoiceMovement
e.Checkyourpartwritingformistakes.
NOTE:Understandinghowtopartwritefirstinversiontriadsisessentialtobasicpartwritingskills
becauseyoumustmakedecisionsthatarenotsetpatterns.Youmustdeterminewhichnoteisthe
besttouseforeachuppervoice.Whenyoupartwriterootpositiontriads(andsecondinversiontriads
inLessonFour),eachvoicefollowsasetpattern.
7.Followtheprocedureagain.
NOTE:Untilyoubecomeproficientatpartwriting,youcan,ifyouwish,spellthechordbelowthebass
line.Placepossibledoublingsinthespellingattheend(inparentheses).Crossoffeachletter(note)
asitisvoiced(Figure316).(Crossoffthethirdofthechordasyouspellthechordbecauseitis
alreadyinthebassvoice.)
Figure316.FirstInversionProgression
a.Keepthecommontone.Thecommontone(G)isinthetenorvoice(Figure317).(Crossoffthe
letterGbelowthestaff.)
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Figure317.CommonToneinTenorVoice
b.Connectthehalfstepmovement.TheDisnotahalfstepfromEorC.Therefore,thereisnohalf
stepmovement(Figure318).Gotothenextstep.
Figure318.LookforHalfStepMovement
c.Connectthewholestepmovement.TheDisawholestepfromeitherthesopranooraltonote.The
Dcanbeplacedineithervoice(Figure319).(CrossofftheletterDbelowthestaff.)
Figure319.SopranoorAltoWholeStepMovement
d.Thelastvoice(sopranooralto)canbeeitheraGoraD.
(1)IfyouplacedtheD(stepc)inthesopranovoice,thebestvoiceleadingforthealtovoiceisaD
(Figure320).
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Figure320.AltoVoicing
(2)IfyouplacedtheDinthealtovoice,thebestvoiceleadingforthesopranopartisaD(Figure3
21).DoublingtheDisbetterthandoublingtheG(asecondinsteadofafourth).
Figure321.DoubletheDinSoprano
e.Checkyourpartwritingforanymistakes.
8.PartWritingRepeatedTriads.
a.Whenatriadinfirstinversionfollowsarootpositiontriadwiththesameroot,movethethird(ofthe
rootpositionchord)totherootorthefifthofthetriadinfirstinversion(Figure322).
Figure322.MovementoftheThirdofTriad
b.Youcanchangepositionoftheuppervoices(Figure323).
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Figure323.ChangeUpperVoicesPositions
NOTE:Whenyouhaveachoicebetweenthesopranoandaninnervoice,youshouldnormally
maintainthecommontoneintheinnervoiceandnotinthesoprano.Keeptheinnervoicesassmooth
aspossible(Figure324).
Figure324.ChooseCommonToneVoice
9.CheckingYourPartWriting.
a.Afteryouhavecompletedyourvoiceleading,studyyourwork.Remember,theprincipleofpart
writingisconnectingthepartsofonechordsmoothlytothepartsofthenextchord(withouterrors).
Thesmoothconnectionofvoicemovementisespeciallyimportantfortheinnervoices.Themelody
can(andshould)havedisjunctmotion(skips)aswellasconjunctmotion(stepwisemovement).On
occasion,movingonevoicebyasmallinterval(forexample,halfstep)willcauseanothervoiceto
movebyalargeinterval(fourth).Thismaynotbethebestoverallpartwritingifthefourthisaninner
voice(Figure325).
Figure325.LargeMovementInnerVoice
b.Ifthesopranohadbeenanoctaveabovethealto,thesamepartwritingisbetterbecausethe
disjunctmotioncanbeinthesopranovoice(Figure326).
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Figure326.DisjunctMotionSopranoVoice
c.Toavoidthelargeintervalskipintheinner(alto)voice(Figure325),movetherootoftheIchordup
awholestep(totheD)insteadofdownahalfstep(Figure327).Youcanthenkeepthecommontone
inthealtovoiceandskipathirdinthesoprano.Thisconnectioncreatesacceptablepartwritingforall
parts.
Figure327.SmoothPartWritingI toV
NOTE:Theaboveprogressionhasahiddenfifthbetweenthetenorandbass.Thishiddenfifthis
acceptablebecauseitisbetweenthebassandaninnervoice.SeeLesson1,paragraph7c(2).
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Writethenoteinthesecondchordthatiscommontoanoteinthefirstchord.Analyzeeachchord(Figure328).
Figure328.PartWriteCommonTones
AnswerKey
Writethenoteinthesecondchordthatisahalfstepfromanoteinthefirstchord.Ifnonoteisahalfstepmovement,
leavetheexampleblank.Analyzeeachchord(Figure329).
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Figure329.PartWriteHalfSteps
AnswerKey
Writethenoteinthesecondchordthatisawholestepfromanoteinthefirstchord.Analyzeeachchord(Figure3
30).
Figure330.PartWriteWholeSteps
AnswerKey
Writethebestnoteforthemissingvoice.Choosethebestnoteofthechordtodouble.Analyzeeachchord(Figure3
31).
Figure331.PartWriteMissingVoices
AnswerKey
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CompletethepartwritingofSelfReviewExercises1,2,and3(Figures328,329,and330).
Figure328.PartWriteCommonTones
Figure329.PartWriteHalfSteps
Figure330.PartWriteWholeSteps
10.TonicandDominantTriads.
a.ConnectingtheI6andtheVthei andtheV(Figure332).Thefirstinversiontonicchordisoneof
themostusefulofthefirstinversiontriads.Itprovidesrelieffromthefinalityofthetonicchordinroot
positionwhenthetonictriadiswrittenwithinthephrase.
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Figure332.ConnectingI6andVi6andV
NOTE:ThefiguredbassfortheVinminorcanalsobewrittenwithachromaticsigninsteadof.InC
minor,useanaturalsign(Figure333).
Figure333.ChromaticSignintheFiguredBass
b.ConnectingtheIandtheV theiandtheV (Figure334).Thedominanttriadinthefirstinversion
hastheleadingtoneinthebassvoice.Thiscreatesastrongmelodicsignificancetothebassline.The
bassvoiceusuallyresolvesupahalfstep.Thetonicchordinrootpositionusuallyfollowsthefirst
inversiondominanttriad.
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Figure334.ConnectingIandV iandV
NOTE:Whenthechromaticallyalterednoteisinthebassvoice,nochromaticsignisplacedinthe
figuredbass.
c.ConnectingtheI totheV i totheV (Figure335).
NOTE:TheV doesnotresolvetotheI becausethebassnoteusuallyresolvesupahalfstep.
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Figure335.I toV i toV

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Partwritethefollowingfirstinversionprogressions(Figure336.PartA,PartB,andPartC).
Figure336.PartA.FirstInversionTonicandDominantProgressions
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Figure336.PartB.FirstInversionTonicandDominantProgressions
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Figure336.PartC.FirstInversionTonicandDominantProgressions
AnswerKey
11.TonicandSubdominantTriads.
a.ConnectingtheI andtheIVi andtheiv(Figure337).
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Figure337.I andIVi andiv

b.ConnectingtheIandtheIV iandiv (Figure338).
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Figure338.IandIV iandiv6
c.ConnectingtheI andtheIV i andiv (Figure339).
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Figure339.I andIV i andiv

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Partwritethefollowingtonicandsubdominantfirstinversionprogressions(Figure340PartA,PartB,andPartC).
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Figure340.PartA.TonictoSubdominantFirstInversionProgressions
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Figure340.PartB.TonictoSubdominantFirstInversionProgressions
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Figure340.PartC.TonictoSubdominantFirstInversionProgressions
AnswerKey
12.SubdominantandDominantTriads.
a.ConnectingtheIV6andtheViv6andtheV(Figure341).
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Figure341.IV6andViv6andV
b.ConnectingtheIV6andtheV6(Figure342).
(1)TheV6doesnotusuallyresolvetotheIV6becausethebassvoiceoftheV6shouldresolve
upwardbyhalfstep.
(2)TheV6doesnotresolvetoaiv6(minor)andtheiv6doesnotresolvetoV6becausean
augmentedsecondwouldoccurinthebassvoice.
Figure342.IV6andV6
NOTE:BecarefulofparallelfifthsintheIV6toV6progression.Ifthealtoandtenorvoicesare
reversedinFigure342,parallelfifthsoccur.
Partwritethefollowingsubdominantanddominantfirstinversionprogressions(Figure343).
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Figure343.SubdominantandDominantProgressions
Lesson4:PRIMARYTRIADSINSECONDINVERSION
x
x
x
x
x
Inthislesson,youwilllearntheprimarytriadsinsecondinversion.Thislessonincludesdoubling,
figuredbass,partwriting,analysis,andidentificationoftypesofsecondinversions.
Identifysecondinversionchords.
Identifythefourtypesofsixfourchords.
Partwritesecondinversionprimarytriads.
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1.SecondInversionTriads.
a.Thetriadisinsecondinversionwhenthefifthofthetriadisthebassnote.Therootandthirdofthe
triadarevoicedabovethefifth(Figure41).
Figure41.SecondInversionTriad
b.Secondinversiontriadsareharmonicallyunstable.Theytendtofunctionmoreasdecorationsor
linksbetweenotherchordsratherthanactualchordsinthebasicharmonicprogression.
2.DoublingofSecondInversionTriads.
Alwaysdoublethefifth(bassnote)ofsecondinversiontriads(Figure42).Thedoublednotecanbein
anyothervoice.
Figure42.SecondInversionDoubling
3.FiguredBassforSecondInversionTriads.
a.Thenumeralsindicateatriadinsecondinversion(Figure43).
Figure43.FiguredBassIntervals
NOTE:The4representsthenotetheintervalofafourthabovethebassnote.Thatnoteafourth
abovethebassnoteistherootofthetriad.The6representsthenotetheintervalasixthabovethe
bassnote.Thatnoteisthethirdofthetriad.
b.Asecondinversiontriadcanalsobeindicatedbythenumerals.Thenumber8referstothedoubled
bassnote(Figure44).
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Figure44.CompleteFiguredBass
NOTE:Twosetsofnumeralscanoccurunderthesamebassnote.Usingcorrectpartwriting
procedures,movethenotesrepresentedbythefirstsetofnumeralstothenotesrepresentedbythe
secondsetofnumerals(Figure45).Giveeachnoteonehalftherhythmicvalueofthebassnote.
Figure45.TwoSetsofBassFigures
c.Usually,onlytheappearsunderthebassnote.Theintervaloftheoctaveisunderstoodbecausethe
bassnoteshouldalwaysbedoubledonasecondinversiontriad(Figure46).
Figure46.SecondInversionFiguredBass
NOTE:Secondinversiontriadsarecalledsixfourchords.
4.AnalysisofSecondInversionTriads.
TheRomannumeralindicatesthescaledegreeuponwhichthechordisconstructed(therootofthe
triad).Inasecondinversionchord,thebassnoteisnottherootofthechord.However,youcan
determinetherootofthechordfromthebassnote.Sincethebassnoteisthefifthofthechord,the
rootistheintervalofafifthbelow(orafourthabovethebassnote).Thenumber4identifiestherootof
thechord(Figure47).
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Figure47.RootIdentification
Lesson5:THEDOMINANTSEVENTHCHORD
x
x
x
x
x
Inthislesson,youwilllearnthedominantseventhchord.Thislessonincludesdoubling,rootposition
chordsandinversions,figuredbass,andpartwritingthedominantseventhchord.
Identifythedominantseventhchord.
Writedoublings.
Writerootpositionandinversions.
Writefiguredbass.
Partwritethedominantseventhchord.
1.DominantSeventhChords.
a.ThedominantseventhchordisaMajortriadwiththenoteanintervalofaminorseventhabovethe
rootofthetriadaddedtotheMajortriad(Figure51).Thedominantseventhchord,afournotechord,
isbuiltonscalestepfive.
Figure51.DominantSeventhChordStructure
b.Inaminorkey(harmonicminor),thedominantseventhchordisidenticalinstructuretothe
dominantseventhchordinaMajorkey.TheyarebothMajortriadswithaminorseventhintervalfrom
roottoseventh(Majorminorseventhchords)(Figure52).
Figure52.MinorKeyDominantSeventhChord
NOTE:Thetermdominantseventhisusedtodenotethestructureoftheseventhchordaswellasthe
scaledegreelocationbecausetheMajortriad/minorseventhstructureisonlyfoundonthedominant
scaledegree.
2.DoublingofDominantSeventhChords.
Sincethedominantseventhisafournotechord,thereisnodoublingofanote.Allfournotesofthe
dominantseventhchordarenormallyusedinpartwriting.Thereisoneexceptiondiscussedin
paragraph6b(1).
3.RootPositionandInversions.
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a.RootPosition.Thedominantseventhchordisinrootpositionwhentherootofthechordisthebass
note(Figure53).Thethird,fifth,andseventhofthechordarevoicedintheupperthreevoices.
Figure53.RootPositionDominantSeventh
b.FirstInversion.Thedominantseventhchordisinfirstinversionwhenthethirdofthechordisthe
bassnote(Figure54).Theroot,fifth,andseventharevoicedintheupperthreevoices.
Figure54.FirstInversionDominantSeventh
c.SecondInversion.Thedominantseventhchordisinsecondinversionwhenthefifthofthechordis
thebassnote(Figure55).Theroot,third,andseventhofthechordarevoicedintheupperthree
voices.
Figure55.SecondInversionDominantSeventh
d.ThirdInversion.Thedominantseventhchordisinthirdinversionwhentheseventhofthechordis
thebassnote(Figure56).Theroot,third,andfiftharevoicedinthethreeuppervoices.
Figure56.ThirdInversionDominantSeventh
4.FiguredBassforDominantSeventhChords.
a.RootPosition.Thecompletefiguredbassforthedominantseventhchordinrootpositionis.This
indicatestheintervalsofathird,fifth,andseventhabovethebassnote.Usually,onlythenumber7is
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writtenbelowthebassnote.Thethirdandfifthareunderstoodandareincludedinthevoicingeven
thoughtheyarenotwritteninthefiguredbass(Figure57).
Figure57.V FiguredBass
NOTE:Inaminorkey,youmustnotatetheleadingtonebyusingachromaticsign(oraslashthrough
thenumber3)inthefiguredbass(figure58).
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Figure58.MinorKeyLeadingToneNotation
b.FirstInversion.Thecompletefiguredbassforthedominantseventhchordinfirstinversionis.
Usually,onlytheiswrittenunderthebassnote.Theintervalofathird(thefifthofthechord)is
understoodandisincludedinthevoicingeventhoughitisnotwritteninthefiguredbass(Figure59).
NOTE:Inminor,thefirstinversiondominantseventhchorddoesnotrequireachromaticalterationin
thefiguredbass(Figure510).Thethirdofthedominantseventh(theleadingtone)isthebassnote.
Theaccidentaltocreatetheleadingtoneiswrittenonthestaff.Thefiguredbassforthefirstinversion
dominantseventhchordinminorisidenticaltothefirstinversiondominantseventhchordinMajor.
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Figure510.MinorKeyV FiguredBass
c.SecondInversion.Thecompletefiguredbassforthedominantseventhchordinsecondinversionis
.Usually,onlythe iswrittenunderthebassnote.Theintervalofasixth(thethirdofthechord)is
NOTE:Inminor,thecompletefiguredbassisrequiredforthesecondinversionofthedominant
seventhchord.Itisneededtoindicatetheleadingtoneofthescale.Thechromaticalterationcanbe
shownbymakingaslashthroughthe6orbyplacingachromaticsignbeforethe6(Figure512).
d.ThirdInversion.Thecompletefiguredbassforthedominantseventhchordinthirdinversionis.
Usually,onlytheiswrittenbelowthebassnote.Theintervalofasixth(thefifthofthechord)is
Sometimesonlya2isnotatedasthefiguredbassforathirdinversiondominantseventhchord.
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Figure513.VFiguredBass
NOTE:Inaminorkey,theleadingtoneisnotatedbymarkingaslashthroughthe4orbyplacinga
chromaticsigninfrontofthe4(Figure514).
5.TritoneResolution.
Thereisatritone(abbreviatedasTT)interval(diminishedfifthoraugmentedfourth)betweenthethird
andtheseventhofthedominantseventhchord.Thisintervalrequiresspecificmovementinthe
resolutionofthedominantseventhchord.
a.RegularResolution.ThediminishedfifthresolvestoaMajorthirdinaMajorkeyoraminorthirdina
minorkey.TheaugmentedfourthresolvestoaminorsixthinaMajorkeyoraMajorsixthinaminor
key(Figure515).
Figure515.RegularTritoneResolution
NOTE:Regularresolutionisthemostcommonresolutionofthetritonebecauseitresolvesthe
harmonicallyunstable,dissonanttritoneintervaltothestable,consonantintervalofathird(orsixth).
Theregularresolutionsatisfiesthemelodicpullofthesubdominantandtheleadingtonetendency
tones(Figure516).
Figure516.TendencyTones
b.IrregularResolution.Anirregularresolutionofthetritoneoccurswhentheseventhofthedominant
seventhchorddoesnotresolvedownwardtothethirdofthetonicchordbutmovesupbysteptothe
fifth.Thebassvoicemovestothethirdoftonicchord.Thisoccurswhenthedominantseventhchord
progressestothetonicchordinfirstinversion(Figure517).
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Figure517.IrregularTritoneResolution
Thedominantseventhchordnormallyresolvestothetonicchord.
6.RootPositionDominantSeventhChords.
a.ConnectingtheV chordtotheI(completeV ).
(1)Therootofthetonicchordisthebassnote(Figure518).
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Figure518.BassNote,V toI
(2)ResolvetheTritone.Connectthethird(leadingtonescaledegree)upahalfsteptotherootofthe
tonictriad.Thenconnecttheseventh(subdominantscaledegree)downahalfsteptothethirdofthe
tonictriad(Figure519).
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Figure519.TritoneResolution,V toI
(3)Connectthefifthdownawholesteptotherootofthetonictriad(Figure520).Youcannotdropthe
fifthofthedominantseventhchordtothefifthofthetonictriad.Parallelfifthsbetweenthetenorand
basswillresult.Youmustomitthefifthandtripletherootofthetonictriad.
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Figure520.TripledRoot
(4)ScalepatternforconnectingcompleteV toI(Figure521).
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Figure521.ScalePatterntoConnectCompleteV toI
b.ConnectingtheV chordtotheI(IncompleteV ).
(1)InsteadofvoicingtheV witharoot,third,fifth,andaseventh,youcanomitthefifthanddoublethe
rootinanuppervoice(Figure522).Thisiscalledanincompletedominantseventhchord.
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Figure522.IncompleteDominantSeventhChord
Figure523.BassNote,V toI
(3)Therootofthedominantseventhchord(doubledinanuppervoice)isacommontonewiththefifth
ofthetonicchord.Itremainsinthesamevoice(Figure524).
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Figure524.CommonToneIncompleteV
(4)ResolvetheTritone.Connectthethirdofthedominantseventhchord(leadingtonescaledegree)
upahalfsteptotherootofthetonicchord.Connecttheseventh(subdominantscaledegree)downa
halfsteptothethirdofthetonictriad(Figure525).
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Figure525.TritoneResolutionIncompleteV
(5)ScalepatternforconnectinganincompleteV toI(Figure526).
Figure526.ScalePatterntoConnectIncompleteV toCompleteI
NOTE:Remember,thecompletedominantseventhchordresolvestoanincomplete(tripledroot)tonic
chord.Theincompletedominantchordresolvestoacompletetonicchord(Figure527).
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Figure527.CompleteandIncompleteV
c.ConnectingtheV totheI6.
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(1)Thethirdofthetonicchordisthebassnote(Figure528).
Figure528.BassNote,V toI6
(2)ResolvetheTritone.Connectthethird(leadingtonescaledegree)upahalfsteptotherootofthe
tonictriad.Connecttheseventh(subdominantscaledegree)uptothefifthofthetonicchord(Figure5
29).
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Figure529.TritoneResolution,V toI6
NOTE:Thisistheirregularresolutionofthetritone.Theparallelfifthsthatresultareunequalfifths(a
diminishedfifthfollowedbyaperfectfifth).Thefifthsareacceptableinthisirregularresolutionofthe
dominantseventh.
(3)Connectthefifthofthedominantseventhchorddownawholesteptotherootofthetonicchord
(Figure530).
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Figure530.ConnecttheFifth,V toI6
(4)ScalepatternforconnectingtheV toI6(Figure531).
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Figure531.ScalePatterntoConnectV toI6
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d.ConnectingtheCadentialItotheV (Complete).
(1)Thefifthofthetonicsixfourchordremainsinthebassvoice.Itbecomestherootofthedominant
seventhchord(Figure532).
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Figure532.BassNote,ItoV
NOTE:Jumpingtheoctaveinthebassvoiceatafinalcadenceiscommonbecauseitaddstothe
feelingoffinality.
(2)Resolvethecadentialsixfour.Movetherootofthetonicchorddownahalfsteptothethirdofthe
dominantseventhchord.Movethethirdofthetonicchorddowntothefifthofthedominantseventh
chord(Figure533).
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Figure533.ResolveCadentialSixfour
NOTE:Movingscalestepthreetoscalesteptwoinsteadoftoscalestepfourisnecessarytoresolve
thecadentialsixfourcorrectly.
(3)Connectthefifthofthetonicchorddownawholesteptotheseventhofthedominantseventh
chord(Figure534).
Figure534.ConnecttheFifth,ItoV
NOTE:Ifthesopranoandaltovoiceswerereversed,parallelunequalfifthswouldoccur.Theseare
acceptable.
(4)ScalepatternforconnectingcadentialItocompleteV (Figure535).
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Figure535.ScalePatterntoConnectCadentialItoCompleteV
NOTE:Thebassholdsthecommontoneandtheupperthreevoicesdescendbystep(wholeorhalf)
inaItocompleteV progression.
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Analyzeandpartwritethefollowingrootpositiondominantseventhchordprogressions(Figure536.PartsA,B).
Figure536.PartA.V toIProgressions
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Figure536.PartB.V toIProgressions
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AnswerKey
7.FirstInversionDominantSeventhChords
a.ConnectingtheVtotheI.
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Figure537.BassNote,VtoI
(2)Keepthecommontone(Figure538).
Figure538.CommonTone,VtoI
(3)ResolvetheTritone.Connecttheseventh(subdominantscaledegree)downahalfsteptothethird
ofthetonicchord.Theothernoteofthetritoneisresolvedinthebassvoice(Figure539).
Figure539.TritoneResolution,VtoI
(4)Connectthefifthdownawholesteptotherootofthetonicchord(Figure540).
Figure540.ConnecttheFifth,VtoI
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b.ScalepatternforconnectingVtoI(Figure541).
Figure541.ScalePatterntoConnectVtoI
Analyzeandpartwritethefollowingfirstinversiondominantseventhchordprogressions(Figure542).
Figure542.V Progressions
AnswerKey
8.SecondInversionDominantSeventhChords
a.ConnectingVtoI.
Figure543.BassNote,VtoI
NOTE:TheVshouldfunctionasapassingchordbetweentheIandtheI6.
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Figure544.CommonTone,VtoI
upahalfsteptotherootofthetonicchord.Connecttheseventh(subdominantscaledegree)downa
halfsteptothethirdofthetonictriad(Figure545).
Figure545.TritoneResolution,VtoI
(4)ScalepatternforconnectingVtoI(Figure546).
Figure546.ScalePatterntoConnectVtoI
b.ConnectingtheVtotheI6.
Figure547.BassNote,VtoI6
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Figure548.CommonTone,VtoI6
upahalfsteptotherootofthetonictriad.Thenconnecttheseventh(subdominantscaledegree)up
tothefifthofthetonictriad(Figure549).
Figure549.TritoneResolution,VtoI6
NOTE:Thisisanirregularresolutionofthetritoneandisacceptableinthisprogression.
(4)ScalepatternforconnectingVtoI6(Figure550).
Figure550.ScalePatterntoConnectVtoI6
Analyzeandpartwritethefollowingsecondinversiondominantseventhchordprogressions(Figure551).
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AnswerKey
9.ThirdInversionDominantSeventhChords
a.ConnectingtheVchordtotheI6.
Figure552.BassNote,VtoI6
(2)Keepthecommontoneinthesamevoice(Figure553).
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Figure553.CommonToneVtoI6
upahalfsteptotherootofthetonicchord.Thelowernoteofthetritoneisresolvedinthebassvoice
(Figure554).
Figure554.TritoneResolution,VtoI6
(4)Connectthefifthofthedominantseventhdownawholesteptotherootofthetonicchord(Figure
555).
Figure555.ConnecttheFifth,VtoI6
b.ScalepatternfortheVtoI6(Figure556).
Figure556.ScalePatterntoConnectVtoI6
NOTE:TheVonlyresolvestotheI6.
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Analyzeandpartwritethefollowingthirdinversiondominantseventhchordprogressions(Figure557).
10.PartWritingtheSubdominantTriadtotheDominantSeventhChord.
a.ConnecttheIVtotheV .
(1)Therootofthechordisthebassnote.TherootofthedominantseventhchordisaMajorsecond
abovetherootofthesubdominantchord(Figure558).
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Figure558.BassNote,IVtoV
(2)Keepthecommontoneinthesamevoice.Thisisthepreparationoftheseventhofthedominant
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Figure559.CommonTone,IVtoV
(3)Movetheremainingtwovoicesdowntothenearestchordtoneincontrarymotiontothebassvoice
(Figure560).
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Figure560.ContraryMotiontoBass
NOTE:TheV isincompletewhenIVprogressestoV inordertoavoidparallelfifths.
b.ConnectingtheIV6toV .
(1)Therootofthechordisthebassnote(Figure561).
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Figure561.BassNote,IV6toV
Figure562.CommonTone,IV6toV
(3)Movetheremainingtwovoicesbysteptothenearestchordtone(Figure563).
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Figure563.StepMovement,IV6toV
NOTE:TheV iscompletewhenIV6progressestoV .
c.ConnectingIV totheV.
(1)Thethirdofthechordisthebassnote(Figure564).
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Figure564.BassNote,IV6toV
(2)Keepthecommontoneinthesamevoice.Thisisthepreparationoftheseventhofthedominant
Figure565.CommonTone,IV6toV
(3)Movetheremainingtwovoicestothenearestremainingchordtones.Firstconnecttheascending
wholestepmovementandthenconnectthedescendingperfectfourthmovement(Figure566).
Figure566.RemainingTwoVoices
NOTE:Therootpositionsubdominanttriaddoesnotconnectwiththefirstinversiondominantseventh
chord.Thisconnectionwouldhavetheobjectionabletritoneintervalinthebassvoice(Figure567).
Figure567.ObjectionableTritoneInterval
d.ConnectIVtoV.
(1)Theseventhofthechordisthebassnote.Thebassnoteisthecommontone.Keepthecommon
toneinthebassvoice.Thisisthepreparationoftheseventhofthedominantseventhchord(Figure5
68).
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Figure568.BassNote,IVtoV
(2)Movetheremainingthreevoicesbysteptothenearestchordtones.Firstconnectthehalfstep
movement,thenthewholestepmovement,andfinallytheminorthirdmovement(Figure569).
Figure569.MovementByStep,IVtoV
LESSON6:SECONDARYTRIADSINISOLATION
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Inthislessonyouwilllearnthescaledegreesusedtobuildsecondarytriads,thequalityofthe
secondarytriads,andcommonlyusedsecondarytriads.
Attheendofthislesson,youwillbeableto:
Identifysecondarytriads,
Identifyqualityofsecondarytriads,and
WriteRomannumeralanalysis
Secondarychords(triads)arethesupertonic,mediant,submediant,leadingtone,andsubtonictriads.
Secondarytriadsareconstructedonthesecond,third,sixth,andseventhscaledegreesoftheMajor
orminorscale.Twotriadqualitiesarepossibleforeachsecondarytriadinminorbecauseofthe
alteredsixthandseventhscaledegreesoftheminorscale.Secondarytriadscancreatearichand
variedharmonywhentheyareusedassubstitutechordsforprimarytriads.
1.SupertonicTriad
a.Thesupertonictriadisbuiltonthesecondscaledegree.Thesupertonictriadisaminortriadwhen
builtontheMajorscale(Figure61).Theharmonicanalysisisii.
Figure61.SupertonicTriadonaMajorScale
b.Thesupertonictriadisadiminishedtriadwhenbuiltontheharmonic,descendingmelodic,or
naturalminorscale(Figure62).Theharmonicanalysisisii .
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Figure62.SupertonicTriadBuiltonaHarmonicMinorScale
NOTE:Remember,inharmonicanalysis,uppercaseRomannumeralsrepresentMajortriads.Lower
casenumeralsrepresentminortriads.Anuppercasenumeralwithaplussign( )indicatesan
augmentedtriad.Alowercasenumeralwithacircle( )indicatesadiminishedtriad.
c.Thesupertonictriadisaminortriadwhenbuiltontheascendingmelodicminorscale(Figure63).It
isidenticaltothesupertonictriadinMajor.Theharmonicanalysisisii.
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Figure63.SupertonicTriadBuiltontheAscendingMelodicMinorScale
2.MediantTriad.
a.Themedianttriadisbuiltonthethirdscaledegree.Themedianttriadisaminortriadwhenbuilton
theMajorscale(Figure64).Theharmonicanalysisisiii.
Figure64.MediantTriadonaMajorScale
b.ThemedianttriadisaMajortriadwhenbuiltonthedescendingmelodicornaturalminorscale
(Figure65).TheharmonicanalysisisIII.
Figure65.MediantTriadonaNaturalMinorScale
c.Themedianttriadisanaugmentedtriadwhenbuiltontheharmonicorascendingmelodicminor
scale(Figure66).TheharmonicanalysisisIII .
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Figure66.MediantTriadonaHarmonicMelodicMinorScale
NOTE:Theaugmentedmedianttriadisrarelyused.
3.SubmediantTriad.
a.Thesubmedianttriadisbuiltonthesixthscaledegree.Thesubmedianttriadisaminortriadwhen
builtontheMajorscale(Figure67).Theharmonicanalysisisvi.
Figure67.SubmediantTriadonaMajorScale
b.ThesubmedianttriadisaMajortriadwhenbuiltonaharmonic,descendingmelodic,ornatural
minorscale(Figure68).TheharmonicanalysisisVI.
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Figure68.SubmediantTriadBuiltonaHarmonic,orNaturalMinorScale
c.Thesubmedianttriadisadiminishedtriadwhenbuiltontheascendingmelodicminorscale(Figure
69).Theharmonicanalysisisvi .
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Figure69.SubmediantTriadBuiltontheAscendingMelodicMinorScale
NOTE:Thediminishedsubmedianttriadisrarelyused.
4.LeadingToneTriad.
a.Theleadingtonetriadisbuiltontheseventhscaledegree.Theleadingtonetriadisadiminished
triadwhenbuiltontheMajorscale(Figure610).Theharmonicanalysisisvii .
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Figure610.LeadingToneTriadonaMajorScale
b.Theleadingtonetriadisadiminishedtriadwhenbuiltontheharmonicorascendingmelodicminor
scale(Figure611).Theharmonicanalysisisvii .
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Figure611.LeadingToneTriadonaHarmonicMinorScale
5.SubtonicTriad.
ThesubtonictriadisaMajortriad.Itisbuiltonthenaturalminoranddescendingmelodicminorscales
(Figure612).TheMajorsubtonictriadisrarelyused.TheharmonicanalysisisVII.
Figure612.SubtonicTriadonaNaturalMinorScale
LESSON7:THELEADINGTONEANDSUBTONICTRIADS
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Inthislesson,youwilllearnsubstitutions,triadpositions,doublings,uses,andpartwritingofthe
leadingtonetriad.Youwillalsolearntheuseandfunctionofthesubtonictriad.
Writevoicedoublings
Partwritefirstinversionleadingtonetriadsasaneighboringchord
Partwritefirstinversionleadingtonetriadasapassingchordto/fromIandI6.
Partwritethefirstinversionleadingtonetriadfollowingthesubdominanttriad,and
Partwritetherootpositionsubtonictofirstinversionsubdominantandrootpositionmedianttriads.
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Boththeleadingtoneandsubtonictriadsarebuiltontheseventhscaledegree.Therootoftheleading
tonetriad,however,isahalfstepbelowthetonic.Therootofthesubtonictriadisawholestepbelow
thetonic.
1.LeadingToneTriad.
a.Thediminishedleadingtonetriad(vii )isfoundinbothMajorandminorkeys(Figure71).
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Figure71.DiminishedLeadingToneTriad
NOTE:Remember,therootofthesubtonictriadisawholestepbelowthetonic.
b.Theleadingtonetriadisoftencalledanincompletedominantseventhwithomittedroot.Theleading
tonetriadisidenticaltothetopthreenotesofthedominantseventhchord.Theleadingtonetriadcan
substituteforthedominantseventhchord(Figure72).
Figure72.CommonTones,vii V
c.UnequalFifths.Therootandfifthoftheleadingtonetriadinfirstinversionoftenascendtotheroot
andfifthofthetonicchord.ThesefifthsareNOTparallelperfectfifths.Inthevii triad,theinterval
betweentheroot(B)andthefifth(F)isadiminishedfifth,notaperfectfifth.Unequalfifthsare
acceptable(Figure73).
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Figure73.AcceptableUnequalFifths
NOTE:Remember,thetriadisinfirstinversionwhenthethirdofthechordisthebassnote.Thefifth
andtherootarevoicedabovethethird.
2.TriadPositions.
a.Theleadingtonetriadismostfrequentlyusedinfirstinversion(Figure74).
Figure74.FirstInversionLeadingToneTriad
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b.Theleadingtonetriadisrarelyusedinrootposition.Whenitdoesoccur,itisusuallywhentheroot
movementofthechordsintheprogressionisthecycleoffifthsandallthechordsareinrootposition.
Thispatterniscalledaharmonicsequence(Figure75).
Figure75.RootPositionLeadingToneTriad
c.Secondarytriadsareuncommoninsecondinversion,butcanbeusedaspassingchords.A
secondarytriadpassingsixfourchordcanbeexplainedasmelodicnonharmonictonesinrelationto
thesurroundingharmony.
3.Doubling.
a.Thethirdofthechordisnormallydoubledinthefirstinversiondiminishedleadingtonetriad.This
avoidsdoublingtoneofthenotesofthedissonantintervalofthetritone,TT(theleadingtoneandthe
subdominantofthekey)(Figure76).
Figure76.NormalDoubling,vii
b.Whenthefifthisinthesopranovoice,thefifthisusuallydoubled(Figure77).
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Figure77.DoubledFifth,vii
NOTE:Remember,thatadoublednotecanbedoubledattheunison.
c.Therootofthechordcanbedoubledinaharmonicsequencetopreservethesimilarvoicemotion
intheuppervoices(Figure78).
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Figure78.DoubledRoot,vii
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Writetheinnervoicesofeachfirstinversionleadingtonetriad(Figure79).
Figure79.FirstInversionLeadingToneTriad,vii
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AnswerKey
4.UseoftheLeadingToneTriad
a.Theleadingtonetriad(vii )serveslargelyasapassingorneighboringchordcenteredaroundthe
tonictriad.
(1)Theleadingtonetriadisusedasapassingchordbetweenthetonictriadanditsfirstinversion.The
bassvoicemovesinstepwisemotion(Figure710).
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Figure710.vii asaPassingChordBetweenIandI
NOTE:Thevii 6isusedasasubstituteforthepassingofthedominanttriad.
(2)Theleadingtonetriadcanalsobeusedbetweenthefirstinversionandrootpositiontonictriad
(Figure711).
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Figure711.vii asaPassingChordBetweenI andI

(3)Theleadingtonetriadisusedasaneighboringchordbetweentwolike(rootorfirstinversion)tonic
chords(Figure712).
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Figure712.vii asaNeighboringChord
b.Theleadingtonetriadfrequentlyoccursafterthesubdominanttriad(IV)inplaceofthedominant
chordwhenthesopranovoiceascends(Figure713).
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Figure713.LeadingToneTriadAfterSubdominant
Identifyhowtheleadingtonetriadisused.Writeinthespaceprovidedwhetheritisusedasapassingchord,
neighboringchord,orasasubstituteforthedominant(Figure714).
Figure714.UseoftheLeadingToneTriad
5.PartWritingvii I
a.Connectthetwovoicesofthedoublednoteusingobliqueorcontrarymotion,ifpossible.When
usingsimilarmotion,avoidparallelfifthsandoctaves,movetheremainingvoicesstepwisetothe
nearestchordtone(Figure715).
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Figure715.vii I
b.Thefollowingisthescalepatternforconnectingthevii chordtotheIchord
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NOTE:Althoughtheleadingtonetriadfunctionsandsoundslikeanincompletedominantseventh
chord,itdoesnotresolvelikeadominantseventhchord.Thefifthofthevii (subdominantscale
degree)ascendstothefifthofthetonicchord.TheseventhoftheV7chord(thesamenoteasthefifth
ofthevii )descendsinaregularresolution(Figure716).
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Figure716.ResolvingSubdominantScaleDegree
6.PartWritingvii 6I6.
a.Connectthetwovoicesofthedoublednoteusingobliqueorcontrarymotion,ifpossible.When
writingconsecutivefirstinversiontriads,eachtriadmusthaveadifferentdoubling(Figure717).
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Figure717.vii I
b.Thefollowingisthescalepatternforconnectingthevii chordtotheI chord.
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7.PartWritingIvii 6.
a.ConnectthefifthoftheIchordtothefifthofthevii .ConnecttherootofItotherootofvii andthe
thirdofItothethirdofviio6.Thisresultsindoubledthirdsinthevii chord(Figure718).
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Figure718.Ivii
b.ThefollowingisthescalepatternforconnectingtheIchordtothevii chord.
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8.PartWritingI6vii 6.
a.ConnectthefifthoftheIchordtothefifthofthevii .ConnectthedoubledrootoftheIchord
stepwisetotherootandthirdofvii 6(Figure719).
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Figure719.ConnectingI vii
b.ThefollowingisthescalepatternforconnectingtheI chordtothevii chord
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9.PartWritingIVvii .
a.Keepthecommontone.ConnectthefifthoftheIVchordtothethirdofthevii andconnectthethird
ofIVtotherootofvii (Figure720).
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Figure720.IVvii
b.ThefollowingisthescalepatternforconnectingtheIVchordtothevii chord.
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NOTE:TheprogressionIVvii isusedwhenthemelodylineascendsandtheuseofthedominant
chord(IVV)wouldcauseparallelfifthsandoctaves(Figure721).
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Figure721.viio6toAvoidParallelMotion
c.Whentherootofthesubdominanttriad(IV)isinthesopranovoice,thesopranonoteisheldover
(commontone)tobecomethefifthofthevii triad(Figure722).
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Figure722.IVviio6,RootinSoprano
d.ThefollowingisthescalepatternforconnectingtheIVchordtothevii chord.
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10.Whenthefifthofthevii 6triadisinthesoprano,itascendstoavoiddoublingthethirdintheI
chord.Normally,itdescendsbystep(Figure723).
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Figure723.viio6,FifthinSoprano
Thefollowingisthescalepatternforconnectingthevii chordtotheI chord.
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Partwritethefollowingtonictoleadingtoneprogressions(Figure724).
Figure724.PartWritingLeadingToneProgressions
11.ThesubtonictriadisaMajortriad(Figure725).Itisnotfrequentlyused.
Figure725.SubtonicTriad
12.Thesubtonictriad(VII)canbeusedtoharmonizeamelodythatincludesthesubtonictone.The
subdominantchordnormallyfollowsthesubtonictriad.Thishastheeffectofapassingchord(Figure
726).
Figure726.VIIasaPassingChord
13.ThesubtonictriadcanalsoresolvetotheIIItriadinrootposition.Theloweredseventhscale
degree(rootofthesubtonictriad)functionsasadominantofthemediant(Figure727).
Figure727.VIIasaDominantFunction
Writethemissingvoicesforthefollowingprogressions(Figure728).
Figure228.SubtonicTriadPartWriting
LESSON8:RELATINGCHORDSCALESTOTRIADS,EXTENDEDCHORDSANDALTEREDCHORDS
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Thesupertonictriadcansubstituteforthesubdominanttriad,botharesimilarinsoundandfunction.
Thesubdominantscaledegreeisthebassnotewhenthesupertonictriadisinfirstinversion.
Inthislesson,youwilllearnsubdominantsubstitutionforsupertonic,triadpositions,doublings,uses,
andpartwritingofthesupertonictriad.
Writevoicedoublings
Partwritetherootpositionsupertonictriadafterthetonictriad
Partwritethefirstinversionsupertonictriadfollowingthesubdominanttriad
Partwritethesupertonictriadprogressingtothedominanttriad
Partwritethesupertonictriadprogressingtothetonicsixfourchord
Partwritetothefirstinversionsupertonictriadtothefirstinversionleadingtonetriad
1.Twocommontoneslinkthesupertonicandthesubdominanttriads(Figure81).
Figure81.CommonTones,iiIV
2.TriadPositions.
a.ThesupertonictriadismostfrequentlyfoundinfirstinversioninbothMajorandminorkeys(Figure
82).
Figure82.SupertonicTriadinFirstInversion
NOTE:Thesupertonictriadisusuallyadiminishedtriadinaminorkey.
b.Thesupertonictriadinrootpositionislesscommonthanfirstinversionhowever,itmaybefoundin
rootpositionduringaharmonicsequence(Figure83).
Figure83.SupertonicTriadinaHarmonicSequence
c.Supertonictriadsarenotnormallyfoundinsecondinversions.
3.Doubling.
a.Thethirdofthesupertonictriad(subdominantscaledegree)isnormallydoubled(Figure84).
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Figure84.DoubledThird,ii6
NOTE:Thedoubledthirdisusuallyfoundinsecondarytriadswhenthethirdisaprimarytone(the
tonic,subdominant,ordominantscaledegrees).
b.Thesupertonictriadcanoccurinrootpositionwiththerootofthetriaddoubled(Figure85).
Figure85.DoubledRoot,ii
c.Thefifthofthesupertonictriad(submediantscaledegree)isnotnormallydoubled.Inaminorkey,
thefifthofthesupertonictriadisthealteredsixthscaledegree.Doublingthefifthmakesresolution
awkward(Figure86).
Figure86.DoubledFifth,ii6oriio6
Writethemissingvoicesinthefollowingsupertonictriads(Figure87).
Figure87.PartWritingSupertonicTriads,ii,ii ,ii ,andii

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AnswerKey
4.UsesoftheSupertonicTriad
a.Preparingthedominant.Thesupertonictriadisusedtopreparethedominanttriad(V),especiallyat
acadence.Inminor,theinstabilityofthediminishedfifthdrivesitstronglytowardthedominant(Figure
88).
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Figure88.PreparationofDominant,ii orii
b.Precedingthecadentialsixfourchord.Thesupertonictriadprecedesthetonicsixfourchordata
cadence.Thebassnoteleapsupafourth.Thisisanexceptiontotherulethatcadentialsixfour
chordsareapproachedbystep(Figure89).
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Figure89.CadentialSixfour
c.Thesupertonictriadmovestothediminishedleadingtonetriadasasubstituteforthedominant
seventhchordatotherthanfinalcadences(Figure810).
Figure810.LeadingToneTriad
d.Thesupertonictriadisprecededbyasubdominanttriad(IV)orbyatonictriad(I)(Figure811).
Figure811.IVtoiiorItoii
5.PartWritingIiiandiiio.
a.Movethethreeuppervoicesofthetonictriadtothenearestchordtoneofthesupertonictriadin
contrarymotiontothebassvoice(Figure812).
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Figure812.PartwritingIiiandiiio
b.ThefollowingisthescalepatternforconnectingtheIchordtotheiichordandtheichordtotheiio
chord.
NOTE:Failuretowritecontrarymotioncausesparallelfifthsoroctaves.
Partwritethefollowingtonictosupertonicprogressions(Figure813).
Figure813.PartWritingIiiandiii
AnswerKey
6.PartWritingIVii
a.Holdthetwocommontonesandmovetheothervoicesstepwise(Figure814).
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Figure814.IVii
b.ThefollowingisthescalepatternforconnectingtheIVchordtotheii6chord.
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Partwritethefollowingsubdominanttosupertonicprogressions(Figure815).
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Figure815.PartWritingIVii andivii
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AnswerKey
7.PartWritingiiV
a.Whenthemelodymovesbystep,keepthecommontoneandmovetheothervoicesstepwise
(Figure816).
Figure816.StepwiseMelody,iiV
ThefollowingisthescalepatternforconnectingtheiichordtotheVchord.
b.Whenthereisaleapinthemelody,movethethreeuppervoicesinsimilarmotiontothenearest
chordtonesofthedominanttriad(Figure817).
Figure817.LeapinMelody,iiV
ThefollowingisthescalepatternforconnectingtheiichordtotheVchord.
8.PartWritingii6Vandiio6V.
a.Connectthetwovoices,ii6V,movingfromthedoublednotefirst,usingcontraryoroblique
motion,ifpossible.Next,connecttheremainingvoicestothenearestchordtone(Figure818).
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Figure818.ii Vandii V
NOTE:Youmustusethesamechromaticsymbolofthekeyforthechordsymbolanalysis.Ifyouuse
atoraisethethirdoftheV,thenyoumustuseainthechordsymbol(V).
b.Thefollowingisthescalepatternforconnectingtheii6chordtotheVchordandtheiio6chordto
theVchord.
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NOTE:Inminor,avoidwritingtheaugmentedsecondbetweentheloweredsixthdegree(A)andthe
raisedseventhdegree(B)oftheharmonicminorkey.
Partwritethefollowingsupertonictodominantprogressions(Figure819).
Figure819.PartWritingiiVandii V
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AnswerKey
9.PartWritingiiI
a.Thesupertonictriad(ii)connectstothetonicsixfourtriadwhenthebassnoteleapsupafourth.
Theupperthreevoicesmovestepwisetothenearestchordtoneofthetonicsixfourchord(Figure8
20).
Figure820.iiI
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b.ThefollowingisthescalepatternforconnectingtheiichordtotheIchord.
Partwritethefollowingsupertonictotonicsixfourprogressions(Figure821).
Figure821.PartWritingiiI
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AnswerKey
10.PartWritingii vii
a.Thesupertonictriadinfirstinversion(ii )connectstotheleadingtonetriadinfirstinversion(vii )with
twocommontones.Theothervoicemovesinstepwisemotion(Figure822).
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Figure822.ii vii
b.Thefollowingisthescalepatternforconnectingtheii chordtothevii chord.
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Partwritethefollowingsupertonictosubtonicprogressions(Figure823).
Figure823.PartWritingii vii
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LESSON9:THESUBMEDIANTTRIAD
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Thesubmedianttriadcansubstituteforthetonictriad,botharesimilarinsoundandfunction.The
tonicnoteofthekeyisthebassnoteofthesubmedianttriadinfirstinversion.
Inthislesson,youwilllearnsubstitutions,triadpositions,doublings,uses,andpartwritingofthe
submedianttriad.
Writevoicedoublings
Partwritetherootpositionsubmedianttriadprogressingtothesupertonictriad
Partwritetherootpositionsubmedianttriadprogressingtotherootpositionsubdominanttriad
Partwritetherootpositionsubmedianttriadprogressingtotherootpositionmedianttriad
1.TheSubmediantTriad.
a.Twocommontoneslinkthesubmediantandthetonictriads(Figure91).
Figure91.CommonTones,Ivi
b.Thesubmedianttriadinfirstinversion(vi )israrelyanindependentchord.Itisthesameasatonic
chordwithamelodicnonharmonictoneresolvingdowntothefifthofthechord(Figure92).
Figure92.NonharmonicTone
2.TriadPositions.
a.Thesubmedianttriadnormallyappearsinrootposition(Figure93).
Figure93.RootPositionSubmediantTriad
b.Thesubmedianttriadinfirstinversion(vi )occursinascalewisesuccessionoffirstinversionchords
(Figure94).
Figure94.vi inaSuccessionofFirstInversionChords
c.Thesubmedianttriadcanbeusedinfirstinversioninaharmonicsequence(Figure95).
Figure95.vi inaHarmonicSequence
d.Thesubmedianttriadisnotnormallyfoundinsecondinversion.
3.Doubling.
a.InMajorkeys,therootorthirdofthesubmedianttriadcanbedoubled(Figure96).
Figure96.DoubledRootorThird,vi
b.Inminorkeys,therootofthesubmedianttriadisusuallydoubledbecauseoftheMajorqualityofthe
triad(Figure97).
Figure97.DoubledRoot,VI
c.Inminor,thethirdofthesubmedianttriadisdoubledwhenpartwritingVIVorVVI.Augmented
melodicintervals,parallels,orlargeleapsoccurifanyothernoteisdoubled(Figure98).
Figure98.DoubledThird,VI
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Writethemissingvoicesforthefollowingsubmedianttriads(Figure99).
Figure99.PartWritingforviandVI
AnswerKey
4.UseoftheSubmediantTriad
a.Thesubmedianttriadcanbefollowedbythesupertonicorthedominanttriads.Itissometimes
followedbythesubdominantorthemedianttriad.Whenthesubmedianttriadisfollowedbythe
medianttriad,themedianttriadprogressestothesubdominant.Thesubmedianttriadislessoften
followedbythetonictriad.Theleadingtonetriadrarelyfollowsthesubmedianttriad(Figure910).
Figure910.UsualRootProgressions
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b.Thesubmedianttriadisprecededbythetonicordominanttriadandlessoftenbythemedianttriad
(Figure911).
Figure911.TriadsthatPrecedeSubmediant
5.PartWritingviii.Therearethreecommonwaystopartwritethesubmedianttriadtothe
supertonictriad.
a.Keepthecommontoneinthesamevoiceandmovetheothervoicesstepwise(Figure912).
Figure912.CommonTone/StepwiseMotion,viii
Thefollowingisthescalepatternforconnectingthevichordtotheiichordwhenyoukeepthe
commontone.
b.Moveallthreeuppervoicesinsimilarmotiontonearestchordtone(Figure913).
Figure913.SimilarMotion,viii
Thefollowingisthescalepatternforconnectingthevichordtotheiichordwhenyoumoveinsimilar
motion.
c.Movethethirdupaperfectfourthordownaperfectfifthtothethirdofthesupertonictriad(ii),keep
thecommontone,andmovetheothervoicestepwise(Figure914).
Figure914.LeapbyPerfectFifth,viii
Thefollowingisthescalepatternforconnectingthevichordtotheiichordwhenthethirdleaps.
NOTE:Thispartwritingisusedtochangefromopentocloseorfromclosetoopenposition.
Writethemissingvoicesinthefollowingprogressions(Figure915).
Figure915.PartWritingviii
AnswerKey
6.PartwritingthesubmedianttriadissimilarinbothMajorandminorkeys.
a.Partwritingviii .Keepthecommontone,thenmovetheothervoicesstepwisetothenearestchord
tone(Figure916).
Figure916.ObliqueMotionMajorKey,viii
Thefollowingisthescalepatternforconnectingthevichordtotheii6chord.
b.PartwritingVIii 6.Keepthecommontone,andthenmovetheothervoicesstepwisetothenearest
chordtone(Figure917).
Figure917.ObliqueMotionMinorKey,VIii
ThefollowingisthescalepatternforconnectingtheVIchordtotheii chord.
NOTE:Whenusingsimilarmotion,avoidwritingparallelfifthsandparalleloctaves(Figure918).
Figure918.SimilarMotion,VIii
ThefollowingisthescalepatternforconnectingtheVIchordtotheii chordwhenusingsimilar
motion.
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Figure919.PartWritingVIii andviii
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AnswerKey
7.PartWritingviV
a.Whenthebassvoicemovesinstepwisemotion,movetheupperthreevoicesincontrarymotion
(Figure920).
Figure920.ContraryMotion,viV
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b.ThefollowingisthescalepatternforconnectingthevichordtotheVchord.
NOTE:Failuretowritetheupperthreevoicesincontrarymotioncausesparallelfifths,parallel
octaves,oramelodicaugmentedsecondtooccur(Figure921).
Figure921.CommonErrors,viV
8.PartWritingviIV.
a.Holdthetwocommontonesandmovetheothervoicestepwise(Figure922).
Figure922.CommonTones/StepwiseMotion,viIV
b.ThefollowingisthescalepatternforconnectingthevichordtotheIVchord.
Figure923.PartWritingviIV
AnswerKey
9.PartWritingviiiiorVIIII
Figure924.CommonTone/StepwiseMotion,viiiiandVIIII
b.ThefollowingisthescalepatternforconnectingthevichordtotheiiichordandtheVIchordtothe
IIIchord.
NOTE:Thesubmedianttomediantprogressionisnormallyfoundonlywhenfollowedbythe
subdominanttriad(viiiiIV).
10.PartWritingviI.
a.Keepthetwocommontonesandmovetheothervoicestepwise(Figure925).
Figure925.TwoCommonTones/StepwiseMotion,viI
b.ThefollowingisthescalepatternforconnectingthevichordtotheIchord.
11.DeceptiveCadence
Thedeceptivecadenceoccurswhenaphraseapproachesaperfectcadence(VI),buttheexpected
finalmelodynoteisharmonizedwithanunexpectedharmony(asubstitutechord).Thesubmediant
triadisthemostcommonsubstituteforthetonictriad.Thethirdofthesubmedianttriadisdoubled.
Thedeceptivecadenceisfollowedbyachordthatwouldnormallyfollowthesubmedianttriad.Ifthe
deceptivecadenceoccursneartheendofacomposition,itisusuallyfollowedbyanauthentic
cadence(Figure926).
Figure926.DeceptiveCadence
LESSON10:PRINCIPLESOFPROGRESSION
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Themedianttriadsubstitutesforthetonicordominanttriads.Thedominantscaledegreeisthebass
noteofthemedianttriadinfirstinversion.
Inthislesson,youwilllearnsubstitutions,triadpositions,doublings,uses,andpartwritingforthe
medianttriad.
Writevoicedoublings
Partwritetherootpositionmedianttriadprogressingtotherootpositionsubmedianttriad
Partwritetherootpositionmedianttriadprogressingtotherootpositionsubdominanttriad
Partwritetherootpositionmedianttriadprogressingtotherootpositiondominanttriad
Partwritethefirstinversionaugmentedmedianttriadprogressingtotherootpositionsubmedianttriad
1.TheMediantTriad
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Twocommontoneslinkthemediant(iii)andthetonictriadsandthemediantandthedominanttriads
(Figure101).
Figure101.CommonTones,iiiIandiiiV
2.TriadPositions.
a.Themedianttriadismostcommonlyfoundinrootposition(Figure102).
Figure102.MediantTriadinRootPosition
b.Themedianttriadcanalsobefoundinfirstinversioninaharmonicsequence(Figure103).
Figure103.iii inaHarmonicSequence
c.Theiii6chordcanbefoundinaseriesofotherfirstinversiontriads(Figure104).
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Figure104.iii inaSeriesofFirstInversionTriads.
d.Themedianttriadisnotnormallyfoundinsecondinversion.
3.Doubling.
a.Thenormaldoublingofthemedianttriadinrootpositionisadoubledroot.Thefifthofthemediant
triadistheleadingtoneandshouldnotbedoubled(Figure105).
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Figure105.DoubledRoot,iii
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b.Anyminortriadcanbecommonlyfoundwiththethirddoubled.Thisisparticularlytruewhenthe
thirdoftheminortriadisoneoftheprimaryscaletones.Thethirdofthemedianttriadisthedominant
scaledegree,oneoftheprimarytonesofthekey(Figure106).
Figure106.DoubledThird,iii
Writethemissingvoicesinthefollowingmedianttriads(Figure107).
Figure107.PartWritingMediantTriad,iii
AnswerKey
4.UseoftheMediantTriad.
a.Themedianttriadcanbefollowedbythesubmedianttriad.Itissometimesfollowedbythe
subdominanttriad.Themedianttriadislessoftenfollowedbythedominanttriad(Figure108).
Figure108.MediantRootMovements
b.Themedianttriadshouldbeprecededbythetonicorsubmedianttriads(Figure109).
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Figure109.TriadsthatPrecedeMediantTriad
5.PartWritingiiivi.
Figure1010.CommonTone/StepwiseMotion,iiivi
b.Thefollowingisthescalepatternforconnectingtheiiichordtothevichord.
6.PartWritingiiiIV.
a.Moveallthreeuppervoicestothenearestchordtoneincontrarymotiontothebassvoice(Figure1011).
Figure1011.ContraryMotiontoBass,iiiIV
b.ThefollowingisthescalepatternforconnectingtheiiichordtotheIVchord.
NOTE:Whenthebassvoicemovesbystepwisemotion,caremustbetakentoavoidparallelperfectfifthsoroctaves
(Figure1012).
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Figure1012.AvoidedMotion,iiiIV
7.PartWritingiiiV.
a.Keepthecommontonesandmovetheothervoicestepwise(Figure1013).
Figure1013.TwoCommonTones/StepwiseMotion,iiiV
b.ThefollowingisthescalepatternforconnectingtheiiichordtotheVchord.
8.PartWritingIiii.
a.Keepthetwocommontonesandmovetheothervoicestepwise(Figure1014).
Figure1014.TwoCommonTones/StepwiseMotion,Iiii
b.ThefollowingisthescalepatternforconnectingtheIchordtotheiiichord.
9.Partwritingviiii.
a.Keepthecommontoneandmovetheothervoicesstepwise(Figure1015).
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Figure1015.CommonTone/StepwiseMotion,viiii
b.Thefollowingisthescalepatternforconnectingthevichordtotheiiichord.
Figure1016.ChordProgressionPartWriting,iii
AnswerKey
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10.AugmentedMediantTriad(III ).
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Theaugmentedmedianttriadisbuiltontheharmonicminorandtheascendingmelodicminorscales.
Thistriadisnotfrequentlyused.Theaugmentedmedianttriadoccursmostofteninfirstinversionwith
thethird(dominantscaledegree)doubled.Itcanalsooccurinrootpositionwiththeroot(mediant
scaledegree)doubled.Sincetheaugmentedmedianttriadandthedominanttriadhavetwocommon
tones,theaugmentedmedianttriadcanhaveadominantfunction.Itnormallyprogressestothe
submedianttriad(Figure1017).
Figure1017.III VIProgression
NOTE:Inminor,thefirstinversionoftheaugmentedmedianttriadcansubstituteforadominanttriad.Thedominant
scaledegreeisthebassnoteandisalsothedoublednote.Theleadingtone(fifthofthemedianttriad)isanactive
toneandtendstopulltothestabletonicscaledegree.
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Lesson11:na
LESSON12:ALTERNATIVEPRINCIPLESOFTRIADICVOICELEADING
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Asyoubecomemoreproficientwithpartwriting,alternativeprinciplescanbeusedinvarious
situations.Alternativeprinciplesofvoiceleadingenhancewritingthatisalreadycorrectormake
awkwardvoiceleadingmoresmooth,flowing,andmelodic.
Inthislessonyouwilllearntousealternativeprinciplesoftriadicvoiceleading.
Voiceleadrepeatedtriadsusingchangeofpositionandreposition
Voiceleadtriadswithrootmovementbyafifth
Voiceleadtriadsinfirstinversion
Voiceleadtriadsatcadences
1.VoiceLeadingOfRepeatedTriads.
Whenvoiceleadingrepeatedtriads,problemssuchasoverlappedvoices,crossedvoices,orviolation
ofrangesandintervallimitsarelikelytooccur.Twoalternativemethodsofvoiceleadingrepeated
triadsarechangeofpositionandreposition.Bothmethodscanhelptoavoidpartwritingproblemsand
alsoprovidevarietyfromonechordtothenext.
2.Open/ClosePosition.
a.Triadscanbewrittenineitheropenorcloseposition.Incloseposition,thedistancebetweenthe
sopranovoiceandthetenorvoiceistheintervalofanoctaveorless(measureone,Figure121).In
openposition,thedistancebetweenthesopranovoiceandthetenorvoiceistheintervalofaninthor
more(measuretwo,Figure121).
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Figure121.CloseandOpenPositions
b.Triadscanbewrittenindifferentpositions(openorclose)to:
avoidextremeranges.
correctvoicedoubling.
avoidlargeleapsinaninnervoice.
c.ThefirstmeasureofFigure122showsextremeranges.ThesecondmeasureofFigure122shows
anincompletelyvoicedtriad.ThethirdmeasureofFigure122showsoverlappingvoicesandlarge
leapsbetweeninnervoices.Allthreepositionsaretobeavoided.
Figure122.AvoidedPositions
Identifythepositionused(closeoropen)ineachofthefollowingchords(Figure123).Writeyouranswersinthe
spacesprovidedbelowthestaff.
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Figure123.IdentifyOpen/ClosePosition
AnswerKey
3.ChangeofPosition.
a.Changeofpositionisaneffectivewaytovarythenotesinthesopranovoicewhenachordis
repeated.Whenchangingposition,thetriadcanmovefromeitherclosepositiontoopenposition,or
fromopenpositiontocloseposition.Whentriadschangeposition,thechordremainsthesamewhile
itsnotesoccurindifferentvoices.Figure124showsthechangeofpositionfromclosetoopenand
fromopentocloseposition.
Figure124.ChangeofPosition
b.Tochangeposition(opentoclose,orclosetoopen),keepthecommontonesinthebassvoiceand
inoneoftheuppervoices.Interchangethenotenamesoftheremainingtwovoices,ensuringthatthe
newpitchesfallwithinthenormalrangeforeachvoice.InFigure125,thebassandaltonoteskeep
theircommontoneswhilethesopranoandtenorvoicesexchangenotenames.Thesopranonote(C)
movesuptoanEandthetenornote(E)movesdowntoaC.Inthefirstchord,thedistancebetween
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thesopranoandtenorvoicesistheintervalofasixth(closeposition).Inthesecondchord,the
distancebetweenthesopranoandtenorvoicesistheintervalofatenth(openposition).
Figure125.ExchangedNotesinUpperVoices
4.Reposition.
a.Repositionisaneffectivewaytovarythenotesintheupperthreevoiceswhenachordisrepeated.
Repositionusesaprocesssimilartothatofthechangeofpositionhowever,thechordsdonotmove
fromopentocloseorfromclosetoopenposition.Figure126showsrepositionbetweenrepeated
chords.
Figure126.Reposition
b.Torepositiontriads,movethethreeuppervoicesinsimilarmotion.Thebassvoicekeepsthesame
note.InFigure127,theupperthreevoicesmoveup.
Figure127.RepositionofTriads
NOTE:Theproblemsofhiddenorparallelfifthsoroctavesdonotoccurwhenusingchangeofposition
orreposition.However,youstillmustmakesurethatvoicesdonotcross,overlap,orviolaterangeand
intervallimits.
Identifywhetherchangeofpositionorrepositionhasbeenusedtovoiceleadthetriadsinthefollowingexamples
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(Figure128).Writeyouranswersinthespacesprovidedbelowthestaff.
Figure128.IdentifyChangeofPosition/Reposition
5.RootMovementbyFifth.
Rootmovementbytheintervalofafifthpresentsuniqueproblemsinvoiceleading.Caremustbe
takentoavoidproblemsofhiddenorparallelfifthsand/oroctaveswhentherootmovesbytheinterval
ofafifth.Changeofpositionisonemethodthatcanhelpavoidthesevoiceleadingproblems.
6.VoiceLeadingTriadsWithRootMovementByFifth.
a.Tochangepositionbetweenchordswhoserootsareafifthapart,movethebassvoiceupordown
theintervalofafourthorafifth(Figure129).
Figure129.BassVoiceMovement
b.Next,movethethirdofthefirsttriad(upordowntheintervalofafourth)tothethirdofthesecond
triad(Figure1210).
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Figure1210.MovementofThirdofTriad
c.Keepthecommontone(Figure1211).
Figure1211.KeepCommonTone
d.Thenmovetheremaininguppervoicebystep(Figure1212).Noticethechangeofpositionthathas
occurredbetweeneachchordineachmeasure.
Figure1212.MoveRemainingUpperVoiceByStep
e.Whenusingchangeofpositiontovoiceleadtriadswhoserootmovementisbyfifth,caremustbe
usedtoavoidoverlappingvoices.Overlappingvoicesoccurwhentwoadjacentvoicesmoveinsimilar
motionandthelowervoiceascendstoapitchabovethatjustleftbytheuppervoice(orwhenthe
uppervoicedescendstoapitchbelowthatjustleftbythelowervoice).ThefirstmeasureofFigure12
13showsoverlappingvoices.ThesecondmeasureofFigure1213showshowachangeofposition
hascorrectedtheoverlappingvoices.
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Figure1213.AvoidedOverlappingVoices
NOTE:Rootmovementofthesecondandthirdweretaughtinpreviouslessonsandwillnotbe
coveredinthislesson.
5.RootMovementbyFifth.
Rootmovementbytheintervalofafifthpresentsuniqueproblemsinvoiceleading.Caremustbe
takentoavoidproblemsofhiddenorparallelfifthsand/oroctaveswhentherootmovesbytheinterval
ofafifth.Changeofpositionisonemethodthatcanhelpavoidthesevoiceleadingproblems.
6.VoiceLeadingTriadsWithRootMovementByFifth.
a.Tochangepositionbetweenchordswhoserootsareafifthapart,movethebassvoiceupordown
theintervalofafourthorafifth(Figure129).
Figure129.BassVoiceMovement
b.Next,movethethirdofthefirsttriad(upordowntheintervalofafourth)tothethirdofthesecond
triad(Figure1210).
Figure1210.MovementofThirdofTriad
c.Keepthecommontone(Figure1211).
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Figure1211.KeepCommonTone
d.Thenmovetheremaininguppervoicebystep(Figure1212).Noticethechangeofpositionthathas
occurredbetweeneachchordineachmeasure.
Figure1212.MoveRemainingUpperVoiceByStep
e.Whenusingchangeofpositiontovoiceleadtriadswhoserootmovementisbyfifth,caremustbe
usedtoavoidoverlappingvoices.Overlappingvoicesoccurwhentwoadjacentvoicesmoveinsimilar
motionandthelowervoiceascendstoapitchabovethatjustleftbytheuppervoice(orwhenthe
uppervoicedescendstoapitchbelowthatjustleftbythelowervoice).ThefirstmeasureofFigure12
13showsoverlappingvoices.ThesecondmeasureofFigure1213showshowachangeofposition
hascorrectedtheoverlappingvoices.
Figure1213.AvoidedOverlappingVoices
NOTE:Rootmovementofthesecondandthirdweretaughtinpreviouslessonsandwillnotbe
coveredinthislesson.
11.LeadingToneResolution.
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Inpreviouslessons,youweretaughtthatinaperfectauthenticcadence,theleadingtonemustoccur
inthesopranovoiceandresolvebyhalfsteptotherootofthetonicchord.Whenbothchordsarein
rootposition,thedoubledrootintheouter(sopranoandbass)voicescreatesastrongcadence.
Figure1222showsthisleadingtoneresolutioninaperfectauthenticcadence.
Figure1222.LeadingToneResolutioninPerfectAuthenticCadence
12.LeadingToneResolutioninInnerVoices.
a.Theleadingtonecanalsooccurinaninner(altoortenor)voiceatanauthenticcadencehowever,followingnormal
voiceleadingrulesresultsinanincompletetonicchord.InFigure1223,thethirdofthetonicchordisomitted.
Figure1223.IncompleteTonicChordatCadence
b.Toavoidthisunacceptablevoicing,analternativemethodofvoiceleadingmustbeused.Insteadofresolvingthe
leadingtoneupwardsbyhalfsteptothetonicofthetonicchord,itcanmovetothefifthofthetonicchord.Thisvoice
leadingresultsinacompletetonicchord.
c.Theleadingtonecanresolvetothefifthofthetonictriadwhenthesopranomovesfromthefifthofthedominant
chordtotherootofthetonicchord(measure1,Figure1224).Theleadingtonealsoresolvestothefifthofthetonic
triadwhenthesopranomovesbyleap(measure2,Figure1224).
Figure1224.SopranoMovementatCadences
d.Tocompletetheresolution,writethebassvoice(Figure1225).
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Figure1225.WriteBassVoice
e.Then,writethetworemainingvoicesinsimilarmotion(Figure1226).
Figure1226.WriteTwoRemainingVoicesinSimilarMotion
13.TripledRootatFinalAuthenticCadence.
Previouslyyouweretaughttovoicearootpositiontonictriadatafinalcadencebyusingtworoots,thethird,andthe
fifthofthetriad.Occasionally,atthefinalauthenticcadence,itmaybenecessarytovoicearootpositiontonictriad
usingthreerootsandthethirdofthetriadwhileomittingthefifthofthetriad.Triplingtherootofthetonictriadcreates
agreatervarietyofnotesavailableforthesopranovoicewhileeliminatingundesirableorawkwardvoiceleadinginall
fourvoices.
14.VoiceLeadingTripledRootatFinalAuthenticCadence.
a.Writetherootofthedominantchordtotherootofthetonicchordinthebassvoice(Figure1227).
Figure1227.WriteRootMovementinBassVoice
b.Resolvetheleadingtone(thirdofthedominantchord)tothedoubledrootofthetonicchord(Figure1228).
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Figure1228.ResolveLeadingTonetoDoubledRoot
c.Movethefifthofthedominantchordtothetripledrootofthetonicchord(Figure1229).
Figure1229.MoveFifthofDominantChordtoTripledRoot
d.Movethesecondrootofthedominantchordtothethirdofthetonicchord(Figure1230).
Figure1230.MoveRootofDominantChordtoThirdofTonicChord
NOTE:Donotomitthethirdofthetonictriadasitleavesthequalityofthetriadquestionable.Theemptysoundofthe
openfifthbetweentherootandfifthofthetonictriadisunacceptable.
a.Partwritethefollowingleadingtoneresolutions(Figure1231).
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Figure1231.PartWriteLeadingToneResolutions
b.Partwritethefollowingfinalauthenticcadences(Figure1232).Tripletherootofthetonicchord.
Figure1232.PartWriteFinalAuthenticCadences
LESSON13:SECONDARYDOMINANTCHORDS
Achordisidentifiedasasecondarydominantchordwhenithasatemporarydominantrelationshipto
achordthatisnotthetonic.Thesecondarydominantchordisoneofthemostcommonlyusedaltered
chords.Alteredchordscontainoneormorechromaticallyalterednotesnotfoundinthetonickey.The
secondarydominantchordmustbeaMajorchordoradominantseventhchord.Minorchordsand
minorseventhchordsdonotfunctionassecondarydominantchords.AnyMajororminordiatonic
chordcanbeprecededbyitssecondarydominantchordwithoutweakeningthefundamentaltonality
ofthecomposition.Diminishedandaugmentedchordsarenotprecededbysecondarydominant
chordsbecausethediminishedoraugmentedchordscannotperformatemporarytonicfunction.
Secondarydominantchordsprovideharmoniccolorthroughtheadditionofnewnotesandgiveadded
directionandmovementtotheharmonythroughdominanttotonicfunction.
Inthislessonyouwilllearntoidentifyandwritesecondarydominantchords.
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Identifythestructureandanalysisofsecondarydominantchords
Identifyandwritedominantofthedominantchords
Partwritesecondarydominantchords.
1.Structure
a.AnyMajororminorchordcanbeprecededbyitssecondarydominantchord.InthekeyofCMajor,
thesupertonicchord(Dminor)canbeprecededbyitssecondarydominantchord(aMajorchordbuilt
onA).Figure131showsthedominantofthesupertonicchord.
Figure131.SecondaryDominantChord
NOTE:ThesymbolV/iiisusedthroughoutthislessontorepresentthedominantofthesupertonic
chordRomannumeralanalysis.
b.ThesecondarydominantchordmustbeaMajorchordoradominantseventhchord.InthekeyofC
Major,thediatonicchordbuiltonAisaminorsubmediant(vi)chord(measureone,Figure132).
SincethesecondarydominantchordmustbeMajor,thethirdofthechord(C)isaltered(raised)by
onehalfstep(toC#)(measuretwo,Figure132).
Figure132.AlteredDiatonicChord
2.Function.
a.Thesecondarydominantchordfunctionsasatemporarydominantchordtoatemporarytonic.The
alteredthirdofthesecondarydominantchordactsasaleadingtonethatcontributestothedominant
function.InthekeyofCMajor,thedominantofthesupertonicchordisanAMajorchord.The
temporarytonic(orchordofresolution)isthesupertonicchord(Dminor).Figure133showsthe
dominanttotonicrelationshipbetweenthesecondarydominantchordanditschordofresolution.
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Figure133.TemporaryChordFunction
b.Thesecondarydominantchordhasarootmovementtoitschordofresolutionofadescending
perfectfifth(Figure134).
Figure134.RootMovementRelationship
3.Analysis.
ThereareseveraldifferentsystemsofRomannumeralanalysis.Figure135showsthevariousways
ofnotatingthesecondarydominantchord.Thesecondarydominantchordshownisthedominantof
thesupertonicchordinthekeyofCMajor.
Figure135.AnalysisofSecondaryDominantChords
NOTE:Remember,thesymbolV/iiisusedthroughoutthiscoursetorepresentthedominantofthe
supertonicchordRomannumeralanalysis.
a.FiguredBass.Whenachordisalteredtobecomeasecondarydominantchord,thenotesthathave
beenalteredareshowninthefiguredbass.ThefirstmeasureofFigure136showsthefiguredbassof
aminorsubmediant(vi)chordinthekeyofCMajorthathasbeenalteredtobecomeasecondary
dominant(V/ii)chord.ThesecondmeasureofFigure136showsthefiguredbassofamajor(VI)
chordinCminorthathasbeenalteredtobecomeasecondarydominant(V/ii)chord.
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Figure136.SecondaryDominantChordFiguredBass
b.CompleteAnalysis.CompleteanalysisincludesboththeRomannumeralandthefiguredbassand
showsanyinversionsthatareused(Figure137).
Figure137.SecondaryDominantChordCompleteAnalysis
NOTE:Forthepurposeofthiscourse,simplifysecondarydominantchordsymbolsbyrepresenting
thesechordsinrootpositiononly.
4.DominantoftheDominantChord.
ThemostcommonsecondarydominantchordistheV/Vchord.TheV/Vchordisusedinrootposition,
firstinversion,secondinversion,andthirdinversion.
a.DominantoftheDominantChordinMajor.InMajorkeys,theV/Vchordcanbethoughtofasachromatically
alteredsupertonicchord.ItiswrittenbyraisingthethirdofthediatonicchordbyonehalfsteptoformaMajorchord
(measureone,Figure138).Thealteredthirdfunctionsasasecondaryleadingtoneandnormallyresolvesupwardby
halfsteptoadiatonicnoteofachord.Therelationshipbetweenthesecondarydominantchord(V/V)andthe
dominantchordisatemporarydominanttotonicfunction(measuretwo,Figure138).Rootmovementbetweenthe
secondarydominantchordandthedominantchordisadescendingperfectfifth(measurethree,Figure138).
Figure138.V/VChordinMajor
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b.DominantoftheDominantChordinMinor.Inminorkeys,theV/Vchordcanbethoughtofasachromatically
alteredsupertonicchord.Itiswrittenbyraisingthethirdandthefifthofthediatonicchordbyonehalfsteptoforma
majorchord(measureone,Figure139).Thealteredthirdfunctionsasasecondaryleadingtoneandnormally
resolvesupwardbyhalfsteptoadiatonicnoteofachord.Therelationshipbetweenthesecondarydominantchord
(V/V)andthedominantchord(V)isatemporarydominanttotonicfunction(measuretwo,Figure139).Root
movementbetweenthesecondarydominantchordandthedominantchordisadescendingperfectfifth(measure
three,Figure139).
Figure139.V/VChordinMinor
c.Whenthedominantofthedominant(V/V)chordisusedwithinaphrase,itaddsgreaterharmonicdrivetothe
progression(Figure1310).
Figure1310.V/VChordWithinaPhrase
d.Thedominantofthedominant(V/V)chordservesaspecialfunctionatahalfcadence.Itstrengthensthedriveto
thedominantchord(Figure1311).
Figure1311.V/VChordataHalfCadence
e.TheadditionoftheminorseventhtotheV/Vchordinrootposition,firstinversion,secondinversion,andthird
inversionformstheV7/V,V/V,V/V,andV/Vchords.Figure1312showstheV /Vchordinrootposition,first
inversion,secondinversion,andthirdinversion.
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Figure1312.V /VChordinRootPositionandinInversions
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Writethedominantofthedominant(V/V)chordsinthefollowingkeys(Figure1313).Writeyouranswersonthestaff
provided.
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Figure1313.WriteV/VChords
5.MethodofPreparation.
a.Thesmoothestwaytointroduceasecondarydominantchordisinasetofthreechords.Thisset
canthenbeinterpretedasatemporary"key"(keyofthemoment).Thisisnotconsideredamodulation
sincethefirstandlastchordsofthesetstillbelongtotheoriginalkey.Thefirstchordpreparesthe
secondarydominantchord.Thesecondchord(thesecondarydominantchord)isthetemporary
dominantofthethirdchord.Thethirdchordservesasthetemporarytonic.Figure1314showstheset
ofthreechordsanalyzedinthekeyofCMajor.Thechordsarealsoanalyzedinthetemporarykeyof
GMajor.
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Figure1314.PreparationofSecondaryDominantChord
b.Ifthenotetobechromaticallyalteredinthesecondarydominantchordisadoublednoteinthe
preparationchord,onevoicemoveschromaticallytothealterednoteandtheothervoicemovesby
leaptoadifferentnoteofthesecondarydominantchord.Inthefirstchord(preparationchord)of
Figure1315,theFisdoubledinthealtoandbassvoices.Inthesecondchord(secondarydominant
chord)ofFigure1315,theFinthealtovoicemovesbyleapdowntoaD.TheFinthebassvoice
movestoanF#.
Figure1315.AlteredNoteDoubled
6.CrossRelationship.
Whenthesameletternamednoteoccursinanadjacentchordasachromaticallyalterednote,both
notesmustremaininthesamevoice.Whenthechromaticallyalterednoteoccursinanothervoice,
crossrelationshipoccurs.Crossrelationshipisunacceptablepartwriting.Becauseofthechromatic
alterationsinvolvedinsecondarydominantchords,caremustbetakentoavoidwritingcross
relationships.
a.InthefirstmeasureofFigure1316,theFintheiichordisalteredintheV/Vchord.TheFintheii
chordoccursinthesopranovoicewhiletheF#intheV/Vchordoccursinthetenorvoice,creatinga
crossrelationshipbetweenthesechords.
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Figure1316.CrossRelationship
b.Toavoidwritingcrossrelationshipsinsecondarydominantchords,thetwosharednotesmustoccur
inthesamevoice.InFigure1317,theunalterednote(F)andthealterednote(F#)bothoccurinthe
sopranovoice.
Figure1317.CrossRelationshipAvoided
7.MethodofResolution.
a.Inresolvingasecondarydominantchord,followthesameprinciplesasthoseforthedominantto
tonic(VI)chords.Thethirdofthesecondarydominantchordisasecondaryleadingtoneofthe
temporarykey(keyofthemoment)andisnotdoubled.Itresolvesupwardbyhalfsteptotherootof
thenextchord(Figure1318).
Figure1318.ResolutionOfSecondaryDominantChord
b.Asecondarydominantchord,likethedominantchord,canresolveirregularlytoachordotherthan
thechordaperfectfifthbelow.Anirregularresolutionoccursatacadencewhenthedominantofthe
dominant(V/V)chordmovestothesecondinversiontonic(I)chordbeforeitmovestothedominant
(V)chord(Figure1319).
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Figure1319.IrregularResolutionofSecondaryDominantChord
Partwritethefollowingdominantofthedominant(V/V)chords(Figure1320).Avoidwritingcrossrelationships.
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Figure1320.PartWriteV/VChords
LESSON14:LESSCOMMONSECONDARYDOMINANTCHORDS
InLesson13,youlearnedthatanyMajororminordiatonicchordcouldbeprecededbyitssecondary
dominantchord.Themostcommonsecondarydominantchordisthedominantofthedominantchord
(V/VorV7/V).However,thereareotherdiatonicchordsthatcanalsobeprecededbytheirsecondary
dominantchords.Theprinciplesofvoiceleadinganddoublingforthedominant(anddominant
seventh)totonicprogressionareusedwheneveradiatonicchordisprecededbyitssecondary
dominantchord.
Inthislessonyouwilllearntoidentifyandwritelesscommonsecondarydominantchords.
1.TheDominantoftheSupertonicChord(V/ii).
a.InMajorkeys,theV/iichordcanbethoughtofasachromaticallyalteredsubmediant(vi)chord.Itis
writtenbyraisingthethirdofthediatonicchordbyonehalfsteptoformaMajorchord.Measureoneof
Figure141showsthevichordandtheV/iichord.Thealteredthirdfunctionsasasecondaryleading
toneandresolvesupwardbyhalfsteptoadiatonicnoteofachord.Forthepurposesofvoiceleading
anddoubling,therelationshipbetweenthesecondarydominantchord(V/ii)andthesupertonicchord
(ii)isatemporarydominanttotonic(VI)progression(measuretwo,Figure141).Rootmovement
betweenthesecondarydominantchordandthesupertonicchordisadescendingperfectfifth
(measurethree,Figure141).
Figure141.V/iiChordinMajor
NOTE:Inminorkeys,theV/iiochordisnotconsideredasapossiblesecondarydominantchord.The
diminishedsupertonicchordcannotfunctionasatemporarytonic.
b.TheV/iichordcanbeusedinrootposition.Figure142showstheV/iichordinrootposition.
Figure142.V/iiChordinRootPosition
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c.TheV/iichordcanalsobeusedasapassingchord.Figure143showstheV/iichordusedasa
passingchord.
Figure143.V/iiChordasPassingChord
d.TheadditionoftheminorseventhtotheV/iichordinrootposition,firstinversion,andthirdinversion
formstheV /ii,V/ii,andV/iichords.TheV/iichordisnotused.Figure144showstheV /iichordinroot
position,firstinversion,andthirdinversion.
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Figure144.V /iiChordinRootPositionandinInversions
NOTE:Whentheseventhofasecondarydominantseventhchordoccursinanuppervoice,andthe
dominantseventhchordprogressestoafirstinversiontemporarytonicchord,anirregularresolution
mustoccur.Thebassvoicehastakenthenoteofresolution(thirdofthetemporarytonicchord)and
theseventhofthesecondarydominantchordascendstothefifthofthetemporarytonicchord
(measureone,Figure144).Thisirregularresolutioncanresultinunequalfourthsorfifths,whichis
acceptable.
2.TheDominantoftheMediantChord(V/iii)inMajor.
a.InMajorkeys,theV/iiichordcanbethoughtofasachromaticallyalteredleadingtone(vii )chord.It
iswrittenbyraisingthethirdandthefifthofthediminished(diatonic)chordbyonehalfsteptoforma
Majorchord.MeasureoneofFigure145showsthevii chordandtheV/iiichord.Thealteredthird
functionsasasecondaryleadingtoneandresolvesupwardbyhalfsteptoadiatonicnoteofachord.
Boththealteredthirdandthealteredfifthresolveupward.Forthepurposesofvoiceleadingand
doubling,therelationshipbetweenthesecondarydominantchord(V/iii)andthemediantchord(iii)isa
temporarydominanttotonic(VI)progression(measuretwo,Figure145).Rootmovementbetween
thesecondarydominantchordandthemediantchordisadescendingperfectfifth(measurethree,
Figure145).
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Figure145.V/iiiChordinMajor
b.TheV/iiichordisusedinrootposition.Figure146showstheV/iiichordinrootposition.
Figure146.V/iiiChordinRootPosition
c.TheadditionoftheminorseventhtotheV/iiichordinrootposition,firstinversion,andthirdinversion
formstheV /iii,V/iii,andV/iiichords.TheV/iiichordisnotused.Figure147showstheV /iiichordin
rootposition,firstinversion,andthirdinversion.
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Figure147.V /iiiChordinRootPositionandinInversions
3.TheDominantoftheMediantChord(V/III)inMinor.
a.Inminorkeys,theV/IIIchordisidenticaltotheunalteredsubtonic(VII)chord.Thesubtonicchordis
adiatonicchordinthenaturalminorandthedescendingmelodicminorscales.MeasureoneofFigure
148showstheVIIchordandtheV/IIIchord.Thethirdofthechordfunctionsasasecondaryleading
toneandresolvesupwardbyhalfsteptoadiatonicnoteofachord.Forthepurposesofvoiceleading
anddoubling,therelationshipbetweenthesecondarydominantchord(V/III)andthemediantchord
(III)isatemporarydominanttotonic(VI)progression(measuretwo,Figure148).Rootmovement
betweenthesecondarydominantchordandthemediantchordisadescendingperfectfifth(measure
three,Figure148).
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Figure148.V/IIIChordinMinor
NOTE:InthekeyofCMajor,themediantisEtherefore,therootoftheV/iiichordisB.InthekeyofC
minor,themediantisEbtherefore,therootoftheV/IIIchordisBb.
b.TheV/IIIchordusuallyoccursinfirstinversionasapassingchord.Figure149showstheV/III
chordinfirstinversionusedasapassingchord.
Figure149.V/IIIChordinFirstInversionUsedasPassingChord
c.TheV/IIIchordoccasionallyoccursinrootposition.Figure1410showstheV/IIIchordinroot
position.
Figure1410.V/IIIChordinRootPosition
d.TheadditionoftheminorseventhtotheV/IIIchordinrootpositionformstheV /IIIchord.Figure14
11showsthe /IIIchordinrootposition.
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Figure1411.V /IIIChordinRootPosition
4.TheDominantoftheSubdominantChord(V/IV)inMajor.
a.InMajorkeys,theV/IVchordisidenticaltotheunalteredtonic(I)chord.Todistinguishthedominant
functionoftheV/IVchordfromthatofthetonicchorditself,aminorseventhisaddedtotheVchord,
thusmakingthechordaV /IVchord.MeasureoneofFigure1412showstheIchordandtheV /IV
chord.Thethirdofthechordfunctionsasasecondaryleadingtoneandresolvesupwardbyhalfstep
toadiatonicnoteofachord.Forthepurposesofvoiceleadinganddoubling,therelationshipbetween
thesecondarydominantchord(V/IV)andthesubdominantchord(IV)isatemporarydominanttotonic
(VI)progression(measuretwo,Figure1412).Rootmovementbetweenthesecondarydominant
chordandthesubdominantchordisadescendingperfectfifth(measurethree,Figure1412).
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Figure1412.V /IVChordinMajor
b.TheV /IVchordisusedinrootposition.Figure1413showstheV /IVinrootposition.
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Figure1413.V7/IVChordinRootPosition
c.TheadditionoftheminorseventhtotheV/IVchordinfirst,second,andthirdinversionformsthe
V/IV,V/IV,andV/IVchords.Figure1414showstheV /IVchordinfirstinversion,secondinversion,
andthirdinversion.
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Figure1414.V7/IVChordinInversions
5.TheDominantoftheSubdominantChord(V/iv)inMinor.
a.Inminorkeys,theV/ivchordcanbethoughtofasachromaticallyalteredtonic(I)chord.Itiswritten
byraisingthethirdofthediatonicchordbyonehalfsteptoformaMajorchord.MeasureoneofFigure
1415showstheichordandtheV/ivchord.Thealteredthirdfunctionsasasecondaryleadingtone
andresolvesupwardbyhalfsteptoadiatonicnoteofachord.Forthepurposesofvoiceleadingand
doubling,therelationshipbetweenthesecondarydominantchord(V/iv)andthesubdominantchord
(iv)isatemporarydominanttotonic(VI)progression(measuretwo,Figure1415).Rootmovement
betweenthesecondarydominantchordandthesubdominantchordisadescendingperfectfifth
Figure1415.V/ivChordinMinor
b.TheV/ivchordisusedinrootposition.Figure1416showstheV/ivchordinrootposition.
Figure1416.V/ivChordinRootPosition
c.ThesecondinversionoftheV/ivchordisusedasapassingchord.Figure1417showstheV/iv
chordusedasapassingchord.
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Figure1417.V/ivChordUsedasPassingChord
d.TheadditionoftheminorseventhtotheV/ivchordinrootposition,infirstinversion,andthird
inversionformstheV7/iv,V/iv,andV/ivchords.TheV/ivchordisnotused.Figure1418showsthe
V7/ivchordinrootposition,firstinversion,andthirdinversion.
Figure1418.V7/ivChordinRootPositionandinInversions
6.TheDominantoftheSubmediantChord(V/vi)inMajor.
a.InMajorkeys,theV/vicanbethoughtofasachromaticallyalteredmediant(iii)chord.Itiswritten
byraisingthethirdofthediatonicchordbyonehalfsteptoformamajorchord.MeasureoneofFigure
1419showstheiiichordandtheV/vichord.Thealteredthirdfunctionsasasecondaryleadingtone
andresolvesupwardbyhalfsteptoadiatonicnoteofachord.Forpurposesofvoiceleadingand
doubling,therelationshipbetweenthesecondarydominantchord(V/vi)andthesubmediantchord(vi)
isatemporarydominanttotonic(VI)progression(measuretwo,Figure1419).Rootmovement
betweenthesecondarydominantchordandthesubmediantchordisadescendingperfectfifth
Figure1419.V/viChordinMajor
b.TheV/vichordisusedinrootposition.Figure1420showstheV/vichordinrootposition.
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Figure1420.V/viChordinRootPosition
c.ThesecondinversionoftheV/vichordisusedasapassingchord.Figure1421showstheV/vi
chordusedasapassingchord.
Figure1421.V/viChordUsedasPassingChord
d.TheadditionoftheminorseventhtotheV/vichordinrootposition,firstinversion,andthird
inversionformstheV /vi,V/vi,andV/vichords.TheV/vichordisnotused.Figure1422showsthe
V /vichordinrootposition,firstinversion,andthirdinversion.
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Figure1422.V /viChordinRootPositionandinInversions
7.TheDominantoftheSubmediantChord(V/VI)inMinor.
a.Inminorkeys,theV/VIchordisidenticaltotheunalteredmediant(III)chord.Todistinguishthe
dominantfunctionoftheV/VIchordfromthatofthemediantchorditself,aminorseventhisaddedto
theVchordmakingthechordaV /VIchord.MeasureoneofFigure1423showstheIIIchordandthe
/VIchord.Althoughthethirdofthechordisnotalteredinthesecondarydominantchord,itsfunction
changesfromthatofatonaldegree(5thscaledegree)tothefunctionofasecondaryleadingtonethat
resolvestoadiatonicnoteofachord.Forpurposesofvoiceleadinganddoubling,therelationship
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betweenthesecondarydominantchord(V /VI)andthesubmediantchord(VI)isatemporarydominant
totonic(VI)progression(measuretwo,Figure1423).Rootmovementbetweenthesecondary
dominantchordandthesubmediantchordisadescendingperfectfifth(measurethree,Figure1423).
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Figure1423.V /VIChordinMinor
NOTE:InthekeyofCMajor,thesubmediantisAtherefore,therootoftheV/vichordisE.Inthekey
ofCminor,thesubmediantisAbtherefore,therootoftheV/VIchordisEb.
b.TheadditionoftheminorseventhtotheV/VIchordinrootposition,firstinversion,secondinversion,
andthirdinversionformstheV /VI,V/VI,V/VI,andV/VIchords.Figure1424showstheV /VIchordin
rootposition,firstinversion,secondinversion,andthirdinversion.
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Figure1424.V /VIChordinRootPositionandinInversions
8.TheDominantoftheSubtonic(V/VII)inMinor.
a.Inminorkeys,theV/VIIchordcanbethoughtofasachromaticallyalteredsubdominant(iv)chord.
ItiswrittenbyraisingthethirdofthediatonicchordbyonehalfsteptoformaMajorchord.Measure
oneofFigure1425showstheivchordandtheV/VIIchord.Thealteredthirdfunctionsasasecondary
leadingtoneandresolvesupwardbyhalfsteptoadiatonicnoteofachord.Forpurposesofvoice
leadinganddoubling,therelationshipbetweenthesecondarydominantchord(V/VII)andsubtonic
chord(VII)isatemporarydominanttotonic(VI)progression(measuretwo,Figure1425).Root
movementbetweenthesecondarydominantchordandthesubtonicchordisadescendingperfectfifth
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Figure1425.V/VIIChordinMinor
NOTE:Inamajorkey,theV/vii chordisnotconsideredasapossiblesecondarydominantchord.The
diminishedleadingtonechordcannotfunctionasatemporarytonic.
b.TheadditionoftheminorseventhtotheV/VIIchordinrootposition,firstinversion,second
inversion,andthirdinversionformstheV /VII,V/VII,V/VII,andV/VIIchords.Figure1426showsthe
V /VIIchordinrootposition,firstinversion,secondinversion,andthirdinversion.
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Figure1426.V /VIIChordinRootPositionandinInversions
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Identifythefollowingsecondarydominantchordsandtheirtemporarytonicchords(Figure1427).Writeyouranswers
inthespacesprovidedbelowthestaff.Userootpositionanalysisforeachchord.
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Figure1427.IdentifySecondaryDominantChoice
LESSON15:SECONDARYLEADINGTONECHORDS
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Anydiatonicmajororminorchordcanbeprecededbythediminishedchordbuiltonthenotethatis
onehalfstepbelowtherootofthediatonicMajororminorchordthatactsasatemporarytonic.These
diminishedchordsarecalledsecondaryleadingtonechords.Therootofthediminishedchordactsas
atemporaryleadingtonetotherootofatemporarytonicchord.Secondaryleadingtonechords
provideharmoniccolorwiththeadditionofalterednotesandtheygiveaddeddirectionandmovement
totheharmony.
Inthislessonyouwilllearntoidentifyandwritesecondaryleadingtonechords.
Identifythestructureandanalysisofsecondaryleadingtonechords
Identifyandwritesecondaryleadingtonechords
Resolvesecondaryleadingtonechords
1.Structure.
a.AnyMajororminortriadcanbeprecededbyitssecondaryleadingtonechord.InthekeyofCMajor
forexample,thedominantchord(G)canbeprecededbyitssecondaryleadingtonechordwhichisa
diminishedtriadbuiltonF#(Figure151).
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Figure151.SecondaryLeadingToneChord
b.Thesecondaryleadingtonechordsincludethediminishedtriad,thehalfdiminishedseventhchord,
andthefullydiminishedseventhchord.Figure152showsthestructureofthesecondaryleadingtone
chords.Theseventhofthediminishedseventhchordisoftenspelledenharmonicallyasthesixth
(measurefour,Figure152).
Figure152.SecondaryLeadingToneChordStructure
NOTE:Injazzharmony,thehalfdiminishedseventhchord(vii7)iscommonlycalledtheminor
seventh(flatfive)chord(min7(b5)).
c.Secondaryleadingtonetriadsusuallyoccurinfirstinversion(measureone,Figure153).Thehalf
diminishedseventhandfullydiminishedseventhsecondaryleadingtonechordsoccurinrootposition
aswellasinanyinversion(measurestwothroughfive,Figure153).Thefullydiminishedseventh
secondaryleadingtonechordhasthesamesoundharmonicallynomatterwhichinversionisused.
Figure153.SecondaryLeadingToneChordsinInversion
2.Function.
a.Thesecondaryleadingtonechordfunctionsasatemporaryleadingtonechordtoatemporarytonic
chord.Therootofthesecondaryleadingtonechordfunctionsasanartificialleadingtonetoa
temporarytonic(Figure154).
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Figure154.TemporaryLeadingToneChord
b.Rootmovementbetweenasecondaryleadingtonechordanditschordofresolutionisan
ascendinghalfstep.Figure155showstherootmovementbetweenthesecondaryleadingtone
(viiO/V)chordandthedominant(V)chord.
Figure155.SecondaryLeadingToneRootMovement
c.Thesecondaryleadingtonetriad,halfdiminishedseventhsecondaryleadingtonechord,andthe
fullydiminishedseventhsecondaryleadingtonechordareallusedwithvariedfrequency.Usageofa
particularchordisthedecisionofthecomposer.
3.Analysis.
a.Diminishedleadingtonetriadsarecommonlycalledincompletedominantseventhchordswiththe
rootomitted.Figure156showsthecomparisonbetweenthevii /iichordinfirstinversionandtheV
chord.
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Figure156.IncompleteDominantSeventhChord
b.Diminishedseventhleadingtonechordsarecommonlycalledincompleteninthchordswiththeroot
omitted.Figure157showsthecomparisonbetweenthevii /iichordandtheV chord.
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Figure157.IncompleteDominantNinthChord
c.Thevii /iitriadinCMajorisspelledC#EG.Itiscommonlyanalyzedasavii /ii(Figure158).
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Figure158.AnalysisofSecondaryLeadingToneChords
NOTE:Thesymbolvii /iiisusedthroughoutthislessontorepresenttheRomannumeralanalysisof
secondaryleadingtonetriads.
d.FiguredBass.Whenatriadisalteredtobecomeasecondaryleadingtonechord,thescaledegrees
thathavebeenalteredareshowninthefiguredbass.Thediminishedsupertonictriad(occurringin
minorkeys)istheonlysecondaryleadingtonechordwithoutchromaticalteration.Allotheralterations
arewritteninthefiguredbass(Figure159).
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Figure159.FiguredBassforSecondaryLeadingToneChords
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e.CompleteAnalysis.CompleteanalysisincludesboththeRomannumeralandthefiguredbassand
showsanyinversionsthatareused.Forthepurposeofthislesson,simplifythesesymbolsby
representingchordsinrootpositiononly(Figure1510).
Figure1510.CompleteAnalysis
NOTE:Forthepurposeofthislesson,thesymbolvii isusedtorepresenthalfdiminishedseventh
secondaryleadingtonechordsandthesymbolvii isusedtorepresentfullydiminishedseventh
secondaryleadingtonechords.
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4.SecondaryLeadingToneChordoftheSupertonic.
a.InMajorkeys,thesecondaryleadingtonetriadofthesupertonicisusedinfirstinversion.Figure15
11showsthevii /iitriadinfirstinversion.
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Figure1511.vii /iiTriadInFirstInversion
b.InMajorkeys,thesecondaryleadingtonechordofthesupertoniccanbeahalfdiminishedseventh
chord.Figure1512showsthevii7chord.
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Figure1512.vii /iiChord
c.InMajorkeys,thesecondaryleadingtonechordofthesupertoniccanalsobeafullydiminished
seventhchord.Figure1513showsthevii /iichord.
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Figure1513.vii /iiChord
d.Inminorkeys,secondaryleadingtonechordsofthesupertonicdonotoccur.
5.TheSecondaryLeadingToneChordoftheMediant.
a.InMajorkeys,thesecondaryleadingtonechordofthemediantrarelyoccurs.
b.InMajorkeys,thehalfdiminishedsecondaryleadingtonechordofthemediantdoesnotoccur.
c.InMajorkeys,thesecondaryleadingtonechordofthemediantisafullydiminishedseventhchord.
Figure1514showsthevii /iiichord.
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Figure1514.vii /iiichord
d.Inminorkeys,thesecondaryleadingtonetriadofthemediantisusedinfirstinversion.Figure1515
showsthevii /IIItriadinfirstinversion.
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Figure1515.vii /IIITriadinFirstInversion
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e.Inminorkeys,thesecondaryleadingtonechordofthemediantcanbeahalfdiminishedseventh
chord.Figure1516showsthevii /IIIchord.
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Figure1516.vii /IIIChord
f.Inminorkeys,thesecondaryleadingtonechordofthemediantcanalsobeafullydiminished
seventhchord.Figure1517showsthevii /IIIchord.
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Figure1517.vii /IIIChord
6.TheSecondaryLeadingToneChordoftheSubdominant.
a.InMajorkeys,thesecondaryleadingtonetriadofthesubdominantisrarelyused.
b.InMajorkeys,thehalfdiminishedseventhsecondaryleadingtonechordofthesubdominantis
rarelyused.
c.InMajorkeys,thesecondaryleadingtonechordofthesubdominantisafullydiminishedseventh
chord.Figure1518showsthevii /IVchord.
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Figure1518.vii /IVChord
d.Inminorkeys,thesecondaryleadingtonetriadofthesubdominantisrarelyused.
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e.Inminorkeys,thehalfdiminishedseventhsecondaryleadingchordofthesubdominantisrarely
used.
f.Inminorkeys,thesecondaryleadingtonechordofthesubdominantisafullydiminishedseventh
chord.Figure1519showsthevii /ivchord.
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Figure1519.vii /ivChord
7.TheSecondaryLeadingToneChordoftheDominant.
a.InMajorkeys,thesecondaryleadingtriadofthedominantisusedinfirstinversion.Figure1520
showsthevii /Vtriadinfirstinversion.
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Figure1520.vii /VTriadinFirstInversion
b.InMajorkeys,thesecondaryleadingtonechordofthedominantcanbeahalfdiminishedseventh
chord.Figure1521showsthevii /Vchord.
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Figure1521.vii /VChord
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c.InMajorkeys,thesecondaryleadingtonechordofthedominantcanalsobeafullydiminished
seventhchord.Figure1522showstheviiO7/Vchord.
Figure1522.vii /VChord
d.Inminorkeys,thesecondaryleadingtonetriadofthedominantisusedinfirstinversion.Figure15
23showstheviiO/Vtriadinfirstinversion.
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Figure1523.vii /VTriadinFirstInversion
e.Inminorkeys,thehalfdiminishedseventhsecondaryleadingtonechordofthedominantdoesnot
occur.
f.Inminorkeys,thesecondaryleadingtonechordofthedominantcanbeafullydiminishedseventh
chord.Figure1524showsthevii 7/Vchord.
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Figure1524.viiO7/VChord
8.TheSecondaryLeadingToneChordoftheSubmediant.
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a.InMajorkeys,thesecondaryleadingtonetriadofthesubmediantisusedinfirstinversion.Figure
1525showsthevii /vitriadinfirstinversion.
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Figure1525.vii /viTriadinFirstInversion
b.InMajorkeys,thehalfdiminishedseventhsecondaryleadingtonechordofthesubmediantdoes
notoccur.
c.InMajorkeys,thesecondaryleadingtonechordofthesubmediantcanbeafullydiminished
seventhchord.Figure1526showsthevii /vichord.
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Figure1526.vii /viChord
d.Inminorkeys,thesecondaryleadingtonetriadofthesubmediantrarelyoccurs.
e.Inminorkeys,thehalfdiminishedseventhsecondaryleadingtonechordofthesubmediantdoes
notoccur.
f.Inminorkeys,thefullydiminishedseventhsecondaryleadingtonechordofthesubmediantdoesnot
occur.
9.TheSecondaryLeadingToneChordoftheSubtonic.
a.InMajorkeys,secondaryleadingtonechordsofthesubtonicdonotoccur.
b.Inminorkeys,thesecondaryleadingtonetriadofthesubtonicrarelyoccurs.
c.Inminorkeys,thehalfdiminishedseventhsecondaryleadingtonechordofthesubtonicdoesnot
occur.
d.Inminorkeys,thefullydiminishedseventhsecondaryleadingtonethirdofthesubtonicdoesnot
occur.
10.ResolutionofSecondaryLeadingToneChords.
a.Thedissonantcharacteristicoftheleadingtonechordoccursbetweentherootandthefifthand
betweentherootandtheseventh(minorordiminishedseventh).Normally,bothintervalsofthe
diminishedfifthcontracttotheintervalofathird(measuresoneandtwo,Figure1527).Whenthe
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intervalofthediminishedfifthisinvertedtotheintervalofanaugmentedfourth,itexpandstothe
intervalofasixth.Thediminishedseventhresolvestothetonic(measurethree,Figure1527).
Figure1527.DiminishedSeventhChordResolution
b.Theintervaloftheaugmentedfourthcanalsodescendinparallelmotionsothatallthreeupper
voicesmoveinparallelmotion(measuresoneandtwo,Figure1528).Thisprocedureisnotusedfor
theintervalofthediminishedfifthbecausethediminishedfifthwouldbefollowedbyaperfectfifthin
similarmotion(measurethree,Figure1528).
Figure1528.UpperThreeVoicesinParallelMotion
Identifythefollowingsecondaryleadingtonechordsandtheirtemporarytonics(Figure1529).Writeyouranswerson
thespacesprovidedbelowthestaff.Userootpositionanalysisforeachchord.
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Figure1529a.IdentifySecondaryLeadingToneChords
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Figure1529b.IdentifySecondaryLeadingToneChords
LESSON16:COMMONCHORDMODULATION
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Modulationistheprocessofmovingfromonekey(tonalcenter)toanotherkey.Initssimplest
definition,modulationisachangeofkey.Modulationisacommondevicethatprovidesharmonic
varietyandisusuallyfoundinanycompositionofsomelength.Therearefourstructuraland
expressivefunctionsofmodulation:
Intensifyharmonicmotion.
Underscoredramaticchanges.
Producecontrastsofmoodandcolor.
Emphasizestructuraldivision.
Commonchordmodulationisoftencalledsimplemodulationorpivotchordmodulation.Common
chordmodulationinvolvesafourstepprocess.Tounderstandmodulation,youmusthaveknowledge
ofrelatedkeysandthefourstepprocessofmovingfromonekeytoanother.
Inthislessonyouwilllearntomodulateusingcommonchordmodulation.
Identifycloselyrelatedkeys
Identifypivotchords
Modulateusingcommonchordmodulation
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1.CloselyRelatedKeys.
Inmodulation,akeycanprogresstoanyotherkey.Commonchordmodulationisthemovementtoa
closelyrelatedkey.
2.MethodstoDetermineCloselyRelatedKeys.
a.Onemethodusedtodeterminecloselyrelatedkeysistousethecircleoffifths.Closelyrelatedkeys
arethosethatareadjacenttoakeyonthecircleoffifthsandtheirrelativeminorormajorkeys.
Therefore,anyonekeyhasfivecloselyrelatedkeys.InFigure161,thefivecloselyrelatedkeystoC
Major(FMajor,GMajor,Dminor,Aminor,andEminor)areshown.
Figure161.CloselyRelatedKeysbyCircleofFifths
b.Anothermethodusedtodeterminecloselyrelatedkeysistofindthekeysthatarethediatonic
dominantanddiatonicsubdominantofthetonickeyandtherelativeminor(ormajor)keysofeachkey.
Figure162showsachartofthefivecloselyrelatedkeystoCMajorandAminor.TheRoman
numeralsbeloweachcloselyrelatedkeyshowthefunctionofeachkeyinrelationtothetonickey.
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Figure162.CloselyRelatedKeysbyFunction
Writethefivecloselyrelatedkeysofthefollowingtonicchords(Figure163).Writeyouranswersinthespaces
provided.
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Figure163.WriteCloselyRelatedKeys
3.MostCommonModulations.
ThetwomostcommonmodulationsarefromaMajorkeytoitsdominantkey(CMajortoGMajor)andfromaminor
keytoitsrelativeMajorkey(CminortoE Major).Modulationisusuallyaccomplishedbyuseofapivotchord.Apivot
chordisachordthatiscommontoboththeoriginalkeyandthenewkey.
a.TherearethreepossiblepivotchordsbetweenaMajorkeyanditsdominantkey.Figure164showsthethree
possiblepivotchordsbetweenthekeysofCMajoranditsdominant,GMajor.
b
Figure164.PossiblePivotChordsBetweenMajorandDominantKeys
b.TherearefourpossiblepivotchordsbetweenaminorkeyanditsrelativeMajorkey.Figure165showsthefour
possiblepivotchordsbetweenthekeysofCminoranditsrelativeMajor,E Major.
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Figure165.FourPossiblePivotChordsBetweenMinorandRelativeMajorKeys
4.FourStepProcess.
Commonchordmodulationinvolvesafourstepprocess:establishtheoriginalkey,changethekey,establishthenew
key,andreturntotheoriginalkey.
5.EstablishTheOriginalKey.
Thefirststepofmodulationistoestablishtheoriginalkeyortonalcenter.Theoriginalkeyisthebeginningkeyandis
usuallytheendingkey.Theoriginalkeymustbefirmlyestablished.Thefollowingdevicesareimportanttoestablish
theoriginalkey:
Scalematerials.
Functionalchords(primarytriadsI,IV,andV)toidentifytheoriginalkey.
Astrongprogression(includingacadence)toestablishtheoriginalkey.
6.ChangeTheKey.
Thesecondstepisachangeofkeythatoccursbymovingawayfromtheoriginalkeytothenewkeywhilestill
retainingtheoriginalkeysignature.Thisisfrequentlysignaledbytheuseofanaccidental(chromaticalteration)anda
chorddiatonictoboththeoriginalkeyandthenewkey.Apivotchordisachordcommontoboththeoriginalkeyand
thenewkey.Forexample,thetonicchordinCMajorcouldbeusedtomodulatetoGMajor.ThetonicchordinC
MajoristhesameasthesubdominantchordinGMajor.TheCMajorchordactsasapivotchord(orconnecting
chord)betweenthetwokeys.IthastwofunctionssinceitisanalyzedasthetonicofCMajor(originalkey)andasthe
subdominantofGMajor(newkey).Thedoublefunctionshouldbeshownintheanalysis.Twolevelsofsymbolsare
usedinanalyzingmodulation.Figure166showspivotchordmodulation.
Figure166.PivotChordModulation
NOTE:Thedominantorleadingtonechordshouldnotbeusedasthepivotchord.Thedominantfunctionofboth
chordsissostronginonekeythatitwillnotbeheardasadifferentfunctioninthenewkey.
7.EstablishNewKey.
Inthethirdstep,thenewkeymustbeestablished.Thisisusuallyaccomplishedbyastrongcadence.
a.Stepthreeofthemodulationprocessissignaledbytheappearanceofamodulatingtone.Anaccidentalfromthe
newkeyisintroduced.Thisaccidentalmarkstheentryintothenewkey.InshiftingfromaMajorkeytoitsdominant,
themodulatingtoneisthenew(raised)seventhscaledegree.Thisnewraisedseventhscaledegreenowbecomes
theleadingtoneinthenewkey.Figure167showsthemodulatingtone(F#)whenmodulatingfromCMajortoits
dominantkeyofGMajor.TheF#istheleadingtoneinthekeyofGMajor.
Editor
Figure167.ModulatingTone
b.Astrongcadenceinthenewkeydistinguishesbetweenatruemodulationandthemomentarychromaticchange
causedbyasecondarydominantchord.MeasuresthreeandfourofFigure168showacadencereinforcingthenew
keyofGMajor.
Figure168.CadenceinNewKey
8.ReturntoOriginalKey.
Inthefourthstep,returntotheoriginalkey.Thismodulatingprocesscanmovethroughmanykeys
andthenbacktotheoriginalkeyorsimplytothenewkeyandthenbacktotheoriginalkey.Areturnto
theoriginalkeyisnot,strictlyspeaking,partofthemodulation.However,sincethereturntothe
originalkeyalmostalwaysoccursatsomepointafteramodulation,itneedstobeunderstood.
x
x
x
a.Themainelementsofthereturntotheoriginalkeyare:
Cancellationoftheaccidentalsthatidentifiedthenewkey.
Appearanceofchordscharacteristicoftheoriginalkey.
Astrongcadencereestablishingtheoriginalkey.
b.AsimplereturntotheoriginalkeycanbeaccomplishedbybeginningthenextphrasewithaIVIprogression,or
withsomeotherstrongbasicprogressionintheoriginalkey.Figure169showsaIVIprogressionestablishingthe
keyofCMajor.
Figure169.IVIProgression
c.Thereturntotheoriginalkeyoccursinthereverseorderofthemodulation.Thereversestepsare:
Editor
x
x
x
x
Establishoriginalkey.
Returnpivotchordcan,butdoesnotalways,occur.
Reentryintotheoriginalkeybyrequiringamodulatingtonecharacteristictotheoriginalkey.
Astrongcadencetoreestablishtheoriginalkey.
Figure1610showsareturntotheoriginalkeythroughareversalofthemodulationprocess.
Figure1610.ReturntoOriginalKeybyReverseModulation
a.Identifythedominantkeysofthefollowingmajorkeys(Figure1611).Thenanalyzeeachpivotchordineachkey.
Writeyouranswersbelowthestaff.
Editor
Figure1611.IdentifyDominantKeysandPivotChords
b.IdentifytherelativeMajorkeysofthefollowingminorkeys(Figure1612).Thenanalyzeeachpivotchordineach
key.Writeyouranswersbelowthestaff.
Editor
Figure1612.IdentifyRelativeMajorKeysandPivotChords

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Figure335.I toV i toV

Figure337.I andIVi andiv

Figure339.I andIV i andiv

Figure711.vii asaPassingChordBetweenI andI

Figure87.PartWritingSupertonicTriads,ii,ii ,ii ,andii

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