1. C HAPTER 10 The Dominant Seventh Chord Embellishing the Tonic Harmony

2. D OMINANT S EVENTH IN R OOT P OSITION – V 7 Built on ^5 Major Triad + minor 7 th above root (Mm7) Manifests itself as Major in both Major & minor keys Frequent substitute for V – intensifies resolution to I Must be ‘complete’ in root position

3. C HORDAL R ESOLUTION Seventh resolves stepwise downward: ^4 - ^3 Please resolve the TRITONE d5? – interval of a third A4? – interval of a sixth The third (leading tone of I) resolves to tonic Alto or Tenor – downward to dominant ^7-^5 Do not add a passing tone (7-(6)-5) = //5 w/another part Soprano – upward to tonic ^7- ^8

4. C OMPLETE V S. I NCOMPLETE A Great Rule of Thumb Incomplete – Complete Complete – Incomplete Eliminates parallels fifths Incomplete V 7 Remove the 5 th ; double the root Complete V 7 = Incomplete I Results in a tripled root Can only appear at cadences The root and the seventh must never go to ^3 in tonic = direct octaves “So easy even a cat can do it!” - Dexter Don’t trust the dog!

5. T HE C ADENTIAL D OMINANT S EVENTH Immediately precedes tonic in an authentic cadence Rarely appears at a half cadence which prefers V Seventh may be approached by passing tone, neighbor tone, appoggiatura, or suspension Rules regarding Complete – Incomplete (or vice versa) still apply

6. A RPEGGIATED TONIC PROLONGATION WITHIN THE PHRASE Tonic tonality is prolonged or extended prior to the cadential formula Facilitated through choral arpeggiation or embellishing passing and neighbor tones When doing a voice-leading reduction with arpeggiated notes, be sure to choose essential notes that make the smoothest connection to the next harmony

7. P ROLONGATION OF T ONIC H ARMONY U SING E MBELLISHING C HORDS Determining whether chords within a phrase have essential (primary) function or embellishing (secondary) function Judgments are based on the context of a particular passage Secondary chords may prolong the tonic harmony via V, V 7, or even IV Example 10.10 – dominant triads functioning as embellishing or linear chords by passing & neighboring motion consonant passing and neighboring chords Ex. 10.10

8. V AS AN E MBELLISHING C HORD TO I The dominant is frequently used to embellish tonic either by passing or neighboring motion. Ex. 10.11 The embellishing V in the first measure functions in a passing capacity

9. V 7 AS AN E MBELLISHING C HORD TO I Ex. 10.12 shows an embellishing and cadential V 7 to I B – C# - D comprise the melodic line F# acts as an inverted pedal tone