IV. Diatonic Harmony, Tonicization, and Modulation
IV. Diatonic Harmony, Tonicization, and Modulation
Predominant Seventh Chords
John Peterson
Key Takeaways
- This chapter discusses the predominant seventh chords ii7, IV7, vi7, and iii7.
- ii7 and its inversions are the most common predominant seventh chord, and shows which inversions of ii7 are more common than others.
- When writing with predominant seventh chords, two general principles apply with respect to the treatment of the chordal seventh:
- Approach the chordal seventh by step or common tone.
- Resolve the chordal seventh down by step.
Earlier, we saw how adding a chordal seventh to the dominant strengthened its drive toward the tonic. In this chapter, we see that something similar can be accomplished by adding a chordal seventh to predominant chords: it can intensify their motion to the dominant ( ). Adding a seventh to ii chords is common; it also occurs with the other predominant chords (particularly IV and vi), but less frequently. All predominant seventh chords share two general guidelines for the treatment of a chordal seventh:
- The chordal seventh is usually approached by step or common tone.
- The chordal seventh resolves down by step.
. A predominant seventh chord in Josephine Lang, “Dort hoch auf jenem Berge”
Adding a chordal seventh to ii
lists the various inversions of ii7 from more common to less common. We’ll discuss each in turn.
| Degree of commonality | Inversion of ii7 |
|---|---|
| Most common | [latex]\mathrm{ii^6_5}[/latex] |
| Somewhat common | [latex]\mathrm{ii^7}[/latex] |
| Less common | [latex]\mathrm{ii^4_2}[/latex] |
| Least common | [latex]\mathrm{ii^4_3}[/latex] |
ii[latex]^6_5[/latex]
[latex]\mathrm{ii^6_5}[/latex] often substitutes for [latex]\mathrm{ii^6}[/latex], meaning that it commonly shows up near the end of a phrase ( typical part writing procedures and treatment of the chordal seventh, there aren’t any new voice leading concerns when writing with [latex]\mathrm{ii^6_5}[/latex] ( ).
). Other than the
ii7
ii7 is typically found near the end of a phrase (typical writing procedures and treatment of the chordal seventh, there are two main issues to be aware of when writing with ii7:
). In addition to following- The chord is often preceded by tonic, and it’s best to use I6 rather than I to avoid potential parallels,
- When ii7 resolves to V7, either ii7 or V7 will need to be incomplete to avoid causing a voice-leading problem ( ).
ii[latex]^4_2[/latex]
[latex]\mathrm{ii^4_2}[/latex] typically expands tonic at the beginning of a phrase in the progression [latex]\mathrm{I-ii^4_2-V^6_5-I}[/latex] (typical writing procedure and treatment of the chordal seventh.
). This progression is easy to write if you follow the
ii[latex]^4_3[/latex]
[latex]\mathrm{ii^4_3}[/latex] is relatively uncommon. When it does show up, it’s usually in place of a strong predominant at a phrase ending (). Other than following the typical writing procedure and treatment of the chordal seventh, there isn’t anything new to learn about