MUSIC THEORY

Mod 40

• Subject of the Day:  Other Seventh Chords
• Reading Assignment: None
• Written Assignment:  2 Sopranos (handout)
• Semester Schedule

1.     IV^M7 resolves to a 1st class chord (watch for parallel 5ths)

As you can see in example a above, when a IVM7 resolves to V, there is the potential for parallel fifths (soprano and alto) in this chord connection.  Solutions for this trap are:

b) Move the alto to a doubled 5th of the tonic chord.  The soprano must relove to the C because
    it is the 7th of the chord.
c) Take the subdominant major seventh chord to a tonic 6-4 instead of directly to a V.  This delays
    the resolution of the 7th in the IVM7 chord, eliminating the parallel 5ths.
d) Manipulate the voicing so that the perfect fifth is inverted to a perfect 4th.  The parallel fourths
    going to the V chord is not a problem.

2.     IV^M7 to ii⁷ requires only 1 note changing (with inversions)
        ii⁷ to vii⁷ requires only 1 note changing (with inversions)

3.     VI^M7 or vi⁷ leads to a 2nd class chord (usually ii)

4.     IM⁷ best resolves to a IV

Actually the I^M7 functions as a 3rd class chord, not a tonic.

Click on each measure to play

5.     iii⁷ is best in a sequence:  IV^M7   vii⁷   iii⁷   vi⁷   etc., and, of course, proceeds to a vi chord.

6.     With the exception of I^M7, harmonic functions of triads are not changed by adding a 7th

8.     In each case there is a smooth approach to the 7th of seventh chords

9.     Resolution of 7th is downward by step
 
 

If you still have questions, contact Dr. Bartolotta at wbartolo@odu.edu.