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dissonant chords create tension and heighten expectation in tonal music.
how to use dominant seventh
- 1. Chordal sevenths can participate in passing motions (unaccented beat (8-7,the dash connecting the two numbers means that this voice leading takes place in a single voice.) or accented beat)
- 2. participate in neighboring motions.
- For V7, the approach to the dissonance (its preparation)can occur in different ways. But htere is only one way to leave the dissonant seventh (its resolution): by descending step.
- Preparation by step from above is the prefered method to use.
3. V7 can participate in an authentic cadence ; the addition of a seventh only enhances the dominant triad's tendency to resolve to tonic.
Therefore, always use the dominant triad( and not v7) at a half cadence.
how to use V and v7 when they show together?
you can add the seventh to V and create v7 chord, but you cannot go from v7 to V.
how to use I and V7 ?
- connect the upper voices of V7 to the preceding chord by step.resolve the chord's tendency tones: the chordal seventh(4) always descends in any voice( there are no other opitions)
- leading tone 7 always ascends when it occurs in the soprano.
- Incomplete V7 you can only omit 5th
- generally, acomplete v7 resolves to an incomplete tonic, and an incomplete v7 resolves to a complete tonic.)
ps. when the leading tone is in an inner voice ,it can move down to 5 instead of resolving to 1
what is unequal fifths?
- when connecting I and v7, THE PERFECT FIFTH IN i MOVES TO THE DIMINISHED FIFTH IN v7
- these fifths are not parallel perfect fifths, but rather unequal fifths. and they are perimissible as long as the diminished fifith resolves to a third.
d5 cannot move to P5
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