7th Chords and Their Inversions

First Inversion: The root is the 3rd of the chord, followed by the 5th, the 7th, and then the tonic. 

Second Inversion: The root is the 5th of the chord, followed the 7th, the tonic, and finally the 3rd. 

Third Inversion: The root is the 7th of the chord, followed by the tonic, the 3rd, and the 5th. 

 

How to Voice a Dominant Chord and Resolve it Correctly

There are two possible ways to resolve dominant seventh chords. For instance, if you have a C dominant 7th chord you can resolve the chord down fifth or up a fourth. So, the C dominant 7th chord would result to a f major chord.

 

Passing 6/4, Pedal 6/4, Cadential 6/4, Arpeggio 6/4

Passing 6/4: The bass of this 6/4 chord behaves just like a passing tone, in other words the note before and after it will make a three note stepwise line, either descending or ascending. 

 

Pedal 6/4: In this type of chord, the bass note sustains like a pedal tone. With a pedal 6/4 the bass stays the same for three chords in a row- the 6/4 chord is always the middle of the three. The bass note is doubled in all three chords. 

 

Cadential 6/4: This type of chord behaves like an appogiatura - the upper voices resolve downwards by a step and it falls on a stronger beat than the chord of resolution. The upper voices might be approached by a leap but is usually approached by a step in the bass. The cadential 6/4 chord is always a tonic 6/4 and the resolution chord is always a V or V7. The bass often approaches by step, moving upward from the 4th scale degree. 

 

Arpeggio 6/4: These are chords where the bass is arpeggiating the same triad. Leaps are fine, there is no worry of resolution or approach. The notes are jut moved around on the same chord, and at some point, the fifth of the chord might occur in the bass making a 6/4 chord. 

 

Non-Harmonic Tones

Non-harmonic tones are certain pitches that don't belong in a specific chord. There are several types of non-harmonic tones including passing tones, neighboring tones, escape tones, changing tones (double-neighboring tones), anticipation, appoggiatura, suspension, and retardation. A passing tone is approached by a step and then continues a step in the same direction. If a passing tone occurs with the second chord, then it is referred to as an accented passing tone. A neighboring tone is approached by a step and then returns back to the original note in a step. If it occurs with the second chord it is referred to as an accented neighboring tone. An anticipation is approached by a step and then remains the same, it is essential a note of the second chord being played early. An escape tone is approached by a step and then continues with a skip in the opposite direction. An appoggiatura is approached by a skip and then a step in the opposite direction. A suspension keeps a note the same and then steps down in the opposite direction, and vise versa for a retardation (retardations and suspensions are accented). Changing tones use two non-harmonic tones in succession. The first non harmonic tone is approached by a step and then skips in the opposite direction to the second non-harmonic tone. The 2nd non-harmonic tone resolves in a step. 

 

Four Part Writing

1) Parallel octaves, fifths , or unisons cannot be created by parallel or contrary motion

2) There should be no more than an octave between soprano-alto and alto-tenor. 

3) No overlapping or over-crossing of voices.

4) None of the notes should be omitted except the fifth and only the fifth when you to resolve.

5) All tendency tones must be resolved correctly. 

6) Highly avoid leaping large intervals especially intervals that are augmented. Try to move each part by the smallest interval possible. 

7) If there is a choice of which chord remember to double, the bass should be doubled when the chord is in root position or second inversion. Double the soprano in first inversion. Rememberer, diminished chords should be in the first inversion-double the bass.

 

Figured Bass

Thorough bass or figured bass was a practice used for certain accompanying, chordal instruments during the Baroque period. It made life a little easier for the composer, and allowed for some creative improvisation on the part of the composer. 

 

Fundamental Rules for Figured Bass

1) Each number below a bass note represents an interval above that note. They must not be confused with chord members. The ³ of the figured-bass symbol ⁶₃ represents the note a 3rd above the bass if the bass note is E, this turns out the be the chordal 5th (G), note the 3rd of the C chord (E). 

2) There are number of conventional short figurings:

-Accidentals alone under a bass note refer to the third.

-6 Alone =6/3 is a first inversion chord. 

-3 is used only if it follows a 4, or in some other context here the could be confusion.

-7 alone- 7/5/3:  as seventh chord in root position.

-the figurings for the inversion of V⁷ (6/5, 4/3, and 4/2 apply to other seventh chords as well.

-6/4 is never shortened , but always written out in full.

 

3) The spelling of the intervals is always affected by the key signature. For instance, in the key of G major it isn't necessary to include a sharp before any numeral that indicates that scale degree. 

 

Neapolitan Chords and Augmented Sixth Chords

The neapolitan chord is a pre-dominant chord. It is derived from from the diminished II chord in minor, by lowering in root. The neapolitan is a major triad built on the lowered second scale degree, hence it consists of lowered scale degrees: 2, 4, and 6. In a minor Neapolitan, the 6th degree is already lowered so no alterations need to be made; only the 2nd degree has to be lowered. 

 

A neapolitan six chord consists of a major triad in its first inversion with a lowered second scale degree as its root. It usually functions as a pre-dominant chord coming before the V or I. 

 

Types of Augmented Sixth Chords

It⁺⁶ - There are only three notes in the Italian augmented sixth chord, the characteristic augmented sixth interval accompanied with the tonic pitch. 

Fr⁺⁶ - There are four notes in the French augmented sixth chord, the characteristic augmented sixth interval accompanied with the tonic and the supertonic pitches.

Ger⁺⁶  - There are four notes in the German augmented six chord, the characterstic augmented sixth interval accompanied with the tonic and the lowered mediant pitch. 

 

Rules for Chord Progressions

Common Major Key Chord Progressions

Chord          Chord in C Major Scale         Leads To

I                 C                                       Can appear anywhere and lead to anywhere

ii                 Dm                                    V or vii° chords   

iii                Em                                     IV or vi chords

IV               F                                       ii, V, or vii° chords

V                G                                       VI chords

vi                Am                                    ii, iii, IV or V chords

vii°               B°                                     I chord

 

Common Minor Key Chord Progressions

Chord           Chord in C Minor Scale        Leads To

I                  C                                      Can appear anywhere and lead to anywhere

ii                  D° (Dm)                             V or vii° chords

iii                 Eb aug                               iv (IV), VI (#vi°), or vii° (VI) chords

IV                Fm                                    V(v) or vii° (VII) chords

V                 Gm                                    VI (#vi°) chords

vi                 Ab (A°)                              III (III+), iv (IV), V (v), or vii° (VII) chords

vii°                B° (Bb)                              i chord

 

 

Borrowed Chord Options

Degrees               I               II                III            IV              V              VI            VII   

Major Tonality      C7M          Dm7            Em7        F7M            G7             A7M        Bm7 (b5)

Parellel Key          Cm7          Dm7 (b7)     Eb7M       Fm7            Gm7          Ab7M       Bb7 

Dorian                 Cm7          Dm7            Eb7M       F7              Gm7          Am7         Bb7M

Phrygian              Cm7          Db7M          Eb7          Fm7           Gm7 (b5)   Ab7M       Bbm7

Lydian                 C7M          D7              Em7         F#m7 (b5)   G7M          Am7        Bm7
Mixolydian           C7             Dm7           Eb7 (b5)    F7M            Gm7          Am7        Bb7M

Aeolian                Cm7          Dm7 (b5)     Eb7M       Fm7            Gm7          Ab7M       Bb7

Locrian                Cm7 (b5)    Db7M         Ebm7        Fm7            Gb7M        Ab7         Bbm7

1) The biggest incentive for taking this class is learning new techniques and ideas for composition. Last year in my theory class, I felt like composition was my weakest subject so I hope to improve that aspect by the end of the year. 

 

2) Wanting to become a better composer.