1. Chapter 15 - Expanding the Basic Phrase
Leading-Tone, Predominant, and 64 Chords

2. In Chapter 15: Dominant Substitute - vii6
Resolving vii6 (Revisit from Chapter 8)
The vii7 and vii7 (Similar to the Dominant 7th chords)
Resolving vii7 and vii7 (Similar to the Dominant 7th chords)
Special in resolving vii7, vii7, and their inversions

3. Key Concept - page 252
V and V7 are not the only chords with the essential active ingredient for the dominant function: the leading tone. The diminished triad vii and the diminished seventh chords vii7 and vii7 are built on the leading tone and can substitute for V or V7.

4. Using the vii6
We can use the leading tone diminished triad (or dominant chord) in place of a V or V7 when we do not want a strong sounding dominant triad/chord. A vii contains less “harmonic” sound without scale degree 5.
Why can we use this?
Share two common tones 7 and 2
Works great as a passing triad/chord
Example of passing triads with Roman Numeral Phrases:
I (i)  V6 (or V43)  I6 (i6)
with vii6 instead
I (i)  vii6 (or vii65)  I6 (i6)

5. Key Concept - page 253 When using the leading-tone triad:
Write vii in first inversion - this inversion softens the tritone by placing at least one member of the dissonant tritone in an inner voice.
Double the third of the vii6 (the bass note, or scale-degree 2), since this scale degree is not part of the tritone; if this doubling is not possible, double the fifth (scale degree 4)
Never double the root (scale degree 7, the leading tone).

6. Writing vii6
Remember NEVER double the root (scale degree 7 = leading tone = tendency tone).
Try to double the: 3rd first; 5th second.
This triad should NEVER appear in root position.

7. Practice Building Leading Tone Triads
On a sheet of scrap manuscript paper, build the two leading tone triads to the left.
Spell these triads in 4 part vocal style.

8. Remembering d5 and A4 Resolutions
Remember when…we went over our resolutions for diminished 5ths and augmented 4ths in chapter 8?
Go ahead…dust them off, and lets get them out again.
Diminished 5ths resolve INWARD to 3rds.
Augmented 4ths resolve OUTWARD to 6ths.
(A DISSONANCE RESOLVES TO A CONSONANCE)

9. Key Concept - page 254 When resolving vii6:
(a) If the tritone is spelled as a diminished fifth7 below 4it normally resolved inward to a third: 13.
(b) If the tritone is spelled as augmented fourth4 below 7it may follow the voice-leading of the tendency tones and resolve outward to a sixth.
(c) It may move in similar motion to a perfect fourth (51).
(d) When the tritone is spelled as a diminished fifth, you may resolve scale-degree 4 up to 5 in only one context: when the soprano-bass counterpoint moves upward in parallel tenths (2 to 3 in the bass, and 4 to 5 in the soprano). The strength of the parallel motion in this contrapuntal pattern overrides the voice-leading tendency of scale-degree 4 to resolve down.

10. Resolving vii6 When resolving vii6:
(a) If the tritone is spelled as a diminished fifth7 below 4it normally resolved inward to a third: 13. 4 7 3 1

11. Resolving vii6 When resolving vii6:
(b) If the tritone is spelled as augmented fourth4 below 7it may follow the voice-leading of the tendency tones and resolve outward to a sixth. 7 4 1 3

12. Resolving vii6 When resolving vii6:
(c) It may move in similar motion to a perfect fourth (51).
A P4

13. Resolving vii6 When resolving vii6:
(d) When the tritone is spelled as a diminished fifth, you may resolve scale-degree 4 up to 5 in only one context: when the soprano-bass counterpoint moves upward in parallel tenths (2 to 3 in the bass, and 4 to 5 in the soprano). The strength of the parallel motion in this contrapuntal pattern overrides the voice-leading tendency of scale-degree 4 to resolve down.
Parallel 10ths between the soprano and bass from dissonance to consonance.
THIS IS THE EXCEPTION TO THE RULE!! Remember, it can only happen with parallel 10ths in the soprano and bass.

14. Phrase Example with vii6
Notice how in order to not have a false key established
using a V triad as the anacrusis, Bach chooses to use
the vii6 instead to open the phrase.
Phrase taken from Bach’s O Haupt voll Blunt und Wunden measures 2-4.

15. d5 Quick Resolution Recipe
If you are resolving a d5 in vii6  I (i):
Identify what scale degree is in each voice.
Use this to resolve the dissonance:
43
Scale-Degrees: 71
45 Notice: It is the same as the A4 resolution.
2 (on the next slide) 4 7 2 3 1 5
Still resolves inward to a 3rd.

16. A4 Quick Resolution Recipe
If you are resolving an A4 in vii6  I (i) :
Identify what scale degree is in each voice.
Use this to resolve the dissonance:
71
Scale-Degrees: 43
45
21 Notice: It is the same as the d5 resolution. 7 4 2 1 3 5
Still resolves outward to a 6th.

17. Quick Recipe Resolution Recap.
Here it is one more time using scale-degrees:
43
71
45
21
(21 motion will always occur in the bass since this triad will appear in first inversion.)
Easiest thing to do is to memorize these resolutions like you did the dominant resolutions.

18. Resolving Diminished Triads Practice
On scrap manuscript paper, resolve the vii6 triads to the left.
1. Locate the d5 or A4
first.
2. Then use the resolution recipe to resolve the triad.
Resolution Recipe:
4-3
7-1
4-5
2-1

19. Review of Diminished 7th Chords
Half-Diminished Chords are marked with a  Built: (stack of m3 with a M3 third on top) m7 M3 m5 m3 m3 m3 Root Root
Fully Diminished Chords are marked with a  Built: (stack of m3) d7 m3 m5 m3 m3 m3 Root Root
REMEMBER TO RAISE THE LEADING TONE IN MINOR!! (THE ROOT IN THIS CASE)

20. Leading Tone Chords in Inversions (Labeled like Dominant 7th Chords)
Root Position labeled
vii° or vii°:
7th
5th
3rd
Root – always in the bass for root position
You will not find it written in root position very often. You are to NEVER write in this position for a vii° chord/triad.
First Inversion labeled vii°65 or vii°65:
Root
7th
5th
3rd – always in the bass for first inversion
Most common position for this chord/triad. Should ALWAYS be your first choice.

21. Leading Tone Chords in Inversions (Labeled like Dominant 7th Chords)
Second Inversion labeled vii°43 or vii°43:
3rd
Root
7th
5th – always in the bass for second inversion
This is the second most common position for this chord/triad. This should be your SECOND choice.
Third Inversion labeled vii°42 or vii°42:
5th
3rd
Root
7th – always in the bass for third inversion
Though it is rare to see this chord in this position, it is possible. This should be your THIRD choice.

22. Lets Review g minor - root position B Major - 65 d minor - 43
Practice spelling the leading-tone seventh chords in the following keys:
g minor - root position
B Major - 65
d minor - 43
Eb Major - 42

23. Key Concept – page 256
The fully diminished leading-tone seventh chord appears more commonly in music literature than the half-diminished, possibly because of the half-step voice-leading between the lowed scale-degree 6 to 5. In fact, the fully diminished vii°7 is sometimes found in major keys, with an accidental to lower scale-degree 6.

24. Resolving vii° and vii° Chords
We normally resolve the tendency tones of a vii°7 and vii°7 like those of V7:
Resolve 7 up to 1
Resolve 4 down to 3
Resolve the chordal seventh down (6 to 5)
Summary on page 257 6 2 4 7 5 3 1

25. Practice SILENTLY on a piece of scrap paper, spell the resolutions of
71 and 43 in the following keys:
C minor: ____________ ____________
A Major: ____________ ____________
B minor: ____________ ____________
E minor: ____________ ____________
Ab Major: ___________ ____________

26. Key Concept - page 259 In resolving vii7 and its inversions:
Resolve the d5 inward to a third, This results in a tonic triad with a doubled third.
When scale-degree 2 is voiced higher than 6, 2 may resolve down to 1. The resulting augmented fourth to a perfect fourth is permitted in the style.
Avoid motion from a d5 to P5 in root-position leading-tone seventh chords; the d5 usually contracts to a third in this style.

27. Key Concept - page 259 In resolving vii7 and its inversions:
Resolve the d5 inward to a third, This results in a tonic triad with a doubled third. 6 2 4 7 5 3 1

28. Key Concept - page 259 In resolving vii7 and its inversions:
Resolve the d5 inward to a third, This results in a tonic triad with a doubled third. 6 2 4 7 5 3 1
MINOR EXAMPLE

29. Key Concept - page 259 In resolving vii7 and its inversions:
When scale-degree 2 is voiced higher than 6, 2 may resolve down to 1. The resulting augmented fourth to a perfect fourth is permitted in the style.
A P4

30. Key Concept - page 259 In resolving vii7 and its inversions:
Avoid motion from a d5 to P5 in root-position leading-tone seventh chords; the d5 usually contracts to a third in this style.
D P5

31. Exceptions
There is ONE exception to the AVOID MOTION FROM A d5 TO A P5. When the soprano line moves from scale degrees 3,4, 5 the bass moves from 1,2, 3 in parallel tenths. These parallel tenths overide the tendency tones.

32. Leading Tone Triads Usually found in: Root Position 1st Inversion
2nd Inversion
Usually not found in 3rd inversion because it would have to resolve to a 2nd position tonic triad.

33. Key Concept - page 260
Typical resolutions of the leading-tone seventh chords to tonic:
vii7I vii7i
vii65I6 vii65i6
vii43I6 vii43i6

34. Warm-Up/Practice
On a piece of manuscript paper, build a subdominant and supertonic triad in each
measure in the keys below. This is crucial for the next part of this chapter, time to dust
off all of our old terms and triads/chords!
Note: Use accidentals for this exercise, not a key signature.

35. NOW LETS GO ON TO PREDOMINANT POSSIBILITIES!!
At this point…
…we know how to construct a basic phrase.
…establish tonic and dominant in a phrase.
…write an authentic cadence at the end of a basic phrase.
…use the following diatonic triads and seventh chords: V, V7, vii, vii7, and vii7 and their inversions.
NOW LETS GO ON TO PREDOMINANT POSSIBILITIES!!

36. Predominant Harmonies
Predominant harmonies come BEFORE the dominant triad/chord.
These are typically: ii(7) and IV - Major Tonality or
ii(7) and iv - minor tonality
These triads share scale degrees 4 and 6 (and 1 if using the ii7).

37. (Note: T=Tonic; PD=Predominant; D=Dominant)
Key Concept - page 261
We can now expand our basic phrase model to include a predominant area that precedes the dominant: T-PD-D-T. The following are typical Roman numerals for the basic phrase:
In major keys: I - (ii, ii6, or IV) - V(7) - I
In minor keys: i - (ii6, or iv) - V(7) - i
(Note: T=Tonic; PD=Predominant; D=Dominant)

38. Example of a Predominant in a Phrase
Could also be a ii or ii6.

39. Key Concept - page 263
When we analyze musical passages, we use two levels of Roman numerals (see Example page 262). The top level, the vertical analysis, gives a Roman numeral label for each chord and inversion. The second level supplies the contextual analysis: it shows how the chords function within the basic phrase. T stands for “tonic,” D stands for “dominant,” and PD stands for “predominant.”

40. Dominant Expansion with the Cadential 64
We interpret the cadential 64 as a dominant function, despite the fact that it is built of tones from the tonic triad. It expands the dominant area of the basic phrase.
Key Concept - page 264

41. Dominant Expansion with the Cadential 64
We interpret the cadential 64 as a dominant function, despite
the fact that it is built of tones from the tonic triad. It expands
the dominant area of the basic phrase.
Key Concept - page 264 4 1 6 3 5

42. Cadential 64
The cadential 64 can be removed from the cadence without changing the harmonic function.
Almost always preceded by a predominant.
The 6 and 4 are simply intervals above the bass.
You can think about cadential 64 like a suspension where 6 resolves to 5 and 4 resolves to 3 (8 can resolve to 7 to make it a V7).

43. Key Concept - page 264-265 When you write a cadential 64:
Always double the bass. Any other doubling will result in voice-leading problems and is not idiomatic to the use of these chords.
Hold any common tones between the chord of approach and the 64, and move other voices the shortest distance.
Write the cadential 64 chord on a strong beat in the measure; it displaces the V or V7 to a weaker beat. In triple meter, sometimes the cadential 64 appears on the second beat, resolving to V or V7 on the third beat.
Resolve the “suspended” tones of the 64 downward: the sixth above the bass moves to a fifth, and the fourth above the bass moves to a third (shown in example 15.13a - page 265). Always resolve the chord this way.
If there is a seventh in the dominant harmony that follows the cadential 64, the doubled bass note (an octave above the bass) moves to the seventh of the dominant seventh chord (example 15.13b - page 265).

44. Key Concept - page 264-265 When you write a cadential 64:
Always double the bass. Any other doubling will result in voice-leading problems and is not idiomatic to the use of these chords. 4 1 6 3 5

45. Key Concept - page
Hold any common tones between the chord of approach and the 64, and move other voices the shortest distance.
Write the cadential 64 chord on a strong beat in the measure; it displaces the V or V7 to a weaker beat. In triple meter, sometimes the cadential 64 appears on the second beat, resolving to V or V7 on the third beat.

46. Key Concept - page
Resolve the “suspended” tones of the 64 downward: the sixth above the bass moves to a fifth, and the fourth above the bass moves to a third (shown in example 15.13a - page 265). Always resolve the chord this way.

47. Key Concept - page
If there is a seventh in the dominant harmony that follows the cadential 64, the doubled bass note (an octave above the bass) moves to the seventh of the dominant seventh chord (example 15.13b - page 265).

48. In other words, K.I.S.S. (keep it simple smarty).
Key Concept - page 265
Write voice-leading patterns combined with Roman numerals (V64 53) where no independent chord is created by the voice-leading embellishments.
In other words, K.I.S.S. (keep it simple smarty).

49. Neighbor 64 (Pedal 64) Passing 64 Arpeggiating 64
Other Types of 64 Chords
Neighbor 64 (Pedal 64)
Passing 64
Arpeggiating 64

50. Neighboring 64 Key Concept - page 266
The neighboring 64 embellishes and prolongs the chord it neighbors-usually a tonic or dominant-area chord-and is usually metrically unaccented. It shares its bass note with the harmony it embellishes, while two upper voices move in stepwise neighboring motion above the bass. This progression is also called a pedal 64 because the bass stays on the same pitch, providing a foundation for the simultaneous neighbor tones.

51. Neighboring 64 Examples Note: Instead of labeling the middle
chord as a IV64 we
will use N64.
These are the most
common types of N64.

52. Writing a Neighboring 64 Key Concept - page 268
To write a neighboring 64:
Decide which chord you want to prolong.
Write the chord twice in the same position, leaving a space in-between for the neighbor 64 (Example 15.17a - page 268).
Fill in the bass of the neighboring 64 first - the same bass as the chords on either side-and double it in the same voice as the chords on either side (Example 15.17b - page 268).
Write in the upper neighbors decorating the other two voices (Example 15.17c - page 268).

53. Practice Writing a Neighboring 64
To write a neighboring 64:
Decide which chord you want to prolong.
Write the chord twice in the same position, leaving a space in-between for the neighbor 64 (Example 15.17a - page 268).
Fill in the bass of the neighboring 64 first - the same bass as the chords on either side-and double it in the same voice as the chords on either side (Example 15.17b - page 268).
Write in the upper neighbors decorating the other two voices (Example 15.17c - page 268).
I N64 I I

54. Passing 64 Key Concept - page 269
Passing 64s connect root-position and first-inversion chords of the same harmony. We call them “passing” because the 64 harmonizes a bass-line passing tone.

55. Passing 64 Examples Notice the voice exchange between the bass and
soprano lines.
The triad in the
middle in second
inversion is known
as the passing 64.

56. Writing a Passing 64 Key Concept - page 271 To write a passing 64:
Decide which harmony you want to prolong.
Set up root-position and first inversion chords of that harmony which includes a voice exchange of the bass and one of the upper parts (often the soprano part, but it doesn’t have to be). (See example 15.21a - page 270)
Fill in skips of a third with stepwise motion in both voices that are participating in the voice exchange; this automatically doubles the fifth of the 64, making the correct doubling (See example 15.21b - page 270).
Complete the other voice-leading strands. All voices should connect by common tone or by step, making neighbor or passing patterns (See example 15.21c - page 270).

57. Practice Writing a Passing 64
To write a passing 64:
Decide which harmony you want to prolong.
Set up root-position and first inversion chords of that harmony which includes a voice exchange of the bass and one of the upper parts (often the soprano part, but it doesn’t have to be). (See example 15.21a - page 270)
Fill in skips of a third with stepwise motion in both voices that are participating in the voice exchange; this automatically doubles the fifth of the 64, making the correct doubling (See example 15.21b - page 270).
Complete the other voice-leading strands. All voices should connect by common tone or by step, making neighbor or passing patterns (See example 15.21c - page 270).
I P64 I

58. Arpeggiating 64 Different from the other 64 uses we have seen.
Requires only a change in the bass pitch within a single harmony.
The only voice leading rule is to create the arpeggiating 64 on a weak beat.

59. Arpeggiating 64 Example Notice how only the bass pitch is changing,
but the triad/chord
remains the same.

60. Key Concept - page 274
Each 64 chord we write will be one of the following types:
Cadential 64
Neighboring 64
Passing 64
Arpeggiating 64

61. Summary - page 274 When using second-inversion triads:
Always double the bass (fifth) of the chord.
Be sure you can name the type of 64 (don’t include it if you can’t name it).
In all 64s except arpeggiating (which are consonant), all voices should approach and leave chord members by step (forming neighbor or passing tones) or common tone.
Arpeggiating 64s will have chordal skips, but must then resolve correctly to the next harmony.

62. Chapter 15
THE END