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The leading-tone seventh chords are vii ø 7 and vii o 7, [24] the half-diminished and diminished seventh chords on the seventh scale degree of the major and harmonic minor. For example, in C major and C minor, the leading-tone seventh chords are B half-diminished (B–D–F–A) and B diminished (B–D–F–A ♭), respectively.
The seventh of the chord acts as an upper leading-tone to the third of the scale (in C: the seventh of G 7, F, is a half-step above and leads down to E). [10] This, in combination with the strength of root movement by fifth, and the natural resolution of the dominant triad to the tonic triad (e.g., from GBD to CEG in the key of C major ...
As a result, different voicings and inversions of chords may provide smoother voice leading. Rigorous concern for voice leading is of greatest importance in common-practice music, although jazz and pop music also demonstrate attention to voice leading to varying degrees. The style of voice leading will depend on the performing medium; for ...
The most common chords are tertian, constructed using a sequence of major thirds (spanning 4 semitones) and/or minor thirds (3 semitones). Since there are 3 third intervals in a seventh chord (4 notes) and each can be major or minor, there are 7 possible permutations (the 8th one, consisted of four major thirds, results in a non-seventh augmented chord, since a major third equally divides the ...
The classical example features inversions to emphasize the bass line's independence while the jazz examples feature root progression by fifths and "perfectly smooth voice leading" produced by the 7th of each chord falling a semitone to become the 3rd while the 3rd becomes the 7th of that chord. [4] ii–V–I
In such cadences, the leading tone (the seventh scale degree) must resolve step-wise to the tonic. That is, the voice that plays the leading tone must resolve up to the tonic, and if the chord is a dominant seventh chord, the subdominant should resolve to the mediant. Another concern of four-part writing is tessitura. Since the music is usually ...
F ♯ 7 may substitute for C 7 because they both have E ♮ and B ♭ /A ♯ and fulfill the voice leading considerations. Play ⓘ A tritone substitution is the substitution of one dominant seventh chord (possibly altered or extended) with another that is three whole steps (a tritone) from the original chord.
The root position of a chord is the voicing of a triad, seventh chord, or ninth chord in which the root of the chord is the bass note and the other chord factors are above it. . In the root position, uninverted, of a C-major triad, the bass is C — the root of the triad — with the third and the fifth stacked above it, forming the intervals of a third and a fifth above the root of C, respective