4.8: Prolongation at Phrase Beginnings using the Leading-Tone Chord

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Page ID: 232679

Mark Gotham, Kyle Gullings, Chelsey Hamm, Bryn Hughes, Brian Jarvis; Megan Lavengood, and John Peterson
VIVA - Virtual Library of Virginia

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Key Takeaways

Instead of using an inverted $\mathrm{V^7}$ chord to prolong tonic, composers sometimes use $\mathrm{vii^{o7}}$ or its inversions.
Each inversion of can be used in the same way as a particular inversion of . The pairings of and are based on the bass note each chord harmonizes.
- $\mathrm{vii^{o7}}$ can be used anywhere that $\mathrm{V^6_5}$ or $\mathrm{V^6}$ can be used.
- $\mathrm{vii^{o}\begin{smallmatrix}6\\5\end{smallmatrix}}$ or $\mathrm{vii^{o6}}$ can be used in place of $\mathrm{V^4_3}$ .
- $\mathrm{vii^{o}\begin{smallmatrix}4\\3\end{smallmatrix}}$ can be used in place of $\mathrm{V^4_2}$ .

Chapter Playlist

Overview

Earlier, we saw how the tonic can be prolonged using essentially four kinds of progressions, which we categorized according to their basslines (see the summary section of that chapter for a reminder). In this chapter, we consider an alternative way to harmonize those same tonic-prolongation bass lines using a harmony that can substitute for V⁷: the leading-tone chord. Example 1 shows a passage from Mozart’s “Agnus Dei” that uses vii^o7 and its inversions to prolong tonic. Below the actual version, a recomposition shows that the bass line from the actual version can also be harmonized with V⁷ and its inversions. As you listen, notice the differences in color between the two versions. You may hear that the actual version is full of a wonderful tension that is less present in the recomposed version.

A link to an interactive elements can be found at the bottom of this page.

Example 1. Using vii^o7 vs. V⁷ in Mozart, “Agnus Dei” from Requiem (0:06–0:20).

Before we address how this substitution works, here are three points we need to emphasize:

The leading-tone chord as a triad is always used in first inversion vii^o6. This is because any other inversion creates a dissonance with the bass that composers tend to avoid.
In minor, we need to remember to use ti $(\uparrow\hat{7})$ , not te $(\downarrow\hat{7})$ , to build the leading-tone chord. In other words, remember to raise the leading tone.
In major, the leading-tone seventh chord’s quality is half diminished if we don’t alter it (e.g. in C major: B-D-F-A). Composers tend to prefer the sound of a fully diminished 7^th chord, though, so we nearly always find that in major keys, composers lower the chordal seventh to make the chord fully diminished (e.g., in C major: B-D-F-A♭) (Example 2). You can use both, but vii^o7 is much more common than vii^∅7, and we’ll see why below.

A link to an interactive elements can be found at the bottom of this page.

Example 2. Comparing qualities of leading-tone seventh chords.

Substituting the leading-tone chord in place of V⁽⁷⁾

Almost all inversions of $\mathrm{vii^{o7}}$ (plus $\mathrm{vii^{o6}})$ can substitute for an inversion of $\mathrm{V^7}$ (and $\mathrm{V^6})$ according to which note is in the bass (Example 3). What this means is that, for example, $\mathrm{vii^{o7}}$ can be used anywhere that $\mathrm{V^6_5}$ or $\mathrm{V^6}$ can be used. Similarly, $\mathrm{vii^{o}\begin{smallmatrix}6\\5\end{smallmatrix}}$ or $\mathrm{vii^{o6}}$ can be used in place of $\mathrm{V^4_3}$ , and $\mathrm{vii^{o}\begin{smallmatrix}4\\3\end{smallmatrix}}$ can be used in place of $\mathrm{V^4_2}$ .

[table id=43 /]

Example 3. Substituting vii^o7 for V⁷ according to which note is in the bass.

\[(\downarrow\hat{6}\]

[table id=44 /]

Example 4. Tendencies of active notes in dominant-function chords.

A link to an interactive elements can be found at the bottom of this page.

Example 5. Writing with $\mathit{vii^{o6}}$ and $\mathit{vii^{o7}}$ and its inversions.

vii^o4/2

\[(\downarrow\hat{6})\]

A link to an interactive elements can be found at the bottom of this page.

Example 6. Using $\mathit{vii^{o}\begin{smallmatrix}4\\2\end{smallmatrix}}$ .

Using the leading-tone chord as a half-diminished seventh chord

\[(\hat{2})\]

A link to an interactive elements can be found at the bottom of this page.

Example 7. Using $\mathit{vii^{∅7}}$ and its inversions.

Assignments

Prolongation at Phrase Beginnings using the Leading-tone Chord (.pdf, .docx). Asks students to write from Roman numerals, complete analysis, and realize figured bass.

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Overview

Substituting the leading-tone chord in place of V(7)

viio4/2

Using the leading-tone chord as a half-diminished seventh chord

Substituting the leading-tone chord in place of V⁽⁷⁾

vii^o4/2