Embedded Files
Objectives
Objectives
By the end of this lesson, students will be able to:
Spell and identify V7 chords in examples from the repertoire and describe the function of the V7 chord within a common-practice tonal context.
Identify the leading tone and 7th of a V7 chord and describe the tendency of each to resolve into the tonic chord.
Spell and resolve incomplete voicings of V7 and I chords and identify when the use of incomplete voicing is appropriate.
Demonstrate common-practice voice leading principles for resolving root-position V7 chords to tonic in 4-part SATB chorale and keyboard style voicing in both major and minor keys.
Describe how composers apply voice-leading techniques and use the V7 chord to strengthen cadences within the phrase model in examples from the repertoire.
Compose a V7 - I (or V7 - i) PAC or IAC in four voices given the melody line for the cadence.
Preparation for Class
Preparation for Class
Read:
Read:
Seventh Chords (Katlin Bove)
Strengthening Endings with V7 (John Peterson, OMT)
Watch
Watch
Resolving V7 to I
Seth Monahan (11 mins)
Study Aids
Study Aids
Harmonic Flowcharts for Major and Minor
From Robert Hutchinson, Music Theory for the 21st Century Classroom
In-Class Activities
In-Class Activities
Discussion
Discussion
Characteristics of V7: What are some of the distinctive characteristics of V7 that differentiate it from V? What intervals are in the chord? What additional scale degree does it include? Listen to a few examples that incorporate a V7-I cadence, then try recomposing the example to include a V instead (or vice versa). How does it change the effect of the cadence?
Voice Leading with V7: How is partwriting with V7 different from V? What are the tendency tones in V7 and how do they resolve? When is it appropriate to use incomplete voicing and why? Which tones are commonly doubled or omitted from the chord?
Activities
Activities
Chord Spelling Practice: Navigate to the MusicTheory.net exercise here. For each chord given (e.g. G7) complete the following:
Identify the key in which this chord is a V7 .
Spell the chord by adjusting the accidentals.
Identify the leading tone and the chordal 7th and state to which note each will resolve in the tonic chord.
Practice Worksheets:
Worksheet 1: Partwriting & Analysis with V7 (Open Music Theory)
Worksheet 2: Given a V7 chord, identify the key, then resolve the chord to tonic in 4-voice SATB style. (Turek, Theory for Today's Musician, see p. 157)
Worksheets 3–4 (San Francisco Conservatory)
Worksheet 3: Harmonizing a melody using I, V, and V7.
Worksheet 4: Harmonic analysis in repertoire with I, V, V7
Worksheet 5 (Fundamentals, Function, and Form): Spelling, ID, partwriting, and harmonization with V7 chords in different inversions.
Harmonizing Cadences with V7: Given a melody, compose a harmonic cadence.
Navigate to one of the following Sight-Singing Anthology pages: Melodic Skips in 1/3/5, 7 & 2, or 4 & 6.
Locate a melody that ends with melodic motion characteristic of an IAC or PAC cadence. Identify the melodic note(s) in the melody that support the V7 - tonic cadential motion.
Write a 4-voice harmonic accompaniment in keyboard or chorale style for the cadence (only) of the melody that uses these tones in the soprano line. Use the harmonic rhythm provided by the melody.
Composition: Compose a 4-bar composition with a melody and rhythmic accompaniment that uses only I and V7 chords. (See the worksheet from Lesson 2-2 as a model). For extra practice with phrase models, extend your composition to 8 bars and try composing a sentence or a parallel period.
Analysis in Repertoire: See the anthology sections below for additional practice. For each example, identify the Roman numerals, cadences, and chord function (T, D) below the staff.
Repertoire for Practice
Repertoire for Practice
Analysis with root position V7: Examples for analysis that use root position V7 chords at cadence points.
Cadences (continued practice): Examples from the repertoire for identifying PAC, IAC, and HC. See the first section: "Authentic and Half Cadences"
Practice
Practice
Musition:
Chord Progressions: Levels 3a, 3b
Counterpoint & Voice Leading: Levels 1-5
Four-Part Writing: Levels 5a–5e
Harmonization: Levels 2a, 2b
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