The APsolute RecAP: Music Theory Edition

*Previously on the APsolute recap* In episode 21 I discussed general voice leading rules. If you haven’t reviewed those aspects of voice leading, you should before continuing on here. This particular episode of voice leading is going to address the rules specific to the seventh chord and their inversions.

Lets Zoom in:

The voice leading rules that we still use today stem from the 18th century. There are rules specific to four voices that create seventh chord harmonies.

The tones preceding a seventh chord tone should be a commontone or a step away. This makes the bass line sound very smooth with minimal leaps when seventh chords are incorporated into a chord progression. If commontones or steps are not achievable, then the preceding tone can be a leap lower, or a third above.

There are also rules associated with how a seventh chord is resolved. It has to descend to resolve the seventh. Unless you are dealing with a dominant seventh chord in second inversion. This type of seventh chord is resolved by moving up a step to complete the progression of I-V4/3-I6.

The fifth of a seventh chord may be left out to help adhere to those rules. This is allowed mainly because the fifth is not a qualifier of the chord. You need the root to ground the chord, you need the third to qualify if it is major or minor, and you need the seventh to show it is a seventh chord. Thus, the fifth is just a bonus. If you do decide to kick it out, you must double the root. If the seventh chord is in an inversion, the seventh chord must be written out completely.

Leading tone seventh chords, both diminished and half diminished can be used instead of a dominant or dominant seventh chord. It is typically placed near a tonic chord to create stepwise motion.

Now we are going to super zoom in on the chord progression I-V4/3-I6. Try to audiate or sing aloud each part from the whole progression when it is played. First notice how the soprano line moves stepwise. (Soprano and whole progression) Next hear how the alto part stays on one commontone. (Alto and whole progression) The tenor part also moves in stepwise motion. (Tenor and whole progression) Last, the bass line ascends stepwise and resolves upwards, as this specific type of chord progression is allowed to do.

Voice leading is an aspect of the exam that requires you to be able to recall a domino effect of rules. On the exam you will need to be able to identify voice leading rules of the 18th century in score analysis, error detection, writing and listening.

Need more practice? Bach chorales are great examples of voice leading rules. Use them to sing each part and do roman numeral analysis.

To recap……

Seventh chords and their inversions work best in progressions when approached stepwise or with common tones. There are times when you can approach a seventh chord with an ascending leap or descending third. Most seventh chords are resolved descending, except for the progression I-V4/3-I6. You may omit the fifth of a seventh chord to achieve proper voice leading rules, but you must double the root.

Coming up next on the Apsolute RecAP Music Theory Edition: Predominant Seventh Chords

Today’s Question of the day is about seventh chords.

Question: What are the Arabic numerals for the root and each inversion of seventh chords?