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Now that we have fully "recovered" from the previous Analysis video (!), we come to
Part 3, which addresses the requirements of connecting chords in minor keys.
Specifically, when an inverted Dominant 7th chord resolves to the minor "i" or tonic
triad.
If you have not already viewed it, this would be a good time to go back and watch (or review)
Part One on the 'natural resolution of inverted dominant 7th Chords'.
See link in the description.
That said, […] In minor keys, the four positions of the Dominant
Seventh (V7) chord sound exactly the same as in Major, because the notes are the same. [mus]
[mus] There is a difference, however, in the thorough bass figures; do you see it?
In minor, ALL the intervals have to be represented in the bass figures.
Why?
Because of the raised seventh scale degree, the artificially-created Leading Tone of most
minor modes.
Since this altered tone is not in the key signature, accidentals are required.
The root position V7 shows the raised 3rd, whether sharp, natural, or double-sharp.
The 2nd inversion figure indicates an altered 6th interval, whether sharp, natural, or double-sharp.
The 3rd inversion figure points to the chromatically-raised 4th of the chord, whether sharp, natural,
or double-sharp.
Only the 1st inversion figures remain unchanged, because the bass note itself carries the accidental
of the raised seventh scale degree; this altered bass note is the LT, in the first inversion
V7 chord in minor keys.
All this means, of course, is that accidentals added to the upper voices will reflect those
in the bass figures.
To determine the proper accidentals to add to the seventh scale degree – whether sharp,
natural, double-sharp sign – we look at the key signature.
Now we consider how inversions of the Dominant 7th chord resolve naturally to the tonic,
the minor "i" chord.
The altered seventh degree, the LT, is in the bass, an outer voice.
For this reason the first inversion V7 chord must in practice resolve to the root position
minor i, or Tonic triad. [mus]
[mus] Both Third and 7th of the inverted V7 (indicated
in red) resolve in contrary motion by diatonic step; no skipping or leaping – and the root
of the V7 is retained in the same voice, as a common tone: the fifth of the i chord (indicated
in blue).
The same Principle applies to Open Position chord voicings; the LT in the bass – the
chord Third – resolves upward, the 7th downward.
Again, both Third and 7th of V7 resolve by diatonic step, in contrary motion, and the
V7 root stays in the same voice.
Only the Fifth of the V7 has a choice of direction, whether up or down. [mus]
[mus] When the Fifth of the V7 is in the bass, there
are two possible resolutions to the tonic triad: root position i, or first inversion
i.
In the first instance, resolving to the Root position i presents nothing unusual, whether
close or open voicing. [mus]
[mus] As for the second instance, resolving to the
inverted i, one of the upper voices will naturally double the bass note, which is the third of
the first inversion tonic chord. [mus]
[mus] The V7 chord in Third inversion is figured
as shown.
Note the accidentals.
This inversion resolves to the first inversion tonic, which is a 6 chord.
Why?
7ths are dissonant; so when the 7th of the chord is in the bass, it resolves its dissonance
by descending a step, to the 3rd of the tonic triad. [mus]
[mus] Here are third inversion V7s to tonic 6 chords
in which the Fifth of the chord – the supertonic – resolves by an upward step.
The motion of remaining chord members follows the natural course of least resistance: common
tones, conjunct motion to nearest neighbors, and so forth. [mus]
[mus] Did you notice the doubled thirds?
Finally, third inversion V7s-to tonic-6-triads, where one voice skips (or leaps) to the dominant
scale degree. [mus]
[mus] All this is perfectly acceptable.
Incidentally, why do you think that "frustrated" LT in the tenor (on the left) is permitted?
Today, we presented the root position dominant 7th chord and its three inversions, showed
how they are figured in minor keys, as well as how to, in a natural fashion, resolve their
inherent dissonances into a stable minor tonic chord.
As before, the inverted V7s and their resolutions to the tonic always work as complete chords.
Granted, sometimes it is necessary to double the Third of the tonic triad.
But the Fifth of the V7 need not be omitted, except when dominant 7th and tonic chords
are both in root position.
In a follow-up presentation, we'll present a few examples for Analysis.
Specifically, inverted Dominant-Seventh-to-Tonic-Triad progressions in minor modes.
You, the student, will have the opportunity to put this material to work.
Thank you for watching!
If you "like" what you are learning, please
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[Copyright © Mark Priest, 2017]
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