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The Leading Tone Triad

I. The leading tone triad is a diminished triad; it occurs in both major and minor modes.
II. The chord is used with dominant function except to replace V at a half cadence. It may also be used as a linear (embellishing) chord (still associated with tonic harmony). The triad is almost always in first inversion;
root position is very rare, and second inversion is virtually never used.
III. The third is usually doubled, as the root and fifth are tendency tones.
IV. Voice leading.
A. The root of the chord (the leading tone) always resolves stepwise upward.
B. One third of the chord generally moves stepwise downward, whereas the other third moves stepwise
upward in contrary motion.
C. The fifth of the chord, though a tendency tone, typically is freely resolved, moving stepwise up to the fifth
of the tonic chord. However, see the third example that follows, in which the tritone in the outer voices
resolves.

V. A complete summary of part-writing and doubling procedures will be found in Part V, Units 5, 6, and 7.

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Analysis
Analyze music assigned by the instructor, keeping in mind all the elements previously considered.

Exercises
1.

Realize the following figured and unfigured basses, using nonharmonic tones where appropriate:
a.

b.

c.

\
d.

2.

Harmonize the following melodies. Three- or four-voice instrumental or keyboard textures may be
employed. Analyze all work completely.
a.

b.

THE LEADING TONE TRIAD

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c.

d.

3.

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Complete the following fragment in the indicated texture for instruments available in class. Information
on ranges and transpositions can be found in Part V, Unit 23; explanation and examples for analysis of
three-part texture can be found in Part V, Unit 17.

DIATONIC MATERIALS

4.

Complete the following in the given contrapuntal textures:

a.

b.

5.

The following patterns may be used for composition or improvisation:

a. C major:

b. D minor:

THE LEADING TONE TRIAD

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