Harmonic Organization II: Chords in Diatonic eames cuarren “ + Harmonic Function + Inversions of Seventh Chords + Roman Numerals Root Position W7 Diatonic Triads in Major First Inversion Vf 1 ii iii IV V vi vit? Second Inversion V$ Diatonic Triads in Harmonic Minor Third Inversion Vi or V? ii? OY iv V VI wi? + Figured Bass * Inversions of Triads + Realization of Figured Bass Root Position V First Inversion V6 Second Inversion V§ TRIADS IN A DIATONIC CONTEXT I \\ ow we are ready to combine two concepts: chord qualities and how they relate “to the diatonic scale. In tonal music the harmonic function ofa triad is ass0- ciated with the scale degree on which it is built. In G Major the chord built on the tonic note (G) is called the tonic triad (G-B-D). The quality of this triad is major. Similarly, we refer to the triads built on each note of the scale by their scale degree name. In analyzing music it became necessary to find a way to label triads with their quality and their function (cheir placement within the key). Thus began the use of Roman numerals to identify and label chords. Major triads ate indicated with uppercase Roman numerals (such as I, TV, or V) and minor triads are indicated with Jovercase numerals (such as i, iii, or vi). For the diminished triad a small circle is added to lowercase numerals (vii?). For the augmented triad, the plus sign is added to the uppercase Roman numeral (IM). Please note that the III" is rarely, if ever, used on the AP exam. Diatonic Triads in Major The example below, in G Major, shows the triad, quality, scale degree name, and Roman numeral analysis. Because the scale pattern of W-W-H-W-W-W-H is the same for every major scale, likewise, the stacking of the notes creates the same intervals and, therefore, the same qualities of triads in every majot key. These triads 125126 AP Music Theory are diatonic because they use pitches found only in that key. Note that when showing Roman numeral analysis (which indicates function within a specific ke), the key is always indicared at the beginning of the analysis. Use uppercase for major and lowercase for minor. In this example, accidentals are used. Dratontc TRIADS: INTHE Key oF G Major Tomic SurERTONIC MEDIANT SuPDOMINANT DomaNanT SUBMEDIANT LEADING TONE, eo GM: 1 Ted i Quali: M m m M M m dim ‘Throughout this discussion of diatonic chords we consider the major, minor, and diminished triads built on G as the root, to observe where each chord occurs and how ie functions. In a major tonality there are only three places where a major triad occurs—on I, IV, and V. With this information we then know that the G Major triad (G-B-D) will be I (tonic) in G Major, IV (subdominant) in D ‘Major, and V (dominant) in C Major. Where will the G minor chord occu? In a major tonality a minor chord occurs on ii, iii, and vi; therefore, G minor (G-B}-D) will occur as the supertonic (ii) in F Major, the mediant (iii) in Bb Major, and the submediant (vi) in Bb Major. There is only one diminished wiad in any given major tonality; therefore, G diminished (GBb-D3) will occur on } the seventh scale degree (wii*) in only one key—Ad Major. There are no aug. mented chords in major. — onic Triads in Minor ‘The example we use is in E minor, the relative minor of G Major. Because the ke} signacure is the same as G Major (therefore, the same pitches are used), the chord have the same qualities as those found in G Major, just on a different scale deges ‘The relative major chord symbols have been placed above for comparison. First le look at chords in natural minor Diarontc Trraps iv THe Key or E NATURAL MINORHarmonic Organization Il: Chords in Diatonic Context 127 Remember thar the chord built on the 7th scale degree in natural minor is called the subtonic triad. It is a major chord—a whole step below tonic. The VII is just as common as the vi” in minor. After the initial comparison of the natural minor to major, we turn immediately to the harmonic form of minor. It is used most often for harmonizing in a minor key and is the form of minor most prominent on the AP exam. In harmonic minor the 7th scale degree is raised, creating a half step below tonic so that the 7th scale degree once again leads to tonic or Do. This provides a more convincing harmonic pull to tonic while retaining the characteristic color of minor. + The chords that are different from natural minor are only the chords that contain scale degree 7. + Remember to “raise the seventh scale degree in minor!” Diatontc Trraps IN THE Key OF E HARMONIC MINOR ‘Tonic SUPERTONIC MEDIANT SuBDOMINANT DoMuNANT SUBMEDIANT LEADING ‘TONE em 1 if lism dim II" isnocoften used in common-prcrice ye; 1 (om natura not) is prefined. In a minor tonality the minor chord takes center stage. Where does our target chord occur? G minor will function as tonic (i) in G minor and subdominant (iv) in D minor. Obviously, the G Major chord functions differently in minor than it does in major. Based on this information we know that the G Major triad will occur as V or VI, so G Major will be the dominant chord (V) in the key of C minor and VI (submediant) in B minor. The diminished triad (G-B>-D>) occurs on 3 (supertonic) in F minor; the Roman numeral chord symbol is ii®. In harmonic minor we find the augmented triad for the first time. The G aug- mented (G-B-D#) occurs in only one minor key—where G is the mediant. That ey is E minor. However, during the Common Practice Period (CPP), the mediant (3) was harmonized more often with TD (natural minor) chan with II" (harmonic minor).