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Dominant Tonic Progression PDF
Dominant Tonic Progression PDF
4 wants to go down to 3.
7 wants to go up to 1.
These are the only two semitones in the major scale.
The Instability of Scale Degrees
Problems:
1. If followed repeatedly (this is a very common motion), the
whole range spirals downward ad infinitum.
2. The 2 resolves up to 3, instead of down to 1 (this is usually
only a problem at a cadence).
All the other motion types fix this, and then try to deal with
the consequences
Semi-Parallel Motion
For V& -I, this means that all upper voices move down. 2
does go to 1, but now, 7 doesn’t.
Semi-Parallel Motion
Problems:
1.Cannot be used if 7 is in soprano, because leading
tones must resolve upward if in an outer voice.
2.Can potentially cause hidden octaves between outer
voices
(Okay because soprano moves by step, but not ideal).
Semi-Parallel Motion
Triple-Root
In this case, the 3rd of the dominant chord (7) is allowed to skip directly to the 3rd of the
tonic. (ONLY allowed for 3rds, NEVER roots or 5ths).
Can only happen in a n inner voice (usually tenor).
Tertian Leap
Dealing with Sevenths