Music Theory III (Kreeger)

Chapter 6: The Impact of Melody, Rhythm, and Meter on Harmony;

Introduction to V7; and Harmonizing Folk-Type Melodies

The Interaction of Harmony, Melody, Meter, and Rhythm: Embellishing and Reduction
Harmonic rhythm is intimately tied to the meter. In general, it is advisable to change chords when
moving from a weak to a strong beat. Avoid a syncopated harmonic rhythm.

The outer voice (soprano and bass) framework is quite important.

Embellishment
Use different rhythms, passing tones, and neighboring tones to provide variety in your writing.

Distinguishing Between Structural and Embellishing Harmonies: Second-Level Analysis

First-Level Analysis—The objective process of identifying each sonority with roman numerals and
figured bass.

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Second-Level Analysis—The interpretive process of distinguishing ornamental function from
structural function.

To perform a harmonic analysis, we label every chord and then consider their function by adding a
second-level analysis.

Reduction
Reduction reverses the embellishment process by using the harmony as a means of distinguishing
structural tones from embellishing tones.

Piano Sonata in D minor, “Tempest,” op. 31, no. 2: I. Allegretto—L. V. Beethoven (1770–1827)

Piano Sonata in D minor, “Tempest,” Reduction

The Dominant Seventh and Chordal Dissonance

The seventh is a dissonant interval, and chords that contain the seventh are dissonant. They seek
resolution.

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Chordal sevenths are generated from a passing motion, in which 4 (the seventh of the dominant)
fills the space between 5 and 3.

Chordal sevenths can also participate in neighboring motions.

New Harmonization Possibilities

With the addition of the V7 chord to our harmonic palette, we add scale degree 4.

You can add the seventh to V and create a V7 chord, but you cannot go from V7 to V. To do so
would contradict the natural drive to the tonic chord.

Part Writing the Dominant 7th Chord

1. Connect the upper voices of V7 to the preceding chord by step.
2. Resolve the chord’s tendency tones as follows:
- The chordal seventh (4) always descends in any voice.
- The Leading Tone always ascends when it occurs in the soprano.

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 V7 and I Chords
Incomplete V7
Incomplete chords occur frequently in V7–I progressions often due to the resolution of tendency
tones. The only member of a triad or a seventh chord that you can omit is the fifth.

Incomplete I
Generally, a complete V7 resolves to an incomplete tonic, and an incomplete V7 resolves to a
complete tonic.

Both V7 and I Are Complete

There is one way to have both V7 and I chords complete. When the Leading Tone is in an inner voice,
it can move down to scale degree 5 instead of resolving to scale degree 1.

Unequal Fifths
Unequal 5ths (P5–d5) are permissible ONLY if the diminished fifth resolves to a third.

Note: d5–P5 is not permitted, since it contradicts the natural tendency of the d5 to resolve to a third.