4. Realize the following figured basses, using the voicing indicated.

Analyze completely, including the

roman numerals for all chords and cadence type. Read about figured bass in Part V, Unit 9. The instruc-
tor may wish to discuss figured-bass history and practice in more detail. Examples of historical figured
basses may be seen in Music for Analysis, Part I, Unit 10, and following units. A note in the bass with no
figures under it indicates a root position triad (the given note is the root). Any accidental with no number
next to it refers to the third (tenth, seventeenth) above the bass. The natural signs or sharps are needed
here to raise the third of the dominant triad (that is, the leading tone). Every accidental in the figures must
appear in the music.

5. Introduce passing tones in the following progressions:

CONNECTION OF TONIC AND DOMINANT TRIADS IN ROOT POSITION 43

 6. Introduce auxiliaries in the following progressions:

7. Harmonize the following soprano melodies. Passing tones and auxiliaries may be employed as directed
by the instructor. Analyze the cadences. In choral voicing, open or close spacing will be dictated by the
register of the soprano, unless otherwise designated by the instructor.

a.

b.

c.

d.

e.

44 DIATONIC MATERIALS
8. The following patterns may be used for composing melodies, for practice in working with nonharmonic
tones, for two voice (soprano and bass) textures, or for improvisation. Be conscious of motivic consis-
tency, direction of line, rhythmic continuity, and clarity of cadence. Refer to Part V, Unit 18, for a discus-
sion of melody. (Note values represent harmonic rhythm.)

a. F major:

b. C minor:

c. A major:

CONNECTION OF TONIC AND DOMINANT TRIADS IN ROOT POSITION 45

4 The Dominant Seventh Chord
in Root Position

I. The dominant seventh chord (V7) consists of a major triad with a minor seventh (Mm7); note the dissonant
tritone and minor seventh. In minor keys, the third of the chord (the leading tone) must be raised and indi-
cated by the figured bass accidental in the roman numeral analysis.

II. The V7 functions in the same way as the V, but it occurs infrequently as the cadential chord in a half cadence.

III. Since the V7 is a four-tone chord, all four tones may be present. In many situations the root is doubled and the
fifth omitted (see IV–B).

IV. The basic voice-leading rules for connecting I–V apply, with the following observations.

A. While parallel perfect fifths and perfect octaves are to be avoided, a perfect fifth may move to a diminished
fifth if the diminished fifth is subsequently resolved.

B. The voice leading in the progression V7–I is determined by the need to resolve the dissonant intervals.
The third and seventh of the V7 are tendency tones. When both tendency tones in the V7 resolve properly,
the tritone formed by these tones is resolved. Note that the d5 contracts to a third, and the A4 expands to
a sixth. The normal resolution of the seventh is stepwise downward. The third of the chord (the leading
tone) resolves to the tonic. The root of the V7 in the bass moves to the root of I. In an incomplete V7, the
doubled root remains stationary. This is referred to as the strict resolution of the dominant seventh chord.

46
At this point, do exercise 1 at the end of this unit.

C. Note that if the tritone of a complete V7 is resolved, the fifth will be omitted and the root tripled in the I.
However, when the leading tone is in an inner voice, it may skip down a third to the fifth of the I, making
both chords complete. As indicated earlier, this is referred to as the free resolution of the leading tone.

D. In keyboard voicing only, when the chord seventh is in an inner voice, it frequently moves up a step to
the fifth of the I. This is referred to as the free resolution of the seventh.

*In keyboard voicing, both notes of an implied unison doubling are not commonly written. This results in a momentary
reduction to three voices.

THE DOMINANT SEVENTH CHORD IN ROOT POSITION 47