The common note may be enharmonic.

Analysis
Analyze the examples in Unit 25 of Music for Analysis. In addition to matters discussed thus far, consider the
following:

1. Where do modulations occur?

2. By what means are they achieved?

3. What keys are involved? What is the intervallic relationship between the tonics?

Exercises
1. Harmonize the following basses and melodies, and analyze:

a.

b.

c.

d.

MODULATION BY OTHER MEANS 173

 e.

2. Write modulating pieces of period length as indicated:

Key 1 Key 2 Method of Modulation

G f Neapolitan chord
e G diminished seventh chord
E G German chord
E F Neapolitan chord
D E German chord
B A German chord
G B common tone
D A common tone

3. Discuss choral composition; sing and analyze works from the choral literature. Select a brief text, and
compose a short choral setting using materials discussed thus far. Modulate at least once, using one of the
means discussed in this unit.

4. Compose a nonperiodic phrase-group for piano or instrumental combination; it should contain modula-
tions by any of the devices discussed thus far.

174 CHROMATIC MATERIALS

7 Ninth Chords

I. A dominant ninth chord (V9) is a major triad with a minor seventh and a major or minor ninth. With a major
ninth, the chord resolves only to a major triad or other seventh chord.

A. The V9 chord has dominant function and can be used to replace any other dominant function chord
except at a half cadence.

B. Ninth chords are usually found spaced fairly widely, with the ninth always at least a ninth above the root.
All inversions are possible, but the fourth inversion is very rare. Figured-bass symbols for inverted ninth
chords are unwieldy and are not used in this text. The chord fifth is often omitted. In resolving to I, the
ninth resolves down by step, and the other tones resolve as in V7. The ninth often resolves before the rest
of the chord, in which case it may be analyzed as a nonharmonic tone. These chords often occur in
thicker textures.

C. The V7 or V9 chords with raised or lowered chord fifths are found in much late romantic music. For a
discussion, refer to Part IV, Unit 4.

175
 II. A nondominant ninth chord functions similarly to a nondominant seventh chord and is built over the same
scale-degrees. 19, ii9, iii9, iv9, and vi9 are possible. Most nondominant ninths have one of the following
qualities: mmM9 or MMM9. Resolution is like that of the dominant ninth, with the chord typically resolving
to a seventh chord or another ninth chord.

Nondominant or dominant ninth effects may occur over a pedal point, in which case several alternative analyses
may be possible.

Analysis
Analyze the examples in Unit 26 of Music for Analysis, keeping in mind elements previously considered.

Exercises
1. Resolve the following V9 chords to tonic in root position:

*This is read “vi over ii root.”

176 CHROMATIC MATERIALS

2. Resolve the following nondominant ninth chords as indicated:

3. Resolve the following inverted V9 chords as indicated:

4. Work out the following melodies and basses, using ninth chords where indicated. Articulate the bass lines
in a typical romantic piano texture, and use a fairly full sonority. Analyze fully.

a.

b.

c.

NINTH CHORDS 177