Laitz

Exercises 18.3-18.5
(Applied Chords)
Alex De Biasio


Exercise 18.3

     
A. B. C.

  
   
(Uncorrected)

F: V⁷/IV D: V⁶/ii a: V⁷/VI

Uncorrected A tries to use a major seventh chord instead of a minor seventh chord as the dominant of IV. We
can easily fix this by changing the E to an Eb.

In B, we want to lead to an E Minor chord, but we cannot do so unless we have a leading tone. The D must bec-
ome a D#.


It is more natural for uncorrected C to lead to a sharp VI chord than to the natural VI of A Minor. So, we shift
all of the notes in the chord down by a semitone.


    
A. B. C.


  
(Corrected)
   


F: V⁷/IV D: V⁶/ii a: V⁷/VI
_


   
D. E. F.

 

    

(Uncorrected)
C:
V⁷/iii G:
V⁶/ii f:
V⁷/VI
(Corrected) V⁶₅/IV V⁴₃/VI V⁶₅/III


The main issue with D, E, and F is that the original labels do not describe where the chord wants to lead. Also,
the voicing of seventh chords is not labeled correctly based on the root note.
_

       
 
G. H. I.

 
   
  
   
(Uncorrected)

G: V⁷/V V d: V⁶/iv iv Eb: V⁷/iii iii

In G, we have a voice leading problem. The leading tone doesn't resolve through stepwise motion, which weak-
ens the cadence. There is also a direct fifth in the soprano and tenor that can be avoided just through resolving
the leading tone.