The Dominant Seventh

and Supertonic Seventh Chords

Review "Chords Larger Than a Triad," page 30, and "Inversion of Chords," page 31,
both in Chapter 2, for the terminology of seventh chords and their figured bass sym-
bols. Also review Chapter 4for the spelling of dominant seventh chords.
Beginning with the first music examples in Chapter 4, we have seen many seventh
chords and have learned to spell and to recognize them as such. Then why has it been
necessary to delay the study of these important structures for so long?
As you know, a chord can be built in thirds and include a seventh above the root,
such as the F in G B D F; and when so used, the seventh is considered a chord tone.
On the other hand, the interval of a sevent h above the root is a dissonance that must
be handled with the same techniques and the same care as the nonharmonic tones we
have just studi ed. So the seventh has a dual personality, as it were-a chord tone and
a melodic dissonance simultaneous ly.
The Seventh as a Nonharmonic Tone
278
In pre-seventeenth-century music, a seventh above the lowest sounding voice was
considered almost excl usively a rhythmi cally weak dissonance, like the passing sev-
enth (V
87
) in Figure 4.11. Not until early in the seventeenth century was the seventh
combined with a tri ad in a strong rhythmic position to form what we now call a sev-
enth chord. But even so, the seventh was treated as though it were a traditional disso-
nance, that is, requiring the same attent ion to the note of approach and to the note of
resolution. This treatment continued up to the twentieth century and is sti ll valid today
when writing in traditional styles.
Having completed our study of nonharmonic tones, we can now see how four of
these figures function in the use of the seventh chord. They are shown in Figure 13. 1
for the V in G major, but the principles apply to all types of seventh chords in any in-
The Dominant Seventh and Supertonic Seventh Chords 279
version and in both major and minor keys. Note that the four nonharmonic figures are
ones in which the dissonance resolves down. If you sing the soprano line while play-
ing the harmony for any one of the four, it should be obvious that the circled note
must descend.
FIGURE 13.1
(11) Passing tone l"igure
(c) Appoggiatura fi gure
(skip from below)
6 7
(d) Suspension l"i gure
6 7
(d) Upper neighbor fi gure
7
Passing Tone Figure In the soprano passing tone figure G- F-E (Figure 13.2) , the
alto leaps above the soprano to complete a full triad. Also note the suspension in the
tenor at the same time as the seventh.
FIGURE 13.2 Passing Tone Figure
r--- -r
~ ~ J 1 J
-
J ~ J
C: 16 y7
4
Brahms, "Im Herbst," Op. 104, No. 5
Suspension Figure This figure, F-F-E, is in the last three notes in the soprano (Fig-
ure 13.3). The V
7
is inverted, but that does not affect the dissonance treatment.
280 The Dominant Seventh and Supertonic Seventh Chords
FIGURE 13.3 Suspension Figure
Haydn, Missa brevis, St. Joann is de Dea, Hob. XXII:7
Allegro
do - na, do - na no bi s pa cem
J
J
II
Appoggiatura Figure The figure C-F- E is again in the last three notes in the
soprano.
FIGURE 13.4 Appoggiatura Figure
Mozart, Vesperae solemnes de Confessore, K. 339
Allegro vivace
pr in Cl - pi - 0 et nunc et
J
J
v
Upper Neighbor Figure The figure is B-C-B, this time in the bass, with the V
7
in
the third inversion.
Ch<
The Dominant Seventh and Supertonic Seventh Chords 281
FIGURE 13.5 Upper Neighbor Figure
Sulli van, H.M.S. Pinafore
Moderato
Ev - ' ry step with cau ti on fee l - ing,

I "'" <f IL i l-t------ --+----l'--+-t-----t----1
16 Y4
2
16
Characteristics of the Dominant Seventh Chord
1. The V
7
is freely used in any inversion, in both major and minor.
2. The V
7
can be complete or incompl ete. If incompl ete, the fifth is usuall y omit-
ted. A complete V
7
is often followed by an incompl ete tonic triad, or an incom-
pl ete V
7
by a complete tonic tri ad.
FIGURE 13.6
a. Incomplete V
7
Nicht schnell
Schumann, Oas Schifflein, Op. 146, No. 5
y7
b. Complete V
7
Lentamente
Beethoven, Eligischer Gesa11g, Op. 11 8
y7
282 The Dominant Seventh and Supertonic Seventh Chords
3. In inversion, all chord members are usually present, as demonstrated in Fig-
ure 13.7, where each of the three inversions shows all four tones present.
FIGURE 13.7
Hymn: Greenland
4. The passing five-four-three (V j ). When used as a passing chord, the V
7
is
found between I and 1
6
or the reverse, fulfilling the same function as vii
0
and
the passing vg. In its use between 1
6
and I, shown in Figure 13.7, the seventh
descends as expected. But between I and 1
6
, shown in Figure 13.8, the seventh
ascends, moving in tenths with the bass line.
FIGURE 13.8
Hymn: Duke Street
5. When the seventh chord is repeated, the seventh may appear in another voice;
the last seventh in the series resolves conventionally.
FIGURE 13.9
Weber Mass in G
1
Allegro J
I I
7
"
> > I
~
" ~ -
-
~ -
- ~
~ .
~
-
.. ~ ~ . ..

- -
@)
I
J
>
>7
~
~
ff J.
>
~
;:: -0-
-
-
A
v
-
> >
I
...... ;;.m!.I'
. ,(,.,
The
The Dominant Seventh and Supertonic Seventh Chords 283
6. The seventh of the chord may di splay an ornamented resolution, similar to
those described for the suspension. One possibility is shown in Figure 13.10.
FIGURE 13.10
Bach, "Es ist genug!" (#216)
J m J
r r
r==
7. When the seventh chord is arpeggiated, the resolution of the seventh may be
delayed, or even implied.
@ FIGURE 13.11
Schubert, Sonata in A Minor for Piano, D. 537
The Supertonic Seventh Chord
Like the supertonic triad, the supertonic seventh chord is commonly used to precede
the dominant. In fact, in the "full cadence" (page 111 ), the progression I-ii
7
- V-I
(most often i i ~ s e e below) is far more common than the 1-IV-V-I or the I-ii-V-1
progression.' In addition, the supertonic seventh is usually the preferred choice for a
dominant preparation elsewhere in the phrase.
The supertonic seventh chord is a minor seventh chord in a major key, ii
7
, and a
half-diminished seventh chord in a minor key, ii0
7
.
2
' It mi ght seem logical that IV
7
could also be used, as in l- IY
7
-Y-I. Progressing from IV
7
to V pre-
sents several part- writing probl ems, including difficulty in avoiding parallel fifths, and consequentl y the
use of IV
7
is much less common than mi ght be expected.
' In minor, the supertoni c chord with a raised fifth (#6) is rarely used and will not be considered
here. Since 16 resolves upward and the seventh of the chord resolves downward, the two meet on the same
note, resulting in a doubl ed leading tone. Thi s is not a probl em in major, since 6 may resolve in either
direction.
The Dominant Seventh and Supertonic Seventh Chords 285
3. ii E is found in the most common of the passing six-four chord progressions:
IV
6
-1-ii E. Review the passing six-four on page 175.
@ FIGURE 13.14
Bach, "Du FriedefUrst, Herr Jesu Christ" (#42)
1 J [J_ IJ
IV 16 ii6
6
4 5
4. The seventh is commonly held over to become the root of the tonic six-four.
Since the root ofl is a dissonance (a fourth above the bass), the seventh of ii
7
,
simply by standing still, becomes another dissonance, which then resolves
down by step, taking care of both dissonances.
FIGURE 13.15
Bach, ''Yon Gott will ich nichr !assen" (#191)
C: vi ii6 jj7 16
4
r...
\.:/
or
r...
I i I 1
1 J 1 J
ii6 '6
\.:/
5 4
ASSIGNMENT 13.1 Spell the ii
7
in each major key and the ii0
7
in each minor key.
Simply spell the triad and add the tonic tone of the key. In D: ii= E GB; add tonic, D;
ii
7
=EG B D.
In the Workbook: Do Assignment 13.1a. Answers are given.
ASSIGNMENT 13.2 Harmonic analysis. Locate each V
7
, ii
7
, and ii0
7
. Describe the
approach and resolution of the seventh in each occmTence.
286 The Dominant Seventh and Supertonic Seventh Chords
(1)
@ (2)
Vin. I
Vin. II
"
Viola
llH
Cello
r- - ,,,,,.
,.;' " !.I
._,
" !.I

t.J

-llE!
.--
,
p
I
Mozart, Symphony No. 41 (Jupiter), K. 551
p
p
p

I
Beethoven, Quartet, Op. 18, No. 3
-------------
- ()
l
I
I!;!!
.. ,I
The Dominant Seventh and Supertonic Seventh Chords 287
@ (3)
Adagio non troppo J = 80
Beethoven, Quartet, Op. 18, No.

Vin. I
Vin. II
Viola
'f 'f m 'f 'f I#' 'f #' 'f
Cello
p
.____,
.____,
p
p
(4)
Bach, "O Mensch, bewein dein Stinde gross" (#20 I)
288 The Dominant Seventh and Supertonic Seventh Chords
(5)
Mozart, Sonata for Pi ano, K. 28 1
fr
@ (6)
@
Andante sostenuto
Mende lssohn, Songs Without Words, Op. IO, No. 6
'1
(7)
Allegretto non tanto
Chopin, Mazurka, Op. 30, No. I
~ r
ASSIGNMENT 13.3 Write dominant seventh chords with the root in the bass. Num-
bers (1)-(4) demonstrate the nonharmoni c fig ures shown in Figure 13.1. Indicate
below each of these the figure used.
" JJ, +I
I I I I
..
- -
~
-
, v
-
~
< (I ) (2)
"
-
I I
I
7
I
-
7
#
I
-
I
-
(3)
-

I
7
JJ,
(4)
-
~
~ ~
I
I
-
7
#
-
"
In
In
A
' ~
.;
(5)
I
, ~ -
\
.
I
.;
(8)
.;
\
y
~ ~
7 7
# #
-
7 6 7
~
#
::;
(9)
"'
~ -
(6)
"
"
- - ~ -
~ -
~
7
~
~
7 5 #
#
In Appendix E: Answers to (4)- (6) are gi ven.
~
The Dominant Seventh and Supertonic Seventh Chords 289
~
(7)
"
.,.. ,L ~ LI.
(JO)
.;
,, " -
--
-
7 #
4
7 8 7
"'-
,,
--
.=
In the Workbook: Answers to the entire assignment are gi ven.
ASSIGNMENT 13.4 Write dominant seventh chords in inversion. Indicate below
each exampl e the nonharmonic usage represented by the seventh of the chord.
I
' ~
-
.;
( I )
, ~
I
y
.;
(4)
~
, "
\
"
=
-
6
5
-
~
jj
4
3
'
~
~
(2)
"
(5)
,,
"
=
-
6
-
~
6
5
.;
7 6
4
3
=
,,
.,
"
-
(3)
" ~
6
(6)
.;
:;
-
-
4
3

4
2
~
~
.=
6
290 The Dominant Seventh and Supertonic Seventh Chords
\
/\ .lJ. I I

(7)
,. .... -
;:
.. -
6 6
A
2
I
r .
6
.. -! I

-
(8)

-

- -
"

I
I
;:
4
2
I
r.
6
In Appendix E: Answers to (7 )
1
(5), and (6) are given.
I
(9)
-
-
v "
v " -
In the Workbook: Answers to the entire assignment are given.
I I
-

6 6
A'
2
I
r
6
ASSIGNMENT 13.5 Write examples of the supertonic seventh chord. Write a har-
monic analysis below each exercise. Solve some of the exercises in open score.
/\ I
I

t)
( I )
\
v
I I
I
"' -

v
t)
(4)
\
I\ .lJ. .fl


-
t)
(7)
,,
.. ..,.. , . .,, -
\
I
-
;:
I
6
5
I
-
I
7
-
I
I I

-
-
I
-

-
- -
-
- -

-

I
I
I
I
6 6 6 8 7
4 5
.. I
-
"
(2)
"
I
.lJ. I
-
-
(5)
I
6
-
" .
I
I
I
='
6
5
I
- -
I
I
7 7
.lJ.
"
-
(8)
-
-
,.
I
I
-
I I
='
-
(3)

I
I I

- v -
(6)
r
l

-
-
r
- -
-
I r' I
4 6
2
In Appendix E: Answers to (7 ), (3), (5), and (8) are given.
I
='

-
I
-v
4
3
I
(9)
-v
In the Workbook: Answers to the entire assignment are gi ven.
I I
- -
I
I
4 #
3
I
-
=
I
6 5
4 3
I

r
r
r
I I
r
" -
"
-
- ;:
-
r
I I
6 6 6 6
5 A'
2
The Dominant Seventh and Supertonic Seventh Chords 291
ASSIGNMENT 13.6 Write extended exercises using both dominant seventh and su-
pertonic seventh chords. For exercise (3), supply your own fi gurat ion. For exercises
(4) and (5), the bass line onl y is given.
\
( I )
..

-
-
- -
6 7 6 -
A 6 2
2 4
3
6 x
5
.
- -
-
-
-

6 4
3
6 6 8 7
5
x4 6 7 7 7 6 x
2 x

- 6 6 6 587
4 5 - 5 --
3 2 x --
I ' fJ iL # .. ' I ' I I
.If.

(3)
---
"

'
I
: 1:
#
---
I I
-----
292 The Dominant Seventh and Supertonic Seventh Chords
(4)
~
(5)
#
A
2
F
6 fr
4
3
6 6 # #4
5 2
Intervals in the V
7
Chord
6 ,6
4
3
lr Prr lrr fM
4 6 6 6 7
2 5 5 #-
4 6
2 5
4
3
6 7
4 #
Intervals in the V
7
chord are the same as those fo r the major tri ad except for those in
whi ch one of the tones is the seventh of the chord, as shown in Figure 13. 16.
FIGURE 13. 16
~
7 3 7 5 7 7 7 3 7 5
-& -&
G: v 111 7 clS 111 3 M2 A4 M6
Of t he interva ls larger than the maj or second, all are usefu l, though m7, d5 , and m3
are the most common.
ASSIGNMENT 13.7 Spe ll interva ls from the V
7
chord. From any key, major or
minor, spe ll the V
7
chord, then spell the minor seventh, the dimi nished fi ft h, and the
minor third as in the preceding list.
In the Workbook: Answers to the entire assignment are gi ven.
Do Assignment 7 J C. Answers are gi ven.
The V
7
Chord in the Melodic Line
Interva ls from the V
7
chord are often incorporated in the me lodi c line. In Fig-
ure 13. J 7a, the entire V
7
is outlined; in b we see the interval from 7 down to 3.
FIGURE 13. 17
(a) Bb: y 7= FACEb
3 5 7 Germany
I
~
~
p Eff
f
f3


y7
(b)
~
AS!
inte
inte
( I )
~
(2)
~
(3)
:l
(4)
~
(I
j

(2
~
I
(3
Assignment 12.6
Chapter 13
59436 - 4 3
v
16 v
6 6 - 4 #
5 4
j j06 i6 v
4
Assignment 13.3
#
7 7
# #
6 9 8 4 #
5 4 3
v6
5
v
7

Answer Key 451
452 Answer Key
Assignment 13.4
6
5
Assignment 13.5
6
Chapter 14
6
5
7 7
Assignment 14.3
6 x
VI ii
0
6
V
6
6
7 6
4
3
4 #
3
7 7
6 x
VI ii
0
6
V
4
2
4 #
3
4
2
6
5
6
Chapte1