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Tonic Prolonging Paradigms

The document discusses the inversions of the Dominant Seventh Chord (V7) and the leading tone triad (viio6) in both major and minor keys, emphasizing their bass notes and resolutions. It introduces tonic prolonging paradigms, including neighbor motion and parallel tenths, and explains how these concepts can be applied in musical compositions. Additionally, it highlights the voice exchange technique associated with viio6 and notes that all paradigms are reversible.

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Lucy Moore
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26 views2 pages

Tonic Prolonging Paradigms

The document discusses the inversions of the Dominant Seventh Chord (V7) and the leading tone triad (viio6) in both major and minor keys, emphasizing their bass notes and resolutions. It introduces tonic prolonging paradigms, including neighbor motion and parallel tenths, and explains how these concepts can be applied in musical compositions. Additionally, it highlights the voice exchange technique associated with viio6 and notes that all paradigms are reversible.

Uploaded by

Lucy Moore
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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MUSC115

Inversions of V7 and viio6 and Tonic Prolonging Paradigms

The Dominant Seventh Chord is sol ti re fa in both major and minor keys.
Note what solfege syllable is heard in the bass for each inversion:

Root position First Inversion Second Inversion Third Inversion

sol ti re fa re
V7 Vŀ VŁ Vł viio6

The leading tone triad is ti re fa in both major and minor


keys (no “sol”). It is almost always found in first inversion.

The First and Third Inversion Dominant Seventh Chords are similar because they include a
tendency tone in the bass.

• In First Inversion, Vŀ, the leading tone, “ti,” is in the bass. It must resolve UP.
• In Third Inversion, Vł, the chordal seventh, “fa,” in the bass. It must resolve DOWN.

Two tonic prolonging paradigms include neighbor motion in the bass and the soprano.

Neighbors Pointing Out (Vŀ)

C: I Vŀ I Cmin: i Vŀ i

Neighbors Pointing In (Vł) leading tone raised in minor

C: I6 Vł I6 C min: i6 Vł i6
• In Second Inversion, VŁ, “re” is in the bass.

The tonic prolonging paradigm that includes VŁ features parallel motion in the bass and soprano.
In this instance, the chordal seventh, “fa,” progress up to “sol” instead of resolving down. We
call this parallel tenths because the bass and soprano move in parallel tenth intervals.

Parallel tenths (VŁ)

EXCEPTION: chordal seventh resolves “up” to “sol”

C: I VŁ I6 Cmin: i VŁ i6

• The first inversion leading tone triad, viio6, is similar to VŁ. They both have “re” in the
bass. The only difference is VŁ includes “sol” and the viio6 does not.

The tonic prolonging paradigm that includes viio6 is called a voice exchange. The soprano
and bass voices exchange between the first and last chords.

Voice Exchange (viio6)

C: I viio6 I6 C min: i viio6 i6


Depending on what chord comes next, you might double the fifth of the chord in the alto
and the tenor. The will eliminate potential parallel octaves between bass and tenor.

ALL of these paradigms are REVERSIBLE.

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