17. The vii° Chord

Ivette Herryman Rodriguez; Andre Mount; Jerod Sommerfeldt

17. The vii° Chord

Writing vii^o6 chords

Write out each of the triads specified below on the staves provided. Make sure to invert each chord to help conceal the tritone and don’t forget to raise the leading tone in minor keys. (Hint: Read the Roman numerals carefully. Not all of the chords have the leading tone as their root.)

Identifying Voice-Leading Errors

The table below shows a series of chord progressions involving vii^o6 chords. Some of the progressions have voice-leading errors: a doubled leading tone in the vii^o6 chord, a vii^o chord in root position, or a resolution in which the leading tone does not step to scale degree [latex]\hat1[/latex]. Other progressions are error free. Look through each progression and check the box in the appropriate column to the right.

		doubled leading tone	root position vii^o chord	unresolved leading tone	no problems

Resolving Tritones in vii^o6 Chords

Identify the tritone in each of the chords below. Write abbreviations for the two voices forming the tritone on the upper blank line and the type of tritone on the lower blank line. Then, resolve the tritone by filling in the two noteheads and adding quarter notes to the right to form a valid interval progression. In the first example below, the tritone appears between the tenor and soprano voices (“T/S”) and is a diminished fifth (“d5”). In the second example, the tritone appears between the tenor and alto (“T/A”) and is an augmented fourth (“A4”). Note that there is more than one way to resolve each of these tritones. They can resolve with contrary motion as in the first example, or similar motion as in the second.

Melody Harmonization

Each of the exercises below shows a two-note fragment of a melody that may be harmonized with a vii^o6-I (or vii^o6-i) progression. Harmonize the fragment in SATB format by adding three voices below. Start with the bass part first since each bass line will be the same: scale degree [latex]\hat2[/latex] resolving to [latex]\hat1[/latex]. Then, add the inner voices. Make sure each note is within the standard range for that voice part and that it does not cross over an adjacent voice. (Note: There may be more than one correct answer for each exercise.)

Roman Numeral Realization

Each of the exercises below shows a two-note fragment of a bass line that may be harmonized with a vii^o6-I (or vii^o6-i) progression. Harmonize the fragment in SATB format by adding three voices above. Make sure each note is within the standard range for that voice part and that it does not cross over an adjacent voice. (Note: There may be more than one correct answer for each exercise.)

SATB Part-Writing

Complete each of the exercises below, following standard voice-leading conventions as closely as possible. For more detailed instructions, strategies, and proofreading tips, consult the part-writing guide found at the beginning of this book.

Roman Numeral Realization

Complete the progression according to the given key and Roman numerals by filling in all four voices. The first chord of each progression has been provided for you.

Melody Harmonization

Write the scale degree numbers of each note in the soprano melody on the lines above the staff. Then, select a suitable chord progression which incorporates the harmonies covered in this chapter to harmonize the melody and write the appropriate Roman numerals on the lines below the staff. Finally, complete the progression by filling in the remaining voices.

Analysis

Analyze the excerpts below by adding Roman numerals to the lines below the bottom staff. Make sure the case reflects the quality of the chord and use bass figures to indicate any inversions. Identify the type of nonharmonic tone represented by each of the parenthesized notes (P, N, Sus., Ant., etc.).

Sophia Dussek, Favorite Airs, Book 1, 2. “Roslin Castle,” mm. 7-8