20. Fully-diminished Seventh Chords
Identifying Tritones
Each of the exercises below shows a diminished seventh chord. Some of the chords are fully-diminished while others are half diminished. Identify the tritone between the root and the fifth by drawing a bracket on the left-hand side of the chord connecting the two notes. Identify tritones formed by the third and seventh (if present) by connecting the two notes with a bracket on the right-hand side of the chord. Then, identify the type of each tritone (A4 or d5) by writing the interval name on the lines below. Write “n/a” if the third and seventh do not form a tritone.
V7 vs. viiø7 (and viio7) in Major Keys
Dominant seventh chords and leading-tone seventh chords are very similar, sharing three of their four respective pitch classes. For each of the V7 chords below, write in the corresponding viiø7 chord, keeping as many notes in common as possible. Then, since fully-diminished leading-tone chords are also sometimes used in major, write the corresponding viio7 chord.
V7 vs. viio7 in Minor Keys
Dominant seventh chords and leading-tone seventh chords are very similar, sharing three of their four respective pitch classes. For each of the V7 chords below, write in the corresponding viiø7 chord, keeping as many notes in common as possible.
Identifying Leading-Tone Seventh Chords in Different Keys
Each of the following exercises presents a key and a chord. Identify each chord by writing the appropriate Roman numeral on the line provided. (Hint: Don’t forget to use bass figures to indicate inversions.)
Writing Leading-Tone Seventh Chords in Different Keys
Each of the following exercises presents a key and a Roman numeral. Write the appropriate chord on the staff provided. Don’t forget to invert your chords when necessary. Avoid using ledger lines when possible. (Hint: Double check to make sure your chord qualities match the symbols. Some of the chords are fully-diminished, others are half-diminished.)
Resolving Leading-Tone Seventh Chords
Each of the exercises below shows the key and Roman numerals for a two-chord progression. Complete each progression in SATB format by following standard voice-leading conventions as closely as possible. The first chord of each progression has been provided.
Three-Chord Progressions Using Leading-Tone Seventh Chords
Each of the exercises below shows the key and Roman numerals for a three-chord progression. Complete each progression in SATB format by following standard voice-leading conventions as closely as possible. The first chord of each progression has been provided.
Harmonizing Melodic Fragments with Leading-Tone Seventh Chords
Each of the exercises below shows a melodic fragment as well as the key and Roman numerals for a three-chord progression. Write in the scale degrees for each note of the fragment on the lines above the staff. Then, harmonize the fragment in SATB format by filling in the alto, tenor, and bass parts while following standard voice-leading conventions as closely as possible. The first chord has been provided.
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 each of the following excerpts by adding a Roman numeral to each of the lines below the lower staff. Don’t forget to match your Roman numeral case (upper or lower) to the quality of the chord and use extra symbols (like o) where needed. Use bass figures to indicate inversions. Ignore notes in parentheses for now.
