Dominant-Tonic Progression Anatomy of the Dominant and Basic Voice Leading
Overview of V& -I 7th of
V& is 4, resolves to 3
5th of
V& is 2, resolves to 1
3rd of
V& is 7, resolves to 8 [1]
Root of
V& is 5, remains at 5
What Makes a Dominant a Dominant
The strength of the dominant seventh comes from: The Principle of Closest Approach
The Instability of Scale Degrees The Dissonance of the Intervals
The Principle of Closest Approach Since the Middle Ages, the favourite way to approach perfect intervals is by contrary motion from the closest imperfect consonance: Unison from minor third
Fifth from major third or minor sixth Octave from major sixth or minor tenth
This gives us Fux’s cadence formula (2 -1 and 7 –1)
V& -I Has This 5th of
V& is 2, resolves to 1
3rd of
V& is 7, resolves to 8 [1]
3rd of
V& is 7, resolves to 8 [1]
Root of
V& is 5, remains at 5
This is a minor third resolving to unison.
This is a minor sixth resolving to a fifth.
The Instability of Scale Degrees
The most unstable tones are 4 and 7
4 wants to go down to 3. 7 wants to go up to 1. These are the only two semitones in the major scale.
The Instability of Scale Degrees The next most unstable tone is 2, which wants to go to 1 (or perhaps 3). Combined with the 7 going up to 1, this is the same as Fux’s cadence.
V& -I has all of these.
The Dissonace of Intervals Dissonant intervals resolve in the direction of inflection Minor and Diminished inward, Major and Augmented Outward
There is a diminished fifth between the third and seventh
of V& This fifth resolves inward to the major third, which is the same as the semitones of the scale.
In Minor Keys In major keys, all the above collaborate to make V& –I strong. In minor keys, v&–i has none of them.
We add most of them back when we raise the leading tone to make the harmonic minor. In minor, the dominant chord is almost always changed to major when it resolves to tonic.
Types of Voice-Leading There are four standard ways to go from Dominant to Tonic: Common Tone (Universal Rule of Voice-Leading)
Semi-parallel motion Triple-Root Tertian Leap
Universal Rule of Voice-Leading Paradigmatic motions: Motion by 5th, 3rd, and 2nd Rule: Keep all common tones, move all other tones to nearest chord tone in contrary motion to the motion of the Paradigmatic bass. (If the motion is by 4th, 6th, or 7th, we move in the opposite direction because they are not the paradigm motions).
Universal Rule of Voice-Leading
Universal Rule of Voice-Leading Problems: 1. If followed repeatedly (this is a very common motion), the whole range spirals downward ad infinitum.
2. The 2 resolves up to 3, instead of down to 1 (this is usually only a problem at a cadence). All the other motion types fix this, and then try to deal with the consequences
Semi-Parallel Motion For motion by fourth or fifth (and ONLY by fourth or fifth), we can move all voices to the nearest possible chord tone in the same direction as the paradigmatic bass motion. For V& -I, this means that all upper voices move down. does go to 1, but now, 7 doesn’t.
2
Semi-Parallel Motion Problems: 1.Cannot be used if 7 is in soprano, because leading tones must resolve upward if in an outer voice. 2.Can potentially cause hidden octaves between outer voices (Okay because soprano moves by step, but not ideal).
Semi-Parallel Motion
Triple-Root Both 2 and 7 resolve to 1; Bass motion also goes to the tonic, leaving three voices on the root of the tonic chord. For a triad, the 5 skips down to 3, or passes through 4 as a passing tone (which makes the triad into a seventh chord). Is equivalent to semi-parallel motion, except leading tone resolves.
Triple Root
Triple Root
For a seventh chord, the 7th is already on 4, and steps down.
The resulting tonic chord is incomplete, as it does not have a fifth.
Tertian Leap
Allows 2 to resolve down and 5 to stay put. In this case, the 3rd of the dominant chord (7) is allowed to skip directly to the 3rd of the tonic. (ONLY allowed for 3rds, NEVER roots or 5ths). Can only happen in a n inner voice (usually tenor).
Tertian Leap
Dealing with Sevenths
The 7th must always resolve down to 3. Try to avoid doubling a 3rd, so no other tone should
resolve there (2 should resolve down, and no tertian leap). Triple-Root is the best choice.
