Dominant Substitutes: Leading-Tone Chords

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Dominant Substitutes: Leading-Tone Chords

The viiº triad (usually found in first inversion, vii0 6) and the seventh chords viJ..07
and vii0 7 serve as substitutes for the stronger dominant harmonies V and V7. In
particular, they often function to expand the tonic area, just as a V chord can. As
an example, listen to the opening of Clarke's Trumpet Voluntary (Example 17.1).
Locate each dominant and leading-tone harmony, and consider its role within the
basic phrase.

Overview Ex.AMPLE 17.1: Clarke, Trumpet Voluntary, mm. 1-4 O

Outline of topics This chapter considers voice-
Dominant substitutes: Leading •
tone chords leading patterns that expand the
• Doubling in and resolving vii0 6 tonic area of the basic phrase with
• Doubling in and resolving vii''17,
vii0 7, and their inversions viiº6, viiº7, vii07, and other voice-
• · Contexts for vii0 6, vii,.07 and vii 0 7
leading chords, such as iH.
Other voice· leading chords
• Neighboring and passing ~
chords

Repertoire
Johann Sebastian Bach D: I V6 I--- vii0 6 16 viiº6 I V---
"Aus meines Herzens Grunde" ("From My Inmost Heart,"
Chorale No. 1)
"O Haupt voll Blut und Wunden" ("O Head Full of Blood In this phrase, measures 2 and 3 contain vii0 6 chords, while measures 1 and 4
and Wounds," Chorale No. 74)
feature V and V7 chords.
Prelude in C Major, from The Well-Tempered Clavier, Book I
Jeremiah Clarke, Trumpet Voluntary (Prince of Denmark's March)
~ KEY CONCEPT Since contain vii0 t.riad and the seventh chords vii0 7 (in
'•' major) and vii0 7 (in minor) are built on the leading tone-the essential active
ingredient for dominant harmonies-they can substitute for V or V7. The lead-
ing-tone triad typically appears in first inversion (vii0 6) in order to soften the
clissonance of the d5 from root to fifth.

The V7 and vii0 6 chords, sharing scale degrees 7, 2, and 4, are roughly
equivalent in function, but vii0 6 conveys less harmonic strength than the V7, since
it is missing 5. In the example's opening phrase, both vii0 6 chords function in a
 Chapter 17 The vii 0 6, vii 0 7, viili17, and Other Voice-Leading Chords
Dominant Substitutes: Leading·-Tone Chords

similar way: as part of a tonic-expanding voice exchange between a root-position

Since V7 and vii0 6 share the tendency tones 7and 4, their normal resolutions
and first-inversion tonic chord. Write leading-tone triads and seventh chords at
follow the same principies: 7resolves up to i, and 4typically down to 3. :hese
the beginning and middle of phrases, or in other places where a weaker dominant
function is desired. resolutions often lead to a tonic triad with missing fifth. The resolution of 4 can
1
vary, depending on the chord's spacing and context. Example 17.3 gives several
The active bass line in Example 17.1 may raise questions regarding when to
correct resolutions.
specify inversions in your analysis. For example, the arpeggiating 2s that prolong
the tonic harmony in measure 2 and the dominant in measure 4 are not labeled
with Roman numerals because the root-position bass note overrides the weaker ~ KEY CONCEPT When resolving vii0 6:
t In measure 4, if we consider the A2 to be the controlling bass note for the full '•' • Ifthe tritone is spelled as a augmented fourth-4 below7-it may move in
measure, the final figure could be 7 rather than t This is a matter for individual
similar motion to a perfect fourth, 5-i (Example 17.3a).
judgment. Generally, when a chord is repeated immediately in a new inversion, it
is not necessary to supply a new Roman numeral; simply provide figures for the • If the tritone is spelled as a diminished fifth-7 below 4-it normally resolves
inversion. inward to a third: 7 up to i, and 4 clown to 3(part b).

Doubling in and Resolving viiº6
!':\
• The standard resolutions of 4and 7in the A4 are outward to a sixth (parte).
• With a d5, resolve 4up to 5in only one context: when the soprano-·bass
Like other dominant harmonies, vii0 6 resolves to I or I6 (i or i6 in minor). Because counterpoint moves upward in parallel tenths (part d). The strength ofthe
this triad includes the dissonant tritone 7to 4, pay careful attention to its dou- parallel motion overrides the voice-leading tendency of 4to resolve down.
bling and inversion. faample 17.2 gives possible SATB arrangements.
ExAMPLE 17.3: Resolutions ofvii0 6 O
KEY CONCEPT In the leading-tone triad (in first inversion), the third (a) A4 -1' P4 (b) d5 -1' m3 (c)A4 ~ rn6 (d) parallel tenths
(the bass) is usually doubled. Less typical but possible is a doubled fifth; don't
double the root, which is the leading tone. In minor, bJ must be raised to create
a leading tone and the triad's distinctive diminished quality.

EXAMPLE 17.2: Voicings and spacings for vii0 6 <J

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1\ ~
1 but no t
-
1
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... 1 1

- ..J ,_
--
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IL
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,...- V
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-
~

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.. - J 1

HJ
1 1

I
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-
..
1
-
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1
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1

-
-
1

·-
V
- -- 1
-
HJ
- Doubling in and Resolving vii91 7, vii0 7, and Their lnversions
D: vn°6 vnº6 1•• 1
1 1
vnº6 d: vii0 6 vii0 6 The seventh chords vii0 7 and vii0 7have the same active ingredients as the dimin-
viiº6
(doubled fifth)
(avoid doubled ished triad, but with the added sixth scale degree (Example 17.4). Since 6is one of
leading tone)
the modal se ale d-egrees, the
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cu i)c;vc;J.nJ. "'J. J.U. " •"'·~uo-
depending on the form of the scale used. In a minor key, the root of the chord is
Look back at the doubling ofthe vii0 6 chords in faample 17.1. If we consider all
the raised seventh scale degree-it will require an accidental.
the voices (trumpet, organ keyboard, and pedal), the vii0 6 chords contain one root,
one fifth, and four thirds !

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