Houghton College, Greatbatch School of Music

Houghton College, Greatbatch

Music Theory II, MTHSchool
227 of Music
Music Theory II, MTH 227
Music Theory
Houghton College, II, MTH
Greatbatch 227of Music
School
Houghton College, Greatbatch School of Music
Chapter 9 Music Theory II, MTH 227
Chapter 99
Chapter Music Theory II, MTH 227
The Leading-Tone Triad
Chapter
Pages 9
The Leading-Tone
248-255 Triad
The Leading-Tone Triad
Pages 248-255
Pages 248-255
The Leading-Tone Triad
Chord
Pages 248-255 Scale Degrees
Chord Scale Degrees
Chord
V Scale Degrees
___ ___ ___
V ___ ___ ___
Chord
V
V⁷ Scale
___ Degrees
___ ___
___ ___
___ ___
V⁷ ___ ___ ___ ___
VV⁷
vii° ______
___ ___ ___
___ ___
______ ___
vii° ___ ___ ___
V⁷vii° ______
___ ___ ______
___
vii° leading-tone triad
The ___(vii°)
___shares
___ ______ (how many?) common tones with V and ______ with
The leading-tone triad (vii°) shares ______ (how many?) common tones with V and ______ with
V⁷.
The leading-tone triad (vii°) shares ______ (how many?) common tones with V and ______ with
V⁷.
V⁷.
*Note: vii° is built on a RAISED scale degree 7!
The leading-tone
*Note: triad
vii° is built on(vii°) shares
a RAISED ______
scale (how
degree 7! many?) common tones with V and ______ with
*Note: vii° is built on a RAISED scale degree 7!
V⁷.
The two main functions of vii° are:
*Note:
The twovii° main
is built on a RAISED
functions of vii°scale
are: degree 7!
The two main functions of vii° are:
1. ________________________________________________
1. ________________________________________________
1. two
2.
The ________________________________________________
main functions of vii° are:
2. ________________________________________________
1.2. ________________________________________________
________________________________________________
2.What are the two tendency tones in vii° ? _________ and __________ What interval do they
________________________________________________
What are
form? the two tendency
___________ tones in vii° ? _________ and __________ What interval do they
(or ____________)
What are the two tendency tones in vii° ? _________ and __________ What interval do they
form? ___________ (or ____________)
form? ___________
*Don’t (or ____________)
double the tendency tones!* This means you should double the __________.
What are double
*Don’t the twothetendency
tendencytones in vii°This
tones!* ? _________
means youand __________
should What
double the interval do they
__________.
*Don’t double the tendency
form? ___________ (or ____________)tones!* This means you should double the __________.
Why isdouble
*Don’t vii° most
thecommonly in first inversion?
tendency tones!* This means___________________________________
you should double the __________.
Why is vii° most commonly in first inversion? ___________________________________
Why is vii° most commonly in first inversion? ___________________________________
To resolve the tritone: °5 should resolve ___________
To resolve
Why the commonly
is vii° most tritone: °5 should resolve ___________
in first resolve
inversion? ___________________________________
To resolve the tritone: °5 should ___________
+4 should resolve ___________
To resolve the tritone: °5+4+4 should resolve
should ___________
shouldresolve
resolve___________
___________
Do you HAVE to resolve the tritone?
+4 should Y/N
resolve ___________
Do you HAVE to resolve the tritone? Y/N
Doayou
Is HAVE to
°5 moving toresolve
a P5 ok?the tritone? Y/N
Y/N
Is a °5 moving to a6 P5 ok? Y/N
Is you
The
Do a °5Passing
moving
HAVE to a P5 ok?
to vii°
resolve the Y/N
tritone? Y/N
Is a °5 moving to a P5 ok? Y/N
Bass (scale degrees)
^ ^ ^
1 2 3 (or 3à2à1)

i ___ i⁶
Chords
i ___ i⁶
i ___ i⁶
If the function of vii° is a passing chord (prolongation of I), it is functioning
harmonically/linearly. (circle one)

vii°⁶ as a Dominant Substitute

IV à V à I can become IV à ______ à I

The Leading-Tone Cadence

The leading-tone cadence = _______________

(any) Upper voice = __________

Bass voice = __________