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7-2  PART WRITING THE LEADING TONE TRIAD

5. Part Writing viio6 - I

a. Connect the two voices of the doubled note using oblique or contrary motion, if possible. When using similar motion, avoid parallel fifths and octaves, move the remaining voices stepwise to the nearest chord tone (Figure 7-15).

Figure 7-15. viio6-I

b. The following is the scale pattern for connecting the viio6 chord to the I chord.

NOTE: Although the leading tone triad functions and sounds like an incomplete dominant seventh chord, it does not resolve like a dominant seventh chord. The fifth of the viio6 (subdominant scale degree) ascends to the fifth of the tonic chord. The seventh of the V7 chord (the same note as the fifth of the viio6) descends in a regular resolution (Figure 7-16).

Figure 7-16. Resolving Subdominant Scale Degree

6. Part Writing viio6-I6.

a. Connect the two voices of the doubled note using oblique or contrary motion, if possible. When writing consecutive first inversion triads, each triad must have a different doubling (Figure 7-17).

Figure 7-17. viio6 - I6

b. The following is the scale pattern for connecting the viio6 chord to the I6 chord.

7. Part Writing I-viio6.

a. Connect the fifth of the I chord to the fifth of the viio6. Connect the root of I to the root of viio6 and the third of I to the third of viio6. This results in doubled thirds in the viio6 chord (Figure 7-18).

Figure 7-18. I - viio6

b. The following is the scale pattern for connecting the I chord to the viio6 chord.

8. Part Writing I6 - viio6.

a. Connect the fifth of the I chord to the fifth of the viio6. Connect the doubled root of the I chord stepwise to the root and third of viio6 (Figure 7-19).

Figure 7-19. Connecting I6 - viio6

b. The following is the scale pattern for connecting the I6 chord to the viio6 chord.

9. Part Writing IV - viio6.

a. Keep the common tone. Connect the fifth of the IV chord to the third of the viio6 and connect the third of IV to the root of viio6 (Figure 7-20).

Figure 7-20. IV - viio6

b. The following is the scale pattern for connecting the IV chord to the viio6 chord.

NOTE: The progression IV - viio6 is used when the melody line ascends and the use of the dominant chord (IV-V) would cause parallel fifths and octaves (Figure 7-21).

Figure 7-21. viio6 to Avoid Parallel Motion

c. When the root of the subdominant triad (IV) is in the soprano voice, the soprano note is held over (common tone) to become the fifth of the viio6 triad (Figure 7-22).

 

Figure 7-22. IV - viio6, Root in Soprano

d. The following is the scale pattern for connecting the IV chord to the viio6 chord.

10. When the fifth of the viio6 triad is in the soprano, it ascends to avoid doubling the third in the I6 chord. Normally, it descends by step (Figure 7-23).

Figure 7-23. viio6, Fifth in Soprano

The following is the scale pattern for connecting the viio6 chord to the I6 chord.

SELF REVIEW EXERCISE 7-3

Part write the following tonic to leading tone progressions (Figure 7-24).

Figure 7-24. Part Writing Leading Tone Progressions

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Answer Key

David L. Heiserman, Editor

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Revised: June 06, 2015