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It’s important not to confuse the 7th of a 7th chord with the leading tone, which is scale degree 7 in a key. The top member of a 7th chord is called the 7th of the chord. The chord consists of a root, a 3rd, and a 5th.
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The members of a 7th chord are named like triads. The added 7th creates an interval of a diminished 7th above the bass, giving the chord its name. The fully-diminished 7th chord is formed by adding a minor 3rd to the top of a diminished triad. The fully-diminished 7th chord, also just called the diminished 7th chord (abbreviated ˚7) The added 7th creates an interval of a minor 7th above the bass. The half-diminished 7th chord is formed by adding a major 3rd to a diminished triad. The half-diminished 7th chord (abbreviated with 7) The added 7th creates an interval of a minor 7th with the root of the chord, giving the minor-minor 7th chord its name. It is the only 7th chord that is built on a minor triad. The minor-minor 7th chord is formed by adding a minor 3rd to the top of a minor triad. The minor-minor 7th chord (abbreviated mm7 or m7) The major-minor chord is also called the dominant 7th chord and is the most frequently used 7th chord in tonal music. This creates the interval of a minor 7th with the root of the chord, giving the major-minor 7th chord its name. The major-minor 7th chord is formed by adding a minor 3rd to the top of a major triad. The major-minor 7th chord (abbreviated Mm7 or just 7) This creates the interval of a major 7th chord with the root of the chord, giving the major-major 7th chord its name. The major-major 7th chord is formed by adding a major 3rd to the top of a major triad. Types of Seventh Chords The major-major 7th chord (abbreviated MM7 or M7) While it is possible to create a variety of seventh chords by adding major and minor 3rds to major, minor, augmented, and diminished triads, only 5 types of seventh chords are commonly used in tonal harmony. This activates chords and creates forward motion. Adding a 7th above the root of a chord creates a dissonance and instability that has to resolve.
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Seventh chords in music result from adding another 3rd to the top of a triad. This is an example of a Post-Cadential Extension.5.2 Seventh Chords and Inversions: Tutorial Seventh Chords Unlike the first extension example, the phrase could have ended right here, but in this case there is an additional tag at the end reiterating the arrival on the tonic. In this example, the second phrase ends on the tonic at the expected location, at the conclusion of the implied V7-I cadence on beat two of its second bar. Now, compare that extended phrase with the following version: Because this extension occurs before the conclusion of the final cadence, this phrase can be said to have a Pre-Cadential Extension. Notice how the extended phrase in the first example delays the arrival on the tonic, meandering around for a couple more beats before arriving on scale degree 1 a measure later. This is an example of a Phrase Extension. Depending on how a phrase is extended, it can fall into one of two types: 1. In the first example, the second phrase overshoots its expected length by one additional measure. The two-bar length of the first phrase set up an expectation of a two-bar second phrase, perhaps something like the following: Notice how the second phrase is longer than expected. Sing through the following two-phrase melody: Cadential ExtensionsĪnother way to play with expectations of melodic form is to extend a melody beyond its expected conclusion. By eliding the end of the first phrase with the beginning of the second, the first phrase in this case becomes truncated to three measures in length, creating a moment of surprise and melodic asymmetry. In the second two-phrase melody, note how the anticipated arrival on tonic at the end of the first phrase becomes the tonic beginning of the second phrase. Then, sing through the second melody and compare. Sing through the first two-phrase melody below, noting how the first phrase reaches a natural conclusion in the fourth bar, and the second phrase begins as expected in the fifth. Instead of allowing a phrase to conclude as anticipated, for example on the fourth bar of a four-bar phrase, one can create a moment of surprise by eliding the end of this phrase with the beginning of the next, in effect shortening the first phrase. Sometimes it can be musically interesting to elide one phrase with another. 8.4 Phrase Elisions and Cadential Extensions: Tutorial Phrase Elisions