IV. Diatonic Harmony, Tonicization, and Modulation
Predominant Seventh Chords
John Peterson
Key Takeaways
- This chapter discusses the predominant seventh chords ii7, IV7, vi7, and iii7.
- ii7 and its inversions are the most common predominant seventh chord, and Example 2 shows which inversions of ii7 are more common than others.
- When writing with predominant seventh chords, two general principles apply with respect to the treatment of the chordal seventh:
- Approach the chordal seventh by step or common tone.
- Resolve the chordal seventh down by step.
Earlier, we saw how adding a chordal seventh to the dominant strengthened its drive toward the tonic. In this chapter, we see that something similar can be accomplished by adding a chordal seventh to predominant chords: it can intensify their motion to the dominant (Example 1). Adding a seventh to ii chords is common; it also occurs with the other predominant chords (particularly IV and vi), but less frequently. All predominant seventh chords share two general guidelines for the treatment of a chordal seventh:
- The chordal seventh is usually approached by step or common tone.
- The chordal seventh resolves down by step.
Example 1. A predominant seventh chord in Josephine Lang, “Dort hoch auf jenem Berge”
Adding a chordal seventh to ii
Example 2 lists the various inversions of ii7 from more common to less common. We’ll discuss each in turn.
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Example 2. Inversions of ii7 sorted by relative degree of commonality.
ii
Example 3. Writing with ii
ii7
ii7 is typically found near the end of a phrase (Example 1). In addition to following typical writing procedures and treatment of the chordal seventh, there are two main issues to be aware of when writing with ii7:
- The chord is often preceded by tonic, and it’s best to use I6 rather than I to avoid potential parallels,
- When ii7 resolves to V7, either ii7 or V7 will need to be incomplete to avoid causing a voice-leading problem (Example 4).
Example 4. Writing with ii7.
ii
Example 5. Writing with ii
ii
Example 6. Writing with ii
Other predominant sevenths
The remaining predominant sevenths, IV7, vi7, and iii7 are not nearly as common as ii7 and its inversions. Among them, IV7 and vi7 are more common than iii7, which makes sense given that
Example 7. Writing with IV7 and vi7.
Refers to the seventh above the root of a chord. For example, V⁷ in the key of C is spelled G-B-D-F; F is the chordal seventh.
1. Write the entire bass
2. Write the entire soprano to make a smooth melody that interacts well with the bass. Choose active notes for the soprano above dominant-function chords, and remember you do not always need to write left to right.
3. Write the inner voices by asking, "What notes do I already have? What notes do I still need? Considering spacing and resolution, what note placement would give me the smoothest motion?"
In strict four-voice writing:
1) Approach the chordal seventh by step or common tone
2) Resolve the chordal seventh down by step
Reminder: the chordal seventh is different from the leading tone.