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Ottman Cap9

The document summarizes Chapter 9 of a music theory text. It discusses (1) leaps within the dominant seventh chord, including the intervals of a minor seventh, diminished fifth, and augmented fourth; (2) exercises practicing these leaps; and (3) other diatonic seventh leaps. The exercises provide melodic passages utilizing the intervals of the dominant seventh chord within a tonal framework.

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Sabino Mortera
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76 views14 pages

Ottman Cap9

The document summarizes Chapter 9 of a music theory text. It discusses (1) leaps within the dominant seventh chord, including the intervals of a minor seventh, diminished fifth, and augmented fourth; (2) exercises practicing these leaps; and (3) other diatonic seventh leaps. The exercises provide melodic passages utilizing the intervals of the dominant seventh chord within a tonal framework.

Uploaded by

Sabino Mortera
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Chapter 9

Melody
Leaps within the Dominant Seventh Chord (V7);
Other Diatonic Seventh Leaps

Rhythm
Simple and Compound Meters
The dominant seventh chord is a four-note chord: the dominant triad plus an ad-
ditional minor seventh above its root. Of all the possible intervals from this chord,
these have not previously been presented:
Root up to seventh or seventh down to root = minor seventh (m7)
Third up to seventh or seventh down to third = diminished fifth (d5), or
tritone1
Seventh up to third or third down to seventh = augmented fourth (A4), or
tritone

Actively imagining the sound of the V7 chord will make these dissonant leaps much
easier to sing.

1
The term tritone refers to an interval composed of three whole steps—technically an A4. Because
the d5 is enharmonic with the A4, it is also frequently described as a tritone.

142
Chapter 9 143

Section 1. The complete dominant seventh chord.


In this section, successive chord tones outline a complete four-note V7 chord or the
near-complete V7 chord (chord members R – 5 – 7 or reverse), all utilizing only the
intervals of the major third, the minor third, and the perfect fifth.

9.1

9.2

9.3

9.4
144 Chapter 9

9.5

9.6

9.7

9.8
Chapter 9 145

9.9

9.10

Section 2. The leap of a minor seventh within


the V7 chord.
Before singing, plan the best way to negotiate each seventh leap. Will you imagine
leaping an octave and then moving by step? Might you think back to a previous
note in the same register? Are there compound melodic implications? Are you leap-
ing to a note that you can reliably find, regardless of context? This is a helpful pro-
cess for any challenging leap.

9.11

9.12
146 Chapter 9

9.13

9.14

9.15

9.16
Chapter 9 147

9.17

9.18

9.19
148 Chapter 9

9.20

9.21

9.22

9.23
Chapter 9 149

9.24

9.25

Section 3. The leap of a tritone within the V7 chord.

9.26

9.27
150 Chapter 9

9.28

9.29

9.30

9.31
Chapter 9 151

9.32

9.33

9.34
152 Chapter 9

9.35

9.36
Chapter 9 153

9.37

Section 4. Other diatonic seventh leaps.


How might we most easily find the F in measure 2?

9.38

9.39
154 Chapter 9

9.40

9.41

9.42

9.43
Chapter 9 155

9.44

9.45

9.46

9.47

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