Chapter 14, Part 2:
ii7 and IV7
—adding dissonance to intensify
the pre-dominant function
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1. (a) Rameau
S
S
7
G: I IV9 8 ( ii 7 ) V 4 3 I
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Quality
ii7 in major keys:
G: ii
ii7
minor 7th chord
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Quality
ii7 in minor keys:
m7
d5
ø7
g: iiø7
half-diminished 7th chord
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1. (b)
6 4 3
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1. (b)
chordal 7th
prepared and resolved
C: (IV) I6 ii7 V7 I
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1. (b)
Reduction: chordal 7th
prepared and resolved
C: (IV) I6 ii7 V7 I
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(c) Mozart
Requiem: Sequentia (Dies Irae…)
Confutatis maledictis When the accursed have been
confounded
Flammis acribus addictis, And given over to the bitter
flames,
Voca me cum benedictis. Call me with the blessed.
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(c) Mozart, Confutatis
C: I (vi) ii7 V7 I
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1. (d) Inversions:
Bb:
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1. (d) Inversions:
chordal 7th
^3 ^2 ^2 ^1
prepared resolved
Bb:
6
I ii 5 V I
frequently used cadence
7 6
5
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1. (d) Inversions:
Bb: I6 ii 43 V I
7 6 4
5 3
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Bass resolves down to
1. (d) Inversions:
the leading note, so
ii 2 progresses to V6 or V 65
4
Bb: I ( ii 42 V6 ) I
7 6 4 4
5 3 2
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1. (e) Mozart, K 403
6
C: I ( ii 42 V5 7 ) I
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1. (g) 7th as a passing note:
Voice-leading reduction
Bb: I6 ii6 7
V7 I
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1. (h)
LN
Bb: ii65 V I
?
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1. (h)
LN
LN
Bb: ii65 V I
?
✘
– resolution of 7th gives
doubled LN in V
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1. (h)
LN
Bb: ii6 V I
( ii6 needed )
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1. (f) Embellishing tonic prolongs ii7
voice exchange
B b : I6 ii7 (6 ii 65 ) V
tonic as embellishing chord
—prolonging ii7
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1. (f) Embellishing tonic prolongs ii7
voice exchange
D C D . . . Resolves
B b : I6 ii7 (6 ii 65 ) V
tonic as embellishing chord
—prolonging ii7
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3. Haydn, Missa Brevis Sancti Joannis de Deo, Kyrie.
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3. Haydn, Missa Brevis Sancti Joannis de Deo, Kyrie.
B b: I
9 8
6
ii 65 ( 6 ii7 ) V7 I4 3
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3. Haydn, Missa Brevis Sancti Joannis de Deo, Kyrie.
B b: I
9 8
6
ii 65 ( 6 ii7 ) V7 I4 3
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3. Haydn, Missa Brevis Sancti Joannis de Deo, Kyrie.
^ ^ ^
1 2 3
B b: I
9 8
6
ii 65 ( 6 ii7 ) V7 I4 3
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2. IV7
G: IV
G: IV
M7
IV7
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2. IV7
prepared resolved
5 5
(a)
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2. IV7 Avoid parallel P5s by
. . . using V7
5
(a)
7 7
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2. IV7 Avoid parallel P5s by
. . . inverting the 5ths
parallel 4ths OK
(a) 4 4
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6
2. (b) IV 5
^6 ^7 ^8
6
G: ( IV 65 V5 ) I
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6
2. (b) IV 5
5 5
6 5 ?
5 3
✘
- parallel 5ths inevitable
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3. Haydn, Missa Brevis Sancti Joannis de Deo, Kyrie, bb. 19 – 21.
B b: I 4
6 5
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3. Haydn, Missa Brevis Sancti Joannis de Deo, Kyrie, bb. 19 – 21.
[Neighbouring 64 ]
B b: I 4
6 5
Aug 2023 3 (IV65 V 65 ) I 9 8
ii 65 V8 7 I 32
3. Haydn, Missa Brevis Sancti Joannis de Deo, Kyrie, bb. 19 – 21.
^ ^ ^ ^
3 2 2 1
B b: I 4
6 5
Aug 2023 3 (IV65 V 65 ) I 9 8
ii 65 V8 7 I 33
Pre-dominant 7th Chords - Summary
7th intensifies the dominant preparation
n.b. not used where IV prolongs tonic (I – IV – I)
Like a suspension, the 7th in ii7 and IV7 should be
• – prepared in the same voice
• – resolved down by step
The 7th may also arise as a passing note in an extended
pre-dominant harmony.
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