Part III
Diatonic Seventh Chords
Chapter 14
THE V7 CHORD
EXERCISE 14-1
A. The note given in each case is the root, 3rd, 5th, or 7th of a V7 chord. Notate the chord
in root position, and name the major key in which it would be the V7.
B. Analyze chords and NCTs in the following excerpt, including roman numerals and
lead-sheet symbols. Then, discuss the voice leading in the two V7 chords. (Note: You
might have analyzed the Bs in the V chords as passing tones, but consider them to be
chord 7ths for the purposes of your discussion.)
Bach, “Wir Christenleut’”
105
C. Resolve each chord to a root-position I. (Note: c means complete chord, i means
incomplete chord.)
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D. Notate the key signature and the V7 chord, and then resolve it.
Student Workbook Chapter 14 107
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G. Analyze the harmonies implied by these soprano/bass frameworks. Then, make four-
part versions with embellishments and at least one root-position V7 chord.
Student Workbook Chapter 14 109
H. Set a short text for four-part chorus. The text might be a poem, a headline from a news-
paper, or anything. Include at least one V7–I progression. Try to keep the motion going
through the use of elaborations.
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I. Compose a period in a simple three-part texture. End the first phrase with a V7–vi DC,
the second with a V7–I PAC. Then, create a version for three instruments, the top part
being elaborated by arpeggiations and NCTs, the other two parts in an accompanying
role. Turn in both versions.
1. Simple version
Student Workbook Chapter 14 111
2. Elaborated version
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EXERCISE 14-2
A. Notate the specified chords. Use accidentals instead of key signatures.
B. Label chords and NCTs in the following excerpts. Comment on the treatment of the
leading tone and 7th in any V7 chords in root position or inversion.
Notice that in Exercises 1 and 3, the key signature does not agree with the given key.
This is because in each case the music has modulated (changed key) to the dominant.
Modulation will be introduced in Chapter 18.
1. Bach, “Ich dank’ dir, lieber Herre”
(Which is the more sensible analysis of beat 4 of m. 3: iii64 or V6?)
2. Beethoven, Piano Sonata op. 2, no. 1, III
Student Workbook Chapter 14 113
3. Mozart, Quintet for Piano and Winds K. 452, I
4. Schumann, “Im Westen,” op. 25, no. 23
(Do not label NCTs in this excerpt.)
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C. Resolve each chord to a tonic triad (except as indicated). Analyze both chords.
Student Workbook Chapter 14 115
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D. Notate, introduce, and resolve the specified chords. Each chord 7th is to be approached
as indicated. Include key signatures, lead-sheet symbols with slash symbols, and
roman numerals.
Student Workbook Chapter 14 117
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F. Analyze with roman numerals the chords implied by each soprano/bass framework.
Then, add inner parts and embellishments to make a four-part choral texture. Include
an inverted V7 chord.
Student Workbook Chapter 14 119
G. Analyze the chords implied by this soprano/bass framework. Then, create a piano tex-
ture by filling out some of the chords and adding embellishments. Arpeggiations will
be especially useful for prolonging the I chord in mm. 1–2. Be sure to include an
inverted V7 chord.
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H. Make one or more settings of the following song.
1. Write an arrangement for two B ♭ trumpets, unaccompanied. Analyze the harmo-
nies implied by the two lines. Include at least one inverted V7.
2. Make an arrangement for four-part chorus. Try to elaborate the other voices
slightly. Include at least one inverted V7. Watch out for parallel 8ves and 5ths
throughout.
3. Compose a version for piano solo, including at least one inverted V7. Be pre-
pared to play it, or find someone else in the class who will do so.
Student Workbook Chapter 14 121
I. Compose a period for a string trio (violin, viola, cello) or for some other combination
of instruments in your class. Include at least two inverted V7 chords.
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