Essentials of Music Theory: Elementary - Carl E. Gardner

C Major

a̲ Minor.

The tonic and subdominant of the major mode and the submediant of the minor mode are formed with the major triad and the major seventh. The dominant seventh in both modes is formed with the major triad and the minor seventh. The seventh chords on II, III and VI in the major mode and on IV of the minor mode are formed with the minor triad and the minor seventh. The seventh chords on VII° in the major mode and on II° in the minor mode are formed with the diminished triad and the minor seventh. The subtonic seventh chord in the minor mode is called the diminished seventh and is formed with the diminished triad and the diminished seventh. The seventh chord on the mediant in the minor mode is formed with the augmented triad and the major seventh. The seventh chord on the tonic of the minor mode is formed with the minor triad and the major seventh. In four voice writing, all the seventh chords with the exception of those on the subtonic of both modes are often written without the fifth and with the doubled fundamental. All seventh chords are dependent chords and their natural resolution is to the chord the fundamental of which is situated a fourth above or a fifth below the fundamental of the seventh chord. This progression is called "cadencing resolution." The subtonic seventh chord of both modes may also naturally resolve to the tonic. The most important seventh chord is the dominant, which resolves to the tonic. This progression is called the authentic close. Another method of ending a composition is by the plagal close which is a progression from subdominant harmony (triad) to tonic. The plagal close is preceded by the authentic close and is also called the after cadence and the Amen cadence.

INVERSION OF SEVENTH CHORDS.

The first inversion of the seventh chord is called the chord of the fifth and sixth (six-five chord). The chord is figured by the Roman numeral below the bass note and the Arabic figures (65) over the bass. Example:—