In music theory, a leading-tone (also called a subsemitone, and a leading-note in the UK) is a note or pitch which resolves or "leads" to a note one semitone higher or lower, being a lower and upper leading-tone, respectively. Typically, the leading tone refers to the seventh scale degree of a major scale ( ), a major seventh above the tonic. In the movable do solfège system, the leading-tone is sung as ti.
A leading-tone triad is a triad built on the seventh scale degree in a major key (viio in Roman numeral analysis), while a leading-tone seventh chord is a seventh chord built on the seventh scale degree (viiø7). Walter Piston considers and notates viio as V0
7, an incomplete dominant seventh chord. [1] (For the Roman numeral notation of these chords, see Roman numeral analysis.)
Typically, when people speak of the leading tone, they mean the seventh scale degree ( ) of the major scale, which has a strong affinity for and leads melodically to the tonic. [2] It is sung as ti in movable-do solfège. For example, in the C major scale, the leading note is the note B.
As a diatonic function, the leading tone is the seventh scale degree of any diatonic scale when the distance between it and the tonic is a single semitone. In diatonic scales in which there is a whole tone between the seventh scale degree and the tonic, such as the Mixolydian mode, the seventh degree is called the subtonic . However, in modes without a leading tone, such as Dorian and Mixolydian, a raised seventh is often featured during cadences, [3] such as in the harmonic minor scale.
A leading tone outside of the current scale is called a secondary leading-tone, leading to a secondary tonic. It functions to briefly tonicize a scale tone (usually the 5th degree) [4] as part of a secondary dominant chord. In the second measure of Beethoven's Waldstein Sonata (shown below), the F♯'s function as secondary leading-tones, which resolve to G in the next measure. [4]
By contrast, a descending, or upper, leading-tone [5] [6] is a leading tone that resolves down, as opposed to the seventh scale degree (a lower leading-tone) which resolves up. The descending, or upper, leading-tone usually is a lowered second degree (♭ ) resolving to the tonic, but the expression may at times refer to a ♭
resolving to the dominant.[ citation needed ] In German, the term Gegenleitton ("counter leading tone") is used by Hugo Riemann to denote the descending or upper leading-tone (♭
), [7] but Heinrich Schenker uses abwärtssteigenden Leitton [8] ("descending leading tone") to mean the descending diatonic supertonic (♮
).)
The tritone substitution, chord progression ii-subV-I on C (Dm-Db7-C), results in an upper leading-note.
According to Ernst Kurth, [9] the major and minor thirds contain "latent" tendencies towards the perfect fourth and whole tone, respectively, and thus establish tonality. However, Carl Dahlhaus [10] contests Kurth's position, holding that this drive is in fact created through or with harmonic function, a root progression in another voice by a whole-tone or fifth, or melodically (monophonically) by the context of the scale. For example, the leading tone of alternating C chord and F minor chords is either the note E leading to F (if F is tonic), or A♭ leading to G (if C is tonic).
In works from the 14th- and 15th-century Western tradition, the leading tone is created by the progression from imperfect to perfect consonances, such as a major third to a perfect fifth or minor third to a unison.[ citation needed ] The same pitch outside of the imperfect consonance is not a leading tone.
Forte claims that the leading tone is only one example of a more general tendency: the strongest progressions, melodic and harmonic, are by half step. [11] He suggests that one play a G major scale and stop on the seventh note (F♯) to personally experience the feeling of lack caused by the "particularly strong attraction" of the seventh note to the eighth (F♯→G'), thus its name.
A leading-tone chord is a triad built on the seventh scale degree in major and the raised seventh-scale-degree in minor. The quality of the leading-tone triad is diminished in both major and minor keys. [12] For example, in both C major and C minor, it is a B diminished triad (though it is usually written in first inversion, as described below).
According to John Bunyan Herbert, (who uses the term "subtonic", which later came to usually refer to a seventh scale degree pitched a whole tone below the tonic note),
The subtonic [leading-tone] chord is founded upon seven (the leading tone) of the major key, and is a diminished chord... The subtonic chord is very much neglected by many composers, and possibly a little overworked by others. Its occasional use gives character and dignity to a composition. On the whole, the chord has a poor reputation. Its history, in brief, seems to be: Much abused and little used. [13]
The leading-tone triad is used in several functions. It is commonly used as a passing chord between a root position tonic triad and a first inversion tonic triad: [14] that is, "In addition to its basic function of passing between I and I6, VII6 has another important function: it can form a neighboring chord to I or I6." [15] In that instance, the leading-tone triad prolongs tonic through neighbor and passing motion. The example below shows two measures from the fourth movement of Beethoven's Piano Sonata No. 3 in C major, Op. 2 [16] in which a leading-tone triad functions as a passing chord between I and I6.
The leading-tone triad may also be regarded as an incomplete dominant seventh chord: "A chord is called 'Incomplete' when its root is omitted. This omission occurs, occasionally, in the chord of the dom.-seventh, and the result is a triad upon the leading-tone." [17]
Some sources say the chord is not a chord; some argue it is an incomplete dominant seventh chord, especially when the diminished triad is written in its first inversion (resembling a second inversion dominant seventh without a root): [13]
The subtonic [i.e. leading-tone] chord is a very common chord and a useful one. The triad differs in formation from the preceding six [major and minor diatonic] triads. It is dissonant and active... a diminished triad. The subtonic chord belongs to the dominant family. The factors of the triad are the same tones as the three upper factors of the dominant seventh chord and progress in the same manner. These facts have led many theorists to call this triad a 'dominant seventh chord without root.'... The subtonic chord in both modes has suffered much criticism from theorists although it has been and is being used by masters. It is criticized as being 'overworked', and that much can be accomplished with it with a minimum of technique. [18]
For example, viio6 often substitutes for V4
3, which it closely resembles, and its use may be required in situations by voice leading: "In a strict four-voice texture, if the bass is doubled by the soprano, the VII6 [viio6] is required as a substitute for the V4
3". [19]
Since the leading-tone triad is a diminished triad, it is usually found in its first inversion: [20] [21] According to Carl Edward Gardner, "The first inversion of the triad is considered, by many, preferable to root position. The second inversion of the triad is unusual. Some theorists forbid its use." [22]
In a four-part chorale texture, the third of the leading-tone triad is doubled in order to avoid adding emphasis on the tritone created by the root and the fifth. Unlike a dominant chord where the leading-tone can be frustrated and not resolve to the tonic if it is in an inner voice, the leading-tone in a leading-tone triad must resolve to the tonic. Commonly, the fifth of the triad resolves down since it is phenomenologically similar to the seventh in a dominant seventh chord. All in all, the tritone resolves inward if it is written as a diminished fifth (m. 1 below) and outward if it is written as an augmented fourth (m. 2).
The leading-tone seventh chords are viiø7 and viio7, [24] the half-diminished and diminished seventh chords on the seventh scale degree ( ) of the major and harmonic minor. For example, in C major and C minor, the leading-tone seventh chords are B half-diminished (B-D-F-A) and B diminished (B-D-F-A♭), respectively.
Leading-tone seventh chords were not characteristic of Renaissance music but are typical of the Baroque and Classical period. They are used more freely in Romantic music but began to be used less in classical music as conventions of tonality broke down. They are integral to ragtime and contemporary popular and jazz music genres. [25]
Composers throughout the common practice period often employed modal mixture when using the leading-tone seventh chord in a major key, allowing for the substitution of the half-diminished seventh chord with the fully diminished seventh chord (by lowering its seventh). This mixture is commonly used when the leading-tone seventh chord is functioning as a secondary leading-tone chord.
The example below shows fully diminished seventh chords in the key of D major in the right hand in the third movement of Mozart's Piano Sonata No. 5 in G major. [26]
The leading-tone seventh chord has a dominant function and may be used in place of V or V 7. [27] Just as viio is sometimes considered an incomplete dominant seventh chord, a leading-tone seventh chord is often considered a "dominant ninth chord without root". [28] [20] )
For variety, leading-tone seventh chords are frequently substituted for dominant chords, with which they have three common tones: [23] "The seventh chord founded upon the subtonic [in major]... is occasionally used. It resolves directly to the tonic... This chord may be employed without preparation." [29]
In contrast to leading-tone triads, leading-tone seventh chords appear in root position. The example below shows leading-tone seventh chords (in root position) functioning as dominants in a reduction of Mozart's Don Giovanni , K. 527, act 1, scene 13. [30]
François-Joseph Fétis tunes the leading-tone seventh in major 5:6:7:9. [31]
The major scale is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales. Like many musical scales, it is made up of seven notes: the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note.
In music theory, the minor scale is three scale patterns – the natural minor scale, the harmonic minor scale, and the melodic minor scale – mirroring the major scale, with its harmonic and melodic forms
In music, the subdominant is the fourth tonal degree of the diatonic scale. It is so called because it is the same distance below the tonic as the dominant is above the tonic – in other words, the tonic is the dominant of the subdominant. It also happens to be the note one step below the dominant. In the movable do solfège system, the subdominant note is sung as fa.
A chord, in music, is any harmonic set of pitches/frequencies consisting of multiple notes that are heard as if sounding simultaneously. For many practical and theoretical purposes, arpeggios and other types of broken chords, may also be considered as chords in the right musical context.
In music, modulation is the change from one tonality to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization.
Modulation is the essential part of the art. Without it there is little music, for a piece derives its true beauty not from the large number of fixed modes which it embraces but rather from the subtle fabric of its modulation.
A secondary chord is an analytical label for a specific harmonic device that is prevalent in the tonal idiom of Western music beginning in the common practice period: the use of diatonic functions for tonicization.
In music theory, a diminished triad is a triad consisting of two minor thirds above the root. It is a minor triad with a lowered (flattened) fifth. When using chord symbols, it may be indicated by the symbols "dim", "o", "m♭5", or "MI(♭5)". However, in most popular-music chord books, the symbol "dim" and "o" represents a diminished seventh chord, which in some modern jazz books and music theory books is represented by the "dim7" or "o7" symbols.
In music theory, an augmented sixth chord contains the interval of an augmented sixth, usually above its bass tone. This chord has its origins in the Renaissance, was further developed in the Baroque, and became a distinctive part of the musical style of the Classical and Romantic periods.
In music, the mediant is the third scale degree of a diatonic scale, being the note halfway between the tonic and the dominant. In the movable do solfège system, the mediant note is sung as mi. While the fifth scale degree is almost always a perfect fifth, the mediant can be a major or minor third.
In music, the submediant is the sixth degree of a diatonic scale. The submediant is named thus because it is halfway between tonic and subdominant or because its position below the tonic is symmetrical to that of the mediant above.
In music, the supertonic is the second degree of a diatonic scale, one whole step above the tonic. In the movable do solfège system, the supertonic note is sung as re.
In music, the subtonic is the degree of a musical scale which is a whole step below the tonic note. In a major key, it is a lowered, or flattened, seventh scale degree. It appears as the seventh scale degree in the natural minor and descending melodic minor scales but not in the major scale. In major keys, the subtonic sometimes appears in borrowed chords. In the movable do solfège system, the subtonic note is sung as te.
In music, a triad is a set of three notes that can be stacked vertically in thirds. Triads are the most common chords in Western music.
Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. In simple terms, within each octave, diatonic music uses only seven different notes, rather than the twelve available on a standard piano keyboard. Music is chromatic when it uses more than just these seven notes.
In music theory, a dominant seventh chord, or major minor seventh chord, is a seventh chord, usually built on the fifth degree of the major scale, and composed of a root, major third, perfect fifth, and minor seventh. Thus it is a major triad together with a minor seventh, denoted by the letter name of the chord root and a superscript "7". An example is the dominant seventh chord built on G, written as G7, having pitches G–B–D–F:
The diminished seventh chord is a four-note chord composed of a root note, together with a minor third, a diminished fifth, and a diminished seventh above the root:. For example, the diminished seventh chord built on C, commonly written as Co7, has pitches C–E♭–G♭–B :
In music theory, the half-diminished seventh chord is a seventh chord composed of a root note, together with a minor third, a diminished fifth, and a minor seventh. For example, the half-diminished seventh chord built on C, commonly written as Cm7(♭5), or Cø7, has pitches C–E♭–G♭–B♭:
In music theory, Roman numeral analysis is a type of musical analysis in which chords are represented by Roman numerals. In some cases, Roman numerals denote scale degrees themselves. More commonly, however, they represent the chord whose root note is that scale degree. For instance, III denotes either the third scale degree or, more commonly, the chord built on it. Typically, uppercase Roman numerals are used to represent major chords, while lowercase Roman numerals are used to represent minor chords. However, some music theorists use upper-case Roman numerals for all chords, regardless of chord quality.
In music, the dominant is the fifth scale degree of the diatonic scale. It is called the dominant because it is second in importance to the first scale degree, the tonic. In the movable do solfège system, the dominant note is sung as "So(l)".
In music theory, a nondominant seventh chord is both a diatonic chord and a seventh chord, but it does not possess dominant function, and thus it is not a dominant seventh chord.
Sources