Pyotr Ilyich Tchaikovsky · section 15 of 36

Chapter XIII. Chords of the minor and diminished Seventh

Read and hear this section in the playable edition →

Also in

Theory of HarmonyArnold Schoenberg · the leading-note seventh chord and the diminished seventh chord

Practical Manual of HarmonyNikolai Rimsky-Korsakov · the leading-note seventh chord and the diminished seventh chord

Treatise on HarmonyJean-Philippe Rameau · the leading-note seventh chord and the diminished seventh chord

Harmonic AnalysisBenjamin Cutter · the diminished seventh chord

§ 37. Next in importance to the Dominant chord is the chord of the seventh on the 7-th degree of the scale. In major it is called: the chord of the

Example 97 — Fig. 101 · Play this example in the reader ▶

As regards their resolution, these chords are treated as chords of the ninth without fundamental tone. Consequently their fundamental tone (the third of the chord of the ninth) is led one degree upward—their third (fifth of the chord of the ninth) one degree upward or downward—their fitth (formerly seventh) and seventh (formerly ninth) one degree downward. Should the third lie below the seventh, it cannot progress downwards, or parallel Fifths would be formed.

Example 98 — Fig. 102 · Play this example in the reader ▶

§ 38. The inversions of these two chords of the seventh bear the same names as those of the Dominant chord.

Chord of the

Sixth and Fourth Fourth & Third Second

Example 99 — Fig. 103 · Play this example in the reader ▶

The fifth, (formerly seventh) if it lies in one of the middle-voices, may exceptionally be resolved upwards, provided no faulty progressions result.

Example 100 — Fig. 104 · Play this example in the reader ▶

Such a deviation is decidedly advantageous in the resolution of the chord of the second, as the voices of the resulting six-four chord derive thereby a normal position.

§ 39. The chord of the diminished seventh gains greatly by being prepared, though this is not absolutely necessary, as in the case of the minor seventh-chord.

Example 101 — Fig. 105 · Play this example in the reader ▶

The tonic triad may be used as preparation for this seventh-chord, if it appears in the same position in preparation and resolution. In the same way also the Dominant triad, as it has two tones in common with this seventh chord.

Example 102 — Fig. 106 · Play this example in the reader ▶

Example 103 — Fig. 107 · Play this example in the reader ▶

Note The horizontal lines in the figured bass notation indicate that the intervals next to which they are placed, have to remain stationary, while in the Bass sound the next following intervals of the chord in notation. For instance, in the first bar of the first exercise, the lines next the figures 8 indicate, that the intervals of the triad on G—which correspond to these figures—have to sound on during the following three notes of the Bass, thus giving rise to a chord of the sixth and a chord of the §.

Example 104 — Fig. 108 · Play this example in the reader ▶

The short line below the note f sharp in the last bar of the third exercise indicate that the third of the triad (leading tone) must remain stationary, while the octave progresses downward into the seventh.

Example 105 — Fig. 109 · Play this example in the reader ▶

A short oblique or vertical line to a figure denotes the repetition of that figure.

More Playable Books

Fenaroli, PartimentiSix books of partimenti, with playable basses, contrapuntal exercises, and bilingual rules.
Fux, Gradus ad ParnassumLearn how independent voices work together, one species at a time.
Goetschius, Exercises in Elementary CounterpointBuild independent melodies through graded exercises, with 471 recorded examples.
Goetschius, Counterpoint AppliedStudy imitation, canon, and fugue with 393 recorded examples.
Kitson, Counterpoint for BeginnersStrict counterpoint in two and three parts, species by species, with every example playable.
Prout, Analysis of J. S. Bach’s Forty-Eight FuguesFollow Prout through all 48 fugues of the Well-Tempered Clavier, every example playable.
Rameau, Treatise on HarmonyExplore the foundations of harmony, composition, and accompaniment.
Rimsky-Korsakov, Practical Manual of HarmonyThe classic harmony course, newly translated from the 1910 French edition, with all 640 examples playable.
Reger, Supplement to the Theory of ModulationExplore Reger’s modulation method with 100 analyses and 102 playable examples.
Cutter, Harmonic AnalysisLearn to name every chord and non-harmonic tone in real music, from Bach to Wagner, with the passages playable.
Schoenberg, Theory of HarmonyRead all 22 chapters, with the original German beside a new English translation.
Rimsky-Korsakov, Principles of OrchestrationDiscover instrumental colors through scores and orchestral recordings.
Forsyth, OrchestrationA witty, thorough guide to every orchestral instrument, with the original pages.
Forsyth, Choral OrchestrationA whole Te Deum orchestrated bar by bar, with Forsyth’s reasons, the full score and the vocal score playable.
Berlioz, Treatise on InstrumentationBerlioz’s treatise on the orchestra, revised by Richard Strauss, with the original pages.
McKay, Creative OrchestrationRanges, transpositions, texture and balance, taught through projects, with the supplied examples played by orchestral samples.
Sanganeria, ArrivalBuild jazz lines that land, with 30 original playable examples.
Bona, Complete Method for Rhythmical ArticulationPractice rhythm through 120 graded studies, with playable notation and original scans.
Hanon, The Virtuoso-PianistPractise all 60 exercises with playable notation, original scans and supplied Mutopia playback.
Mathews, Standard Graded Course of Studies, Grade IA first year of piano: 136 short pieces by many composers, every one playable, with Mathews’s teaching notes.

← All Playable Books