4

Usually, a dominant will have two voices approaching the tonic's root. Most traditionally, the leading melody comes from a semitone below, while the other (generally the bass) simply jumps between the roots:

X:1
L:1/4
M:
K:Am
%%score (T1 T2) (B1 B2)
V:T1           clef=treble
V:T2           clef=treble
V:B1  middle=d clef=bass
V:B2  middle=d clef=bass
%            End of header, start of tune body:
% 1
[V:T1] "V⁷"">↑"^g,    "i"a,
[V:T2]       e,    e,
[V:B1]       d,    c,
[V:B2]    ">↑"e,,    a,,

The other voice may also approach the root from less far away than a fourth and from above, like

X:1
L:1/4
M:
K:Am
%%score (T1 T2) (B1 B2)
V:T1           clef=treble
V:T2           clef=treble
V:B1  middle=d clef=bass
V:B2  middle=d clef=bass
%            End of header, start of tune body:
% 1
[V:T1] "♯vii°⁷"">(↓)"b,   "i"a,
[V:T2]    f,    e,
[V:B1]       d,    c,
[V:B2]    ">↑"^g,,    a,,

but this whole step down has rather less impressive leading character than a half-step, as here in the diminished seventh chord both the bass leading upwards and the alto leading down to the tonic's fifth.

The tonic's third can also be approached from a semitone above

X:1
L:1/4
M:
K:A
%%score (T1 T2) (B1 B2)
V:T1           clef=treble
V:T2           clef=treble
V:B1  middle=d clef=bass
V:B2  middle=d clef=bass
%            End of header, start of tune body:
% 1
[V:T1] "V⁷"g,    "I"a,
[V:T2]       e,    e,
[V:B1]     ">↓"d,    c,
[V:B2]      e,,    a,,

But how about the root – can this only be approached either from a semitone below or somewhere more distant? There are of course the augmented sixth chords, but these always seem to have secondary dominant function, and don't directly establish a tonic.

X:1
L:1/4
M:
K:Am
%%score (T1 T2) (B1 B2)
V:T1           clef=treble
V:T2           clef=treble
V:B1  middle=d clef=bass
V:B2  middle=d clef=bass
%            End of header, start of tune body:
% 1
[V:T1] "viIt⁺⁶"a, "V"^g,    "i"a,
[V:T2]         ^d,     e,    e,
[V:B1]       a,,       b,,    c,
[V:B2]    ">↓"f,,      e,,    a,,
Improve this question
5
  • Neapolitan sixth could easily go to the tonic, with the tonic commonly in 2nd inversion before hitting the dominant.
    – thrig
    Sep 4, 2016 at 15:53
  • @thrig: interesting, the Neapolitan seems indeed to work without properly going to the dominant first. Could you elaborate how the voices should be lead in that scenario?
    – leftaroundabout
    Sep 4, 2016 at 16:07
  • @thrig When the Neapolitan goes to "tonic in 2nd inversion," that's not really a tonic chord, it's the dominant with a 6th and a 4th above it that needs to resolve to a 5th and a 3rd. Otherwise known as a "cadential 6/4." Most theorists just call it a dominant function chord, some occasionally call it pre- or subdominant, but it's never tonic function.
    – Pat Muchmore
    Sep 4, 2016 at 22:43
  • And old question, but are you still interested in this? And are you looking for just chords that are based on the root or any chord that includes a resolution from the flat second scale degree to the tonic? Also, are you interested in minor keys or just major? I can think of quite a few examples in real music if you're interested still.
    – Some_Guy
    Aug 27, 2018 at 21:52
  • @Some_Guy I'm looking for any ways to harmonise a ♭Ⅱ-Ⅰ movement in a melody, such that the Ⅰ note is given a sense of finality.
    – leftaroundabout
    Aug 27, 2018 at 22:00

1 Answer 1

Reset to default
5

The classic example of a root being approached from a semitone above is when using the "tritone substitution" or "b5 substitution" for a dominant-function chord. In the example see how the F - B tritone is retained, giving Db7 its "dominant of C" quality, and how the parallel 5ths don't hurt the ear at all in this type of chromatic harmony. You're slipping a Db triad down to a C triad - revel in it!

The idea of b5 substitutions also opens a door to understanding how the Augmented 6th chord works. Look at it as a b5 substitution for ii7.

enter image description here

Improve this answer
3
  • Ah, yeah, the Italian augmented sixth. But I just can't feel the C after that D♭⁶⁺ as having tonic character – it always seems to lead on to F-minor. Does it perhaps need a Jazz context with extra notes to avoid that secondary dominant feel?
    – leftaroundabout
    Sep 4, 2016 at 16:22
  • s/Italian/German/
    – leftaroundabout
    Sep 4, 2016 at 16:29
  • 1
    @leftaroundabout I think if you establish a sense of C major, then shift to a bunch of I–ii–V7–I progressions and then suddenly replace the V with bII7 (the TT sub is usually written as a dominant 7th, I think Laurence wrote it as an +6 to emphasize the notes held in common between it and V7) it might work better. I–ii–bII7–I has a very convincing chromatic bass line and resolution of ^7 and ^4. Also, you might want to look into Phrygian and (to a lesser degree) Locrian for other contexts with a half-step downward resolution to the tonic.
    – Pat Muchmore
    Sep 4, 2016 at 22:55

Your Answer

By clicking “Post Your Answer”, you agree to our terms of service and acknowledge that you have read and understand our privacy policy and code of conduct.

Not the answer you're looking for? Browse other questions tagged or ask your own question.