COLUMNS Pliability of V7 Resolutions
By Alex Fournier
In learning about effective voice leading on my double bass , I remember Jim Vivian telling me that I need to look for the “ action notes ,” meaning the note change between the chords that you are leaving and approaching that will represent the entire sound of both chords . Suffice to say , it ’ s hard to explain what these are without the benefit of experience , never mind the universality of their application .
However , there ’ s a few tendencies that I ’ ve noticed that appear to be extrapolated from Western European music traditions that have carried forward to this day . Many of these would have been developed during the Medieval period and codified during the Renaissance . While I ’ m not interested in pushing the idea that this is the only way harmonic development can work , traditions and ideas tend to be handed down both consciously and subconsciously , and have worked their way into our current ideation of harmony . Here , we ’ ll focus on understanding the implications of these conventions in the context of modern harmony , as grasping these ideas opens the door to the full potential of tonal , pan-tonal , and chromatic harmony .
An important note : In the establishing of Renaissance Counterpoint , one emergent idea involves a specific harmonic cadence that was more or less considered mandatory in completing an idea . This features a major 6 th expanding into an octave , and can be found in two positions representing the Perfect Cadence and the Phrygian Cadence ( fig . 1a and 1b , respectively ). This a slight reworking of the tertiary harmonic style that emerged from 15 th century England that featured a melody supported by parallel diatonic 6 ths in the lowest voice , and a diatonic 4 th improvised in the middle voice ( fig . 2a and 2b ).
Some rules for our investigation : 1 ) If we can find a diatonic explanation , we ’ ll use it ; 2 ) If less apparent , we are going to look to the shapes in the mentioned figures ; 3 ) If we can ’ t find a solid match to either of these figures , we ’ ll see if the change can be better understood in the context of another supporting / FIG . 1A
FIG . 1B passing chord ; and 4 ) Additional and tangential explanations will be offered to provide extra context .
The following changes have been demonstrated with Dom7 chords
FIG . 2A FIG . 2B cadencing into a major triad . These ideas can be extended to relations between any chord .
FIG . 3
• I7 - Auxiliary change , usually used in a clichéd line .
• HII7 - Augmented 6 th resolution . Modifies the dyads in fig . 1b . Tritone in fig . 2a is maintained , which constitutes the most important parts of the resolution ( also an expansion / contraction movement ).
• II7 - Abstraction of V-IV motion . Also , an elision of an II7-V7-I sequence . Similar to an auxiliary diminished chord .
• HIII7 - Contains dyads in fig . 1b ( 5 th and 7 th ). Can also be resolved through a HII7 chord ( as a support ).
• III7 - Contains dyads in fig . 1a ( 5 th and 7 th ). This chord can also be considered as part of the diminished axis formed from a diminished scale based on the V of the key , and can be subbed in on that logic . As well , a III7 over V7 polychord could easily be heard as a V13 ( H9 ) chord .
• IV7 - Plagal Cadence , which represents a return from Musica Ficta to Musica Vera based on their original definitions .
• HV7 - Contains dyads in fig . 1b ( 5 th and 3 rd ). Also represents the furthest point from the I chord in a dodecaphonic system , creating an oppositional effect .
• V7 - Perfect Cadence . See figures 1a , 2a , and 2b .
• HVI7 - Option for a subdominant minor substitution , which involves including a H6 th in the key for colour . Also similar to an auxiliary diminished ( see II7 ).
• VI7 - 1 ) Abstraction of V - HVII resolution , which creates an extension in the chord progressions ( Thelonious Monk ’ s “ Ask Me Now ”, Billy Strayhorn ’ s “ A Flower is a Lovesome Thing ”); 2 ) Abstraction of the upper extensions of a V7 ( H11 ) chord - similar to III7 . 3 ) Anything on the whole tone scale can be substituted for another chord of the same scale ( check out Alexander Scriabin ’ s music for this ).
• HVII7 - 1 ) Subdominant minor bebop cadence (“ Yardbird Suite ” by Charlie Parker ). 2 ) Similar to a deceptive cadence drawing from Major harmony ( V-vi ) playing off swapping the Tonic function of the vi and I chord of the key .
• VII7 - Deceptive cadence from minor harmony ( V-HVI ). Similar to an auxiliary diminished .
Alex Fournier is a double bassist from Toronto . He has studied with Dave Young , Andrew Downing , Jim Vivian , and , most recently , Michael Formanek . Available for lessons and remote sessions : www . alexfournierplaysbass . com .
CANADIAN MUSICIAN 59