Earlier, we saw how adding a chordal seventh to the dominant strengthened its drive toward the tonic. In this chapter, we see that something similar can be accomplished by adding a chordal seventh to predominant chords: it can intensify their motion to the dominant (Example 1). Adding a seventh to ii chords is common; it also occurs with the other predominant chords (particularly IV and vi), but less frequently. All predominant seventh chords share two general guidelines for the treatment of a chordal seventh:

1. The chordal seventh is usually approached by step or common tone.
2. The chordal seventh resolves down by step.

Example 1. A predominant seventh chord in Josephine Lang, “Dort hoch auf jenem Berge”

Adding a chordal seventh to ii

Example 2 lists the various inversions of ii⁷ from more common to less common. We’ll discuss each in turn.

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Example 2. Inversions of ii⁷ sorted by relative degree of commonality.

ii

often substitutes for , meaning that it commonly shows up near the end of a phrase (Example 1). Other than the typical part writing procedures and treatment of the chordal seventh, there aren’t any new voice leading concerns when writing with (Example 3).

Example 3. Writing with ii.

ii⁷

ii⁷ is typically found near the end of a phrase (Example 1). In addition to following typical writing procedures and treatment of the chordal seventh, there are two main issues to be aware of when writing with ii⁷:

1. The chord is often preceded by tonic, and it’s best to use I⁶ rather than I to avoid potential parallels,
2. When ii⁷ resolves to V⁷, either ii⁷ or V⁷ will need to be incomplete to avoid causing a voice-leading problem (Example 4).

Example 4. Writing with ii⁷.

ii

typically expands tonic at the beginning of a phrase in the progression (Example 5). This progression is easy to write if you follow the typical writing procedure and treatment of the chordal seventh.

Example 5. Writing with ii.

ii

is relatively uncommon. When it does show up, it’s usually in place of a strong predominant at a phrase ending (Example 6). Other than following the typical writing procedure and treatment of the chordal seventh, there isn’t anything new to learn about voice leading.

Example 6. Writing with ii.

Other predominant sevenths

The remaining predominant sevenths, IV⁷, vi⁷, and iii⁷ are not nearly as common as ii⁷ and its inversions. Among them, IV⁷ and vi⁷ are more common than iii⁷, which makes sense given that as a triad isn’t very common in the first place. Both IV⁷ and vi⁷ tend to show up as root-position chords when they’re used, and vi⁷ only shows up as a harmony connecting the tonic area to the strong predominant area, and not as part of a deceptive motion (in other words, V⁷ to vi⁷ is not common). Example 7 shows sample voice leading involving these chords. It follows typical writing procedures and treatment of chordal sevenths.

Example 7. Writing with IV⁷ and vi⁷.

1. Predominant Seventh Chords (.pdf, .docx). Asks students to realize figured bass and analyze.