Other Diatonic Seventh Chords

How does adding a seventh to the tonic triad affect its function in traditional tonal music?

What is the typical chord progression involving the subdominant seventh chord (IV7 or iv7)?

What potential voice-leading error can occur when a iv7 chord moves directly to a V chord, if the 7th of the iv7 is placed above its 3rd?

What is the typical harmonic function of the #viø7 chord in a minor key?

What voice-leading rule governs a four-part circle-of-fifths sequence using root position seventh chords?

Which diatonic seventh chord in a major key is a major seventh (M7) chord?

In what context do the less common diatonic seventh chords, such as III7 and VI7, most often appear?

What is the reason for raising scale degree 6 in a minor key to form the #viø7 chord?

The tonic seventh chord (I7 or i7) typically resolves to a chord that contains which scale degree?

In a four-part circle-of-fifths sequence using inverted seventh chords, which two types of inversions can alternate with each other?

What is the typical resolution for the mediant seventh chord (iii7)?

In a three-part circle-of-fifths sequence of seventh chords, what is the most common voicing for the chords?

What is the quality of the subdominant seventh chord in a minor key when scale degree 6 is raised?

In a freer texture like piano music, what voice-leading issue is sometimes seen in a vi7-ii7 progression that might be avoided in stricter counterpoint?

What is the chord quality of the diatonic mediant seventh chord (built on scale degree 3) in a major key?

Apart from the bass in a root-position circle-of-fifths sequence, how do the upper voices generally move from one seventh chord to the next?

What general principle about triad function is stated in the chapter summary regarding the addition of a seventh?

The tonic seventh chord in its diatonic form in a minor key is what type of chord?

How can the parallel 5ths that may arise from a iv7 to V progression be corrected?

What is the quality of the submediant seventh chord (built on scale degree 6) in a minor key?

According to the summary, what scale should be used as the basis for line movement when writing in a minor key?

What is the typical harmonic goal of the vi7 and VIM7 chords?

In a four-part circle-of-fifths sequence using inverted seventh chords, what is the other possible alternating pattern besides 6/5 and 4/2 chords?

When a tonic seventh chord is analyzed, the 7th of the chord can often be interpreted as what type of nonchord tone?

How does the #viø7 chord typically resolve when it moves to a vii˚ chord?

What is the primary voice-leading rule that must be followed for nearly all diatonic seventh chords discussed in the chapter?

In the context of a metric device known as hemiola, how might a measure in 3/4 time sound?

What is the quality of the minor-major seventh chord, a rare form of the tonic seventh in minor?

When a subdominant seventh chord resolves to ii7, what is the primary voice motion?

According to the chapter, which of the diatonic seventh chords are much less commonly used in traditional tonal music?

What is the quality of the #viø7 chord, which is formed in a minor key when scale degree 6 is raised before moving to a raised 7?

When a tonic seventh chord (I7) resolves to a IV chord, what happens to the leading tone (scale degree 7), which is the 7th of the I7 chord?

What is the primary difference in voice leading between a four-part root-position circle-of-fifths sequence and one in three parts?

Which statement best describes the use of the #viø7 chord in relation to V6/5?

In the chapter's examples of the tonic seventh chord by Robert and Clara Schumann (Ex. 15-13 and 15-14), how is the 7th of the chord approached?

What is the key principle from the summary regarding the resolution of seventh chords that is sometimes delayed?

What is the diatonic quality of the subdominant seventh chord (built on scale degree 4) in a major key?

Like their parent triads, the vi7 and VIM7 chords typically resolve to which two main chord functions on their way to the dominant?

Why does the minor-major seventh chord on the tonic of a minor key (iM7) rarely appear in the tonal tradition?

In a four-part circle-of-fifths sequence, what is the consequence of the voice-leading principles on the texture?

What is the quality of the diatonic seventh chord built on the submediant (scale degree 6) in a major key?

According to the summary, because more seventh-chord types are possible in minor than in major, what must the movement of individual lines in minor usually conform to?

The resolution of the vi7-ii7 progression in Chopin's Ballade op. 38 (Ex. 15-8) is notable for containing what feature that is less common in stricter styles?

What is the primary reason the IV7 chord in minor, despite being a major-minor seventh, does not have a dominant function?

If a composer wants to use the #viø7 chord to pass to V6/5, what melodic motion is required?

What does the summary list as the primary exception to the rule that adding a 7th does not change a triad's function?

In the Corelli example (Ex. 15-16), a circle-of-fifths sequence is used. What type of seventh chord is used for the mediant harmony?

What is the reason that the resolution of a seventh chord is sometimes delayed, as in the progression iv7 - i6/4 - V?

The resolution of the #viø7 chord in minor is smoothest to which inversion of the vii˚ chord?

In a four-part circle-of-fifths sequence in root position, if the first chord is complete, what will the second chord be?