Which diatonic chord may represent the V chord, allowing the ii7 to resolve to it instead of directly to V?
Explanation
This question delves into the concept of harmonic substitution, where one chord with a similar function can stand in for another.
Other questions
In the ranking of frequency for diatonic seventh chords in the major mode, which chord is the most common after the V7?
What is the most fundamental voice-leading principle for the 7th of any diatonic seventh chord?
When creating an incomplete seventh chord, which two tones must be present at a minimum?
Which two tones of a seventh chord should generally not be doubled in four-part writing?
What is the quality of the supertonic seventh chord (ii7) in a major key?
What is the quality of the supertonic seventh chord (iik7) in a minor key?
To which chord does the supertonic seventh chord typically move?
Which inversion of the ii7 chord is identified as the most common bass position?
In a less common usage, the supertonic seventh chord can act as a substitute for which other chord in a plagal cadence?
What is the quality of the leading-tone seventh chord (viik7) in a major key?
What is the primary harmonic function of the leading-tone seventh chord (viik7) in major?
How can parallel 5ths be avoided in a root position viik7 to I resolution?
What is the quality of the leading-tone seventh chord (vii°7) in a minor key?
How many tritones does a fully diminished seventh chord (vii°7) contain?
If all the resolution tendencies of the two tritones in a vii°7 chord are followed when resolving to a tonic triad in four parts, what is the most likely result in the tonic triad?
What is the typical resolution for the vii°6/5 chord in a minor key?
In what context is the subtonic seventh chord (VII7) in minor generally used?
The resolution of the vii°4/2 chord is generally to a V7 chord or what other chord?
What is the most common approach for the 7th of a chord, as mentioned in Chapter 14?
In the context of a plagal cadence, the iik6/5 chord in Example 14-5 is said to have a close resemblance to which diatonic triad?
An alternative explanation for the iik6/5 chord in Example 14-5 is that it functions as what type of chord?
In composers' practice, which dissonant motion involving scale degrees is sometimes used in the resolution of a vii°7 chord, potentially resulting in unequal 5ths?
Which resolution of an inverted leading-tone seventh chord in major is described as 'quite rare' and not shown in Example 14-6?
The resolution of a viik7 can be handled carefully to avoid parallel 5ths. What is the other main resolution of an inverted leading-tone seventh that must also be handled carefully for the same reason?
What is the primary difference in chord quality between the leading-tone seventh chord in major versus minor?
The resolution viik6/5 to I in major is not shown to contain parallel 5ths. What similar resolution in a minor key (vii°6/5 to i) is problematic because it creates unequal 5ths?
When a viik7 or vii°7 chord resolves first to a V7, how is this typically accomplished in terms of voice leading?
What is the interval classification of the two tritones found in a vii°7 chord?
How does the text describe the frequency of the viik7 chord in major compared to other dominant-function chords like V and V7?
The resolution of the vii°4/3 in minor usually moves smoothly to i6. What other less common resolution for this chord is mentioned as being similar to the viik4/3-I cadence in major?
According to the summary, the most crucial aspect of part-writing supertonic and leading-tone seventh chords is what?
In Example 14-2, the resolution of the ii7 to V may be delayed by the appearance of what chord?
In the discussion of the ii4/2 chord in Example 14-4, how is the 7th of the chord (the F3) approached?
In the resolution of a viik7 to I in major (Example 14-6c), what is the alternative method to doubling the 3rd of the I chord to avoid parallel 5ths?
The tendency of a tritone spelled as a diminished fifth is to resolve in which manner?
The tendency of a tritone spelled as an augmented fourth is to resolve in which manner?
In Example 14-14, an alternative analysis is proposed where the A4s are regarded as what type of embellishment?
Which diatonic seventh chord in the minor mode is identical in spelling to the secondary dominant V7 of III?
In what way are unequal 5ths, such as those that can occur in a vii°7-i resolution, often treated in compositions?
According to the CHECKPOINT section, which diatonic seventh chord contains two tritones?
The leading-tone seventh chord in major (viik7) possesses a dominant function and normally resolves to the tonic. What other chord may it move to first?
Why does the resolution of a vii°6/5 to a root position 'i' chord create unequal 5ths?
In the summary's discussion of part-writing, it is stated that what scale degree should not be doubled in the leading-tone seventh chord?
What does the CHECKPOINT section identify as the chord that the ii7 tends to be followed by?
What does the CHECKPOINT section identify as the chord that the vii°7 tends to be followed by?
The fully diminished vii°7 chord is found more frequently than the subtonic seventh chord (VII7) and is discussed in more detail in Chapter 14. In what key context is the vii°7 found?
In Example 14-3, illustrating a ii6/5 to V7 progression, what kind of melodic figure prepares the 7th of the ii6/5 chord?
Which inversion of the vii°7 chord moves smoothly to i6, while its resolution to a root position i is occasionally found but similar to a less common cadence type?
What is the primary reason that the 7th of a seventh chord should not be doubled, according to the principles outlined in the chapter?