Leading-tone seventh chord

Leading-tone seventh chord in C major: vii^ø⁷

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Leading-tone seventh chord in C minor: vii^o⁷

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Leading-tone seventh chord resolution in C major: vii^ø⁷-I

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Diminished seventh chord resolution: both diminished fifths tend to resolve inward, doubling the third of the tonic chord

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In music theory, the leading-tone seventh chords are vii^ø⁷ and vii^o⁷,^[1] the half-diminished and diminished seventh chords on the seventh scale degree, or leading-tone, in major and harmonic minor, resolving to the tonic. Leading-tone triads and seventh chords are frequently substituted for dominant chords, with which they have three common tones, for variety.^[2]

The leading-tone seventh chord is half diminished in C major (B-D-F-A) and fully diminished in C minor (B-D-F-A♭). However, composers throughout the Common practice period often employed modal mixture when using the leading-tone seventh chord in a major key, allowing for the substitution of the half-diminished seventh chord for the fully diminished seventh chord. This mixture is commonly used when the leading-tone seventh chord is functioning as a secondary leading-tone chord. The leading-tone seventh chord contrasts with the subtonic seventh chord in that the subtonic has a flatted seventh (chord root): in C minor, B♭-D-F-A♭.

Fétis tunes the leading-tone seventh in major 5:6:7:9.^[3]

Sources

↑ Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.219. ISBN 978-0-07-294262-0.
↑ Benward & Saker (2003), p.217.
↑ Fétis, François-Joseph and Arlin, Mary I. (1994). Esquisse de l'histoire de l'harmonie, p.139n9. ISBN 978-0-945193-51-7.

Chords

By form

Triad	Major Minor Augmented Diminished Suspended

Seventh	Major Minor Dominant Dominant seventh flat five Diminished Half-diminished Diminished major Minor-major Augmented major Augmented minor Altered seventh Nondominant Harmonic seventh

Extended	Ninth Eleventh Thirteenth Upper structure Dominant 7♯9 Polychord Tone cluster

Added / omitted	Sixth Augmented sixth Lydian Seven six

Specific	Alpha Bridge Complexe sonore Dream Elektra Farben Grandmother Magic µ Mystic Northern lights Petrushka Psalms So What Tristan Viennese trichord

General	Mixed interval Secundal Tertian Quartal Synthetic chord

By function

Diatonic	Tonic Dominant Subdominant Supertonic Mediant Submediant Leading / Subtonic

Altered	Approach Borrowed Chromatic mediant Neapolitan Passing

Secondary	Secondary dominant Secondary leading-tone Secondary supertonic

Other	Common Contrast Primary triad Subsidiary

Techniques

Other

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Leading-tone seventh chord

See also

Sources