BerkleeCollegeOfMusic-Harmony3 by Unknown

Author:Unknown
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The text on this page is estimated to be only 28.27% accurate HARMONY 3 31 The descending diminished seventh chords are not derived from secondary dominant function since neither contains the tritone of the expected resolution chord’s dominant . These two diminished chords are derived from chromatic voice leading. blll‘7 is expected to resolve to 11-7:

HARMONY 3 32 Note that bm*7 and *11*7 are enharmonically the same chords but the expected resolutions are different; the context in which they appear determines the function. Similarly, bVI'7 Is expected to resolve to V7 (and is enharmonically the same as *V*7): Ci A'7 /i 7 fit i ^ i ~ ^ J iff'7 , rw: ^ ^ s i i ! ! The tonic and dominant chords of the key may be approached by their respective auxilary diminished seventh chords 0*7 and V*7). Like the descending diminished chords, the auxilary diminished seventh chords are derived from chromatic voice leading and not dominant function. They are found either delaying the resolution to the target chord or creating harmonic motion in a relatively static situation. 1*7 is the auxiliary to the tonic chord: Ql C‘7 V‘7 is the auxiliary to the dominant chord:

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