17-19 of "Star vicino" uses a second inversion dominant seventh chord
as a passing function to connect the tonic triad in root position and first inversion.
Midway through, after one has taken a breath and reentered on the dominant, a dominant seventh chord
in second inversion appears in the bottom staff.
In the first four bars the C major leads to a minor seventh chord
on the 2nd degree, then to the dominant seventh chord
, and back to tonic.
Using simple explanations, exercises, examples, and graphics, he teaches them about the staff, clefs, ledger lines, and musical alphabet; intervals; major and minor scales; notation of rhythm and meter; harmony; inversions; how to write four-part harmony; the dominant seventh chord
; and cadences.
2) with an A-major seventh chord
, a temporary respite without resolution.
Redemption always just a seventh chord
away, riding on a blue note just slightly off the melody line of life.
But the tonal centers of D-sharp major and B major are close, and I marked the common tone A-sharp between the fifth of the D-sharp major chord and the third of the F-sharp seventh chord
. I think we hear through.
Certain musicians - Billie Holliday, for example - were able to make a major seventh chord
paradoxically work as a blues expression.
Broadly speaking, C major is used in connection with the realm of good, and D major with the natural world, while evil, unnatural forces are associated most strongly with C minor.(2) At the same time; the opera employs at least one virtually leitmotivic element in the F[sharp] diminished seventh chord
associated with Samiel.(3) This chord is expressed not only as a simultaneity but also, in the Wolf's Glen scene of Act II, as a succession of tonal centres: F[sharp]-C-E[flat]-A-C-A-C-F[sharp].
The use of the diminished seventh chord
as a shock tactic was killed off by nineteenth century piano music, but this does not mean that a contemporary piece without such chords is better than Beethoven.
It is more likely that the C supports an implied third-inversion seventh chord
. In this context it would be an acceptable passing chord, and no less Mozartian than the progression in bars 26-7 of the 'Hostias'.
Ryan McClelland examines the use of the half-diminished seventh chord
as an opening sonority in Johannes Brahms's lieder, while Leslie Kinton addresses motivic enlargement in Antonin Dvorak's Symphony no.