The
Incomplete Dominant Minor Ninth Chord in Diatonic Common Practice Music
Take for an
example the key of G Major and compare the V & the VII chords.
V (D, F#, A) VII (F#, A, C)
Notice the
common tones.
Now make the
V chord a V7 by adding a C note (D, F#,A, C) – we’ve added another common tone.
Now make the
VII chord a diminished 7th chord (a diminished chord with a
diminished 7th added). A diminished 7th is a half-step
smaller than a minor 7th – so the diminished 7th here
would be Eb and the chord would be (F#, A, C, Eb).
Now with
regard to the V chord there is a chord called the Dominant Minor Ninth Chord.
It adds a minor 9th into the dominant 7th chord. In this
case the notes would be D, F#, A, C, Eb.
Notice how
similar this V9 chord is to the VIIdim7.
Now the Dominant Minor Ninth Chord is frequently voiced in an incomplete
form—the root note is omitted. Compare now:
V9 (F#, A,
C, Eb) VII (F#, A, C, Eb)
They are the
same!
Now what to
call them?
In Diatonic
Common Practice Music, if the Incomplete Dominant Minor Ninth is the V chord
and it precedes the I chord, it is analyzed as the V9. This is also true of
Secondary Dominant Harmony, when any chord of the original seven harmonized
chords of the key are preceded by its Dominant Chord, for example, the V chord
in the key of G Major is D and can be preceded in the music by an A Chord.
Analysis
would show this A chord as a Secondary Dominant V/V (V of V). If however, the
chord we are calling an Incomplete Dominant Minor Ninth Chord is not
functioning in the role of Dominant or Secondary Dominant, it would be analyzed
as a Diminished Seventh Chord (a Diminished Chord with a Diminished 7th).
A Diminished
7th is one-half step smaller than a Minor 7th. It will be
the same sound as a Major 6th but will be called a Diminished 7th.
For example, in the Key of G Major the VII chord is F# Diminished (F#, A, C)
and the diminished 7th would be called Eb.
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