a djd j jj d jj jjddd d jd j jj jgj jj

ct7 I ct7 V ct7 I ct7 VC:

b jj jj jd j jj

A:

ddd jjjj jd j jj

a jf j jj f jd j jjddd e jj jj jj jj

vii7 I vii7/V V vii7 I vii7/V VC:

b jj jj jj jj

A:

ddd jjjj d je j jj

COMMON-TONE DIMINISHED CHORDS

Common-tone diminished chords do not function as dominants (i.e., as vii(7)

).

Instead, they function as chromatic neighbor or passing chords, usually in major.

Most often, they embellish I, but can also embellish V.

The common-tone diminished-7th chord that embellishes I is usually spelled as ii

7

You can build it either upwards from ii, or downwards from I

ex. in C major: upwards from D (ii) = D

F

AC; downwards from C = CAF

D

Note: scale degrees 1, ()2,

()4, and 6 are all typical of subdominant-function chords.

Ct7 chords decorating or prolonging the tonic are very similar to plagal motion.

The common-tone diminished-7th chord that embellishes V is usually spelled as vi

7

You can build it either upwards from vi, or downwards from V

ex. in C major: upwards from A (vi) = A

C

EG; downwards from G = GEC

A

Warning: ct(7)

chords (and diminished 7th chords in general) might not be spelled correctly!

Voice-leading: dont worry about inversions; the horizontal motion is the point.

The common tone is often in the bass, and typically becomes the root of the next chord (I or V).

Two other notes move upward by half step, acting as chromatic lower neighbors

to the 3rd and 5th of the next chord.

examples of common-tone diminished chords

look for: embellishing function

common tone with surrounding chords

usually parallel motion in other voices

compare to dominant-function diminished-7th chords look for: dominant function

no common tone with chord of resolution

usually contrary motion between voices

EXAMPLES OF COMMON-TONE DIMINISHED 7TH CHORDS

Schubert, Originaltanz D. 365 No. 31, first half

Brahms, Symphony No. 3, 1st mvt., opening

Schubert, String Quintet in C major, opening (piano reduction)

I ct7 I

I ct7 I

I ct7

I [vii7/5] V

Mendelssohn, Rondo capriccioso, Op. 14, opening

Mozart, Piano Sonata in C major, K. 545/ii, opening

Tchaikovsky, Waltz of the Flowers from Nutcracker Suite, opening (piano reduction)

I IV 64 ct7

I

V ct7 V

V ct7 V

7

I ct7 I

COMMON-TONE DIMINISHED 7THS: EXAMPLES FOR ANALYSIS

Brahms, Piano Trio #2, op. 87, last mvt., opening

Haydn, Symphony #104 (London), 3rd mvt., opening

Tchaikovsky, Waltz from Album for the Young, opening

a jd j ji j jd j ji j

b f jf j if j j f jd j ij j

a f jd j f jj d jd j jj

b jf j jj

jf j jj

a jj jj d jd j jj

b f jj j

jjj jj

COMMON-TONE AUGMENTED-SIXTH CHORDS

Common-tone augmented-6th chords look like pre-dominant augmented 6ths,

but embellish root-position I instead of preparing the dominant

spelling:

Common-tone augmented 6ths are generally spelled as doubly-augmented 4th chords

(Swiss augmented 6ths), so they look very similar to a ct7 (

#ii

7)

scale degrees of ct7: 1

#2,

#4, 6

scale degrees of ct+6

: 1, #2 (

3),

#4,

6

Note the subdominant scale degrees (4 and 6, in conjunction with 1 or 2, or both 1 and 2)

Like the ct7, the ct

6 is essentially a chromaticized plagal embellishment

voice leading:

The interval of the augmented 6th still resolves outward to an 8ve,

so a common-tone augmented 6th resolves to a tonic chord with doubled 5th

Like common-tone diminished-7th chords, the common tone is often in the bass

pre-dominant augmented 6ths

in min.: Gr.6 V

6

4

5

3 in maj.: Sw.6 V

6

4

5

3

common-tone augmented 6ths

in min.: ct+6

i in maj.: ct+6

I

dominant aug. 6th common-tone dim. 7th

It.6 I ct

7 I

EXAMPLES OF COMMON-TONE AUGMENTED-SIXTH CHORDS

Schubert, Am Meer from Schwanengesang, opening

Wolf, Morgenstimmung from Reinicke-Lieder, ending

Chopin, Nocturne Op. 55 #2, mm. 53-58