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44

44

œ œ œ œœ œ œ œœ œ œ œœ œ œ œI IV7 viiø7 iii7D:

œ œ œ œœ œ œ œœ œ œ œœ œ œ œ

vi7 ii7 V7 I

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b

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œ œ œ œœ œ œ œ

œ œ œ œœ œ œ œi iv 7 VII7 III 7d:

œ œ œ œœ œ œ# œœ œ œ œœ œ œ œ

VI 7 iiø7 V7 i

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œ œ œ œœ œ œ œœ œ œ œœ œ œ œI IV6

5 vii 43ø iii6

5G:

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vi42 ii6

5 V42 I 6

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œ œ œ œœ œ œ œœ œ œ œœ œ œ œi iv4

3 VII 7 III43g:

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VI 7 ii 43ø V 7 i

Diatonic Seventh Chord Circle of Fifths

Gottry Music Theory

General Considerations - Chain of diatonic seventh chords based on a descending fifth sequence - Root position chords: * best voice leading results in alternating complete and incomplete (no 5th) seventh chords - Chords in inversion: * alternating between root position and 2nd inversion * alternating between 1st inversion and 3rd inversion - Voice-leading is typical of harmonic sequences * non-traditional resolution of some scale degrees and intervals * sequence segment of two chords repeated down a step * may appear as complete circle of fifths or partial sequence - For all upper voices, notes remain as common tones or descend by step until the final V7 - I resolution.