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# V9 examples

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by

## John Kruspe

on 12 February 2017

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#### Transcript of V9 examples

Just as the 7th in a dominant 7th is a dissonance and must resolve down a step,
similarly the 9th, 11th and 13th - in theory - should be treated in the same way (and usually were, before Debussy...)
V9 V11 V13 basics
A = 9th above G*
* actually a 16th, but we stop counting after 13 no matter how many octaves away.
C = 11th above G
E = 13th above G
Notes:
- the 9th can be in any voice above the bass
- the 11th is always in the melody (CLASHES if it's not!)
- the 13th is always in the melody, to highlight its trademark 'mi-doh'.
Inversions?
Easy to remember.
There are only 2, and it's the same situation exactly
for both V9 and V13 (**NONE for V11**).
EITHER the leading note will be in the bass (ti-doh, like V6/5 to I),
OR the 7th will be in the bass, and resolve to I6 (like V4/2 to I6).
NEVER put the 9th, 11th or 13th in the bass.
We'll Meet Again
13th
13th
9th
11th
mi-doh
V13/ii
V9/V
V11
V13
V13
V9
V11
Piles of 3rds - root-3rd-5th-7th-9th-11th-13th
(a 15th = 2 octaves)
How do I know which of all these notes to use
in a 4-voice situation?

For the 2 most often-used (V9 and V13):
BOTH have ROOT+3rd+7th + their 'special' note in the melody.

The V11 also has root + 7th BUT NO 3rd (because the 11th clashes with it!)
Instead of the 3rd choose the 5th or 9th.

Edvard Grieg
Sonata in E minor, op.7, 2nd movement
the 9th resolves to the 8ve before the V goes to I,
so it's not a 9th 'chord' but just a 9-8 suspension
(misprint)
V chord as neighbour between 2 tonic chords
- but with the tonic pedal there's a
major 7th 'flavour' established from the start.
Still V over a tonic pedal;
now the D introduces a 9th
above the tonic pedal
vi7, but also ii7 of G (V): the
melody suddenly climbs
through a broken triad to G
(which sounds like an unprepared 7th!)
so the 7th chord seems legitimate
as a vertical sonority. And notice the
melody's E following the F#: this
non-chord tone (solfege 'la')
weakens the authority of
***a 'signature' melodic move of Grieg btw!
V7/ii ii ii9?
9th?
passing '9th'
13th?
melody's mi-re-doh interrupted by 'non-chord note' E which ends up maintaining the ''flavour'
Inversions
7
6
5
4
3
2
7
4
2
6
5
4
"V9 6/5"
"V9 4/2"
"V13 6/5"
"V13 4/2"
9th
9th
13th
13th
I
6!!!
I
6!!!
To view this introductory material,
go to the Prezi file on the course website:
Course Materials/Prezi files by topic/V9 11 13 basics
Zoom out to follow the score as the music is being played.
C# = 9th above B
G# = 9th above F#
E = 11th above bass B
Notice the right hand chord
AC#E = 7th 9th 11th = the IV chord of E
remember that the V11 is often built as a IV on top of a V
(IV over V)
Full transcript