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Transcript of V9 examples
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
- 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'.
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
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.
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
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. nd notice the
melody's E following the F#: this
non-chord tone (solfege 'la')
weakens the authority of
the leading note F#***
***a 'signature' melodic move of Grieg btw!
V7/ii ii ii9?
(leading note drops to G)
melody's mi-re-doh interrupted by 'non-chord note' E which ends up maintaining the ''flavour'