{"id":486,"date":"2023-05-11T19:02:23","date_gmt":"2023-05-11T19:02:23","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/seventh-chords\/"},"modified":"2025-08-12T22:11:34","modified_gmt":"2025-08-12T22:11:34","slug":"seventh-chords","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/seventh-chords\/","title":{"raw":"Seventh chords","rendered":"Seventh chords"},"content":{"raw":"<div class=\"seventh-chords\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 10<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>How to construct and identify the five different types of seventh chord<\/li>\r\n \t<li>How seventh chords are used in some musical contexts<\/li>\r\n \t<li>How to analyze scores that contain triads and seventh chords<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Seventh chords\"><\/a>Seventh chords<\/h1>\r\n<p class=\"import-Normal\">[pb_glossary id=\"1501\"]Seventh chords[\/pb_glossary] consist of four notes\u2014a [pb_glossary id=\"1461\"]root[\/pb_glossary], a [pb_glossary id=\"1462\"]third[\/pb_glossary], a [pb_glossary id=\"1463\"]fifth[\/pb_glossary], and a [pb_glossary id=\"1601\"]seventh[\/pb_glossary]\u2014stacked in thirds.\u00a0In determining the quality of a seventh chord, two factors need to be taken into account: the quality of the base triad and that of the interval between the root and the seventh. There are five possible qualities:<\/p>\r\n\r\n<ul>\r\n \t<li>Major-major (MA7): major triad + major seventh<\/li>\r\n \t<li>Major-minor or dominant (MAmi7, V7, or 7): major triad + minor seventh<\/li>\r\n \t<li>Minor-minor (mi7): minor triad + minor seventh<\/li>\r\n \t<li>Half diminished (\u00f87): diminished triad + minor seventh<\/li>\r\n \t<li>Fully diminished (o7): diminished triad + diminished seventh<\/li>\r\n<\/ul>\r\nExample 10-1 shows how each of these seventh chords can be constructed by spelling the base triad and then adding a seventh above the root.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 10\u20111. Seventh chords on A<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-10.1-1.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-10.1-1-1024x355.png\" alt=\"image of five seventh chords on staff with names, symbols, and lead sheet symbols\" width=\"1024\" height=\"355\" class=\"alignnone size-large wp-image-2890\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-10.1-seventh-chords.mp3\"][\/audio]\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this example here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-10.1-Seventh-Chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex 10.1 Seventh chords<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\nLike triads, seventh chords may appear in [pb_glossary id=\"1464\"]root position[\/pb_glossary], when the root appears as the lowest note, or [pb_glossary id=\"1465\"]inverted[\/pb_glossary], when a note other than the root is the bass.\r\n<p class=\"import-Normal\">The most common seventh chord is the major-minor seventh. It most often appears as the chord built on scale degree [latex]\\hat{5}[\/latex] and consequently is also called the dominant seventh chord.<\/p>\r\n\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T25 Intro to seventh chords (4:55)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/PU3icmB85tE[\/embed]\r\n<p class=\"import-Normal\">This video presents the properties of the different seventh chord qualities: major seventh, major-minor seventh, minor seventh, half-diminished seventh, and fully diminished seventh.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1 class=\"import-Normal\"><a id=\"Seventh chords in context\"><\/a>Seventh chords in context<\/h1>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T26 Seventh chords in context (10:28)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">https:\/\/vimeo.com\/1010389967?share=copy<\/p>\r\n<p class=\"import-Normal\">This video explores each of the seventh chords in different musical contexts, with examples by Coldplay, Roy Orbison, Frederic Chopin, Richard Wagner, and Archangelo Corelli. Please have a sheet of staff paper handy or use Exercise 10-1 as you watch this interactive video.<\/p>\r\n\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video here: <a class=\"rId96\" href=\"https:\/\/open.spotify.com\/playlist\/7uHzvIJtVRHZaJS42CzrC0?si=5e379ac13c514056\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Seventh chords in context playlist<\/span><\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 10-1 Seventh chords in context\"><\/a>EXERCISE 10-1 Seventh chords in context<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 10-1 Seventh chords in context<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">For each of the seventh chord types, spell the indicated chord and study its use in the example that follows.<\/p>\r\n<p class=\"import-Normal\"><strong>MA7 <\/strong>[major triad + MA7 between root and seventh]. Below or on a separate sheet of staff paper, spell a major seventh chord with D[latex]\\flat[\/latex] as the root. Select the right arrow over the image to view the answer.<\/p>\r\n[h5p id=\"41\"]\r\n<p class=\"import-Normal\">Listen to the D[latex]\\flat[\/latex] major seventh chord in Worksheet example 10\u20111. It appears in what is called a shuttle progression, which alternates two different chords, with a B[latex]\\flat[\/latex] minor seventh chord.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 10\u20111. Coldplay, \u201cSparks,\u201d 0:10\u20130:37<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-10.1.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7D0RhFcb3CrfPuTJ0obrod?si=fef4e612052342ea\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about British rock band <strong>Coldplay<\/strong> by reading this last.fm <a class=\"rId85\" href=\"https:\/\/www.last.fm\/music\/Coldplay\/+wiki\"><span class=\"import-Hyperlink\">article<\/span><\/a>.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>MAmi7<\/strong> [major triad + mi7 between root and seventh]. Below or on a separate sheet of staff paper, spell a major-minor seventh chord with E as the root. Select the right arrow over the image to view the answer.<\/p>\r\n[h5p id=\"42\"]\r\n<p class=\"import-Normal\">Listen to the E major-minor seventh chord in Worksheet example 10\u20112.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 10\u20112. Roy Orbison, \u201cOh, Pretty Woman,\u201d 0:00\u20130:21<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-10.2.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/48i055G1OT5KxGGftwFxWy?si=f816636838584a9b\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American singer-songwriter <strong>Roy Orbison<\/strong> (1936\u20131988) by reading this <a class=\"rId86\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.47131\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Liz Thomson.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>mi7 <\/strong>[minor triad + mi7 between root and seventh]. Below or on a separate sheet of staff paper, spell a minor seventh chord with C[latex]\\sharp[\/latex] as the root. Select the right arrow over the image to view the answer.<\/p>\r\n[h5p id=\"43\"]\r\n<p class=\"import-Normal\">Find the C[latex]\\sharp[\/latex] minor seventh chord in Worksheet example 10\u20113.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 10\u20113. Frederic Chopin, Nocturne in B major, op. 62, no. 1, mm. 1\u20134<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image23.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image23.png\" alt=\"image of score\" class=\"alignnone\" width=\"1432\" height=\"379\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-10.3.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Daniel Barenboim, on <a href=\"https:\/\/open.spotify.com\/track\/2G7kaWN8Muiu6B4I6fBesJ?si=f159617602b741be\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Polish composer <strong>Frederic Chopin<\/strong> (1810\u20131841) by reading this <a class=\"rId87\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51099\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Jim Samson.\r\n\r\n<\/div>\r\n<\/div>\r\n<strong>\u00f87<\/strong> [diminished triad + mi7 between root and seventh]. Below or on a separate sheet of staff paper, spell a half-diminished seventh chord with F as the root. Select the right arrow over the image to view the answer.\r\n\r\n[h5p id=\"44\"]\r\n<p class=\"import-Normal\">Now, respell this chord using enharmonic equivalents for the third, fifth, and seventh. The respelled chord should have F as the root and no flats modifying any of the notes. Select the right arrow over the image to view the answer.<\/p>\r\n[h5p id=\"45\"]\r\n<p class=\"import-Normal\">Find the respelled version of the F\u00f87 chord in Worksheet example 10\u20114. Notice that the chord is respelled in order to avoid flats in this example. Another half-diminished seventh chord appears in m. 6. This chord is also respelled with enharmonic equivalents. If it were spelled in the traditional way, what the root of this chord be?<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 10\u20114. Richard Wagner, Prelude to <em>Tristan und Isolde<\/em>, mm. 1\u20137, orchestral reduction<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image26.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image26.png\" alt=\"image of score\" class=\"alignnone\" width=\"1194\" height=\"275\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-10.4.mp3\"][\/audio]\r\n\r\nListen to the full prelude, performed by the Vienna Philharmonic and conducted by Sir Georg Solti, on <a href=\"https:\/\/open.spotify.com\/track\/3aPL24MGeZ4eEpoD3TuUCK?si=cce7dddb8fb34e7d\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Richard Wagner<\/strong> (1813\u20131883) by reading this <a class=\"rId88\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.O905605\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Barry Millington and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>o7<\/strong> [diminished triad + d7 between root and seventh]<strong>. <\/strong>Below or on a separate sheet of staff paper, spell a fully diminished seventh chord with F[latex]\\sharp[\/latex] as the root. Select the right arrow over the image to view the answer.<\/p>\r\n[h5p id=\"46\"]\r\n<p class=\"import-Normal\">Find the F[latex]\\sharp[\/latex] fully diminished seventh chord in Worksheet example 10\u20115.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 10\u20115. Arcangelo Corelli, Concerto Grosso in B-flat major, op. 6, no. 11, mvt. 3, mm. 1\u20139, accompanimental string parts only<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image28.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image28.png\" alt=\"image of score\" class=\"alignnone\" width=\"1430\" height=\"409\" \/><\/a><\/p>\r\nListen to the example, performed by The English Concert, on <a href=\"https:\/\/open.spotify.com\/track\/5hpPZl86SYM0lFrTGgJYw3?si=52a8c140d98e4af6\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Italian composer <strong>Arcangelo Corelli<\/strong> (1653\u20131713) by reading this <a class=\"rId89\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.06478\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Michael Talbot.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex10.1-Seventh-chords-in-context.pdf\" target=\"_blank\" rel=\"noopener\">Ex10.1 Seventh chords in context<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a class=\"rId96\" href=\"https:\/\/open.spotify.com\/playlist\/7uHzvIJtVRHZaJS42CzrC0?si=5e379ac13c514056\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Seventh chords in context playlist<\/span><\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">\r\n\r\nWant practice identifying triads and seventh chords by ear? Try these drills:\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId94\" href=\"https:\/\/www.teoria.com\/en\/exercises\/c34e.php\"><span class=\"import-Hyperlink\">Triads and seventh chords ear trainer<\/span><\/a><span class=\"import-Hyperlink\"><\/span><span class=\"import-Hyperlink\"> (<\/span><span class=\"import-Hyperlink\">teoria<\/span><span class=\"import-Hyperlink\">)<\/span><\/p>\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId95\" href=\"https:\/\/www.musictheory.net\/exercises\/ear-chord\"><span class=\"import-Hyperlink\">Triads and seventh chords ear trainer<\/span><\/a> (musictheory.net)<\/p>\r\n\r\n<\/div>\r\n<h1><a id=\"EXERCISE 10-2 Analysis with triads and sevenths\"><\/a>EXERCISE 10-2 Analysis with triads and sevenths<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 10-2 Analysis with triads and sevenths<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">After listening to the Corelli example again, build upon the skills you began in the previous exercise by identifying the root, quality, and bass for each chord on the blanks provided. The first is done for you.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 10\u20116. Arcangelo Corelli, Concerto Grosso in B-flat major, op. 6, no. 11, mvt. 3, mm. 1\u20139, accompanimental string parts only<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image29.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image29.png\" alt=\"image of score with blanks beneath staff for root, quality, and bass labels\" class=\"alignnone\" width=\"1346\" height=\"572\" \/><\/a>\r\n\r\nListen to the example, performed by The English Concert, on <a href=\"https:\/\/open.spotify.com\/track\/5hpPZl86SYM0lFrTGgJYw3?si=52a8c140d98e4af6\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Italian composer <strong>Arcangelo Corelli<\/strong> (1653\u20131713) by reading this <a class=\"rId89\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.06478\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Michael Talbot.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex10.2-Analysis-with-triads-and-sevenths.pdf\" target=\"_blank\" rel=\"noopener\">Ex10.2 Analysis with triads and sevenths<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n\r\n\r\n<h1><a id=\"EXERCISE 10-3 Drills with triads and sevenths\"><\/a>EXERCISE 10-3 Drills with triads and sevenths<\/h1>\r\n\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 10-3 Drills with triads and sevenths<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">PART A. Chord spelling. Given the roots and qualities, spell the following triads and seventh chords on a piece of staff paper. If no modifier is given for a seventh chord, assume the quality is major-minor (MAmi7). All other seventh chords will have a symbol to indicate quality (MA7 = major, mi7 = minor, \u00f87 = half diminished, and o7 = fully diminished). Triad qualities are major (MA), minor (mi), diminished (o), and augmented (+).<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt;text-align: center\">SET 1<\/p>\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set1-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set1-rev-1024x167.png\" alt=\"image of blank staff with treble clef, with chord labels beneath the staff: C-sharp 7, D-sharp fully diminished 7, G-flat augmented, D minor 7, F major 7, E major 7, E-flat major, F minor 7\" width=\"1024\" height=\"167\" class=\"alignnone wp-image-2878 size-large\" \/><\/a>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt;text-align: center\">SET 2<\/p>\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set2-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set2-rev-1024x153.png\" alt=\"image of blank staff with bass clef, with chord labels beneath the staff\" width=\"1024\" height=\"153\" class=\"alignnone wp-image-2879 size-large\" \/><\/a>\r\n<p class=\"import-Normal\" style=\"text-align: left\">PART B. Chord labeling. Label each of the following chords by root (letter name) and quality (MA, mi, o, and + for triads, and MA7, 7, mi7, \u00f87, and o7) beneath the staff. The first is done for you.<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt;text-align: center\">SET 3<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt;text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image32.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image32.png\" alt=\"image of chords on staff in treble clef with blanks beneath staff for chord labels\" class=\"alignnone\" width=\"1349\" height=\"196\" \/><\/a><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt;text-align: center\">SET 4<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt;text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image33.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image33.png\" alt=\"image of chords on staff in bass clef with blanks beneath staff for chord labels\" class=\"alignnone\" width=\"1349\" height=\"247\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex10.3-Drills-with-triads-and-sevenths-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex10.3 Drills with triads and sevenths<\/a><\/div>\r\n<div class=\"textbox shaded\">\r\n<div>Want more practice constructing and identifying seventh chords? Try these drills:<\/div>\r\n<div>\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId90\" target=\"_blank\" href=\"https:\/\/www.teoria.com\/en\/exercises\/c4c.php\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice constructing seventh chords<\/span><\/a> (teoria)<\/p>\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId91\" target=\"_blank\" href=\"https:\/\/www.musictheory.net\/exercises\/chord-construction\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice constructing seventh chords<\/span><\/a> (musictheory.net)<\/p>\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId92\" target=\"_blank\" href=\"https:\/\/www.teoria.com\/en\/exercises\/c4i.php\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice identifying seventh chords<\/span><\/a> (teoria)<\/p>\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId93\" target=\"_blank\" href=\"https:\/\/www.musictheory.net\/exercises\/chord\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice identifying seventh chords<\/span><\/a> (musictheory.net)<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 10<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a class=\"rId97\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/SeventhChordsIntroduction.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Rob Hutchinson\u2019s chapter on seventh chords<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId98\" href=\"https:\/\/musictheorymaterials.utk.edu\/wp-content\/uploads\/2018\/10\/Seventh-chords.pdf\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Barbara Murphy\u2019s primer on seventh chords<\/span><\/a><\/p>\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/seventh-chords\/\" target=\"_blank\" rel=\"noopener\">Chelsea Hamm's chapter on seventh chords<\/a> (Open Music Theory)\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"seventh-chords\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 10<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>How to construct and identify the five different types of seventh chord<\/li>\n<li>How seventh chords are used in some musical contexts<\/li>\n<li>How to analyze scores that contain triads and seventh chords<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Seventh chords<\/h1>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_486_1501\">Seventh chords<\/a> consist of four notes\u2014a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_486_1461\">root<\/a>, a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_486_1462\">third<\/a>, a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_486_1463\">fifth<\/a>, and a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_486_1601\">seventh<\/a>\u2014stacked in thirds.\u00a0In determining the quality of a seventh chord, two factors need to be taken into account: the quality of the base triad and that of the interval between the root and the seventh. There are five possible qualities:<\/p>\n<ul>\n<li>Major-major (MA7): major triad + major seventh<\/li>\n<li>Major-minor or dominant (MAmi7, V7, or 7): major triad + minor seventh<\/li>\n<li>Minor-minor (mi7): minor triad + minor seventh<\/li>\n<li>Half diminished (\u00f87): diminished triad + minor seventh<\/li>\n<li>Fully diminished (o7): diminished triad + diminished seventh<\/li>\n<\/ul>\n<p>Example 10-1 shows how each of these seventh chords can be constructed by spelling the base triad and then adding a seventh above the root.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 10\u20111. Seventh chords on A<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-10.1-1.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-10.1-1-1024x355.png\" alt=\"image of five seventh chords on staff with names, symbols, and lead sheet symbols\" width=\"1024\" height=\"355\" class=\"alignnone size-large wp-image-2890\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-10.1-1-1024x355.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-10.1-1-300x104.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-10.1-1-768x266.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-10.1-1-1536x533.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-10.1-1-65x23.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-10.1-1-225x78.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-10.1-1-350x121.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-10.1-1.png 1830w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-486-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-10.1-seventh-chords.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-10.1-seventh-chords.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-10.1-seventh-chords.mp3<\/a><\/audio><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this example here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-10.1-Seventh-Chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex 10.1 Seventh chords<\/a><\/div>\n<\/div>\n<\/div>\n<p>Like triads, seventh chords may appear in <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_486_1464\">root position<\/a>, when the root appears as the lowest note, or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_486_1465\">inverted<\/a>, when a note other than the root is the bass.<\/p>\n<p class=\"import-Normal\">The most common seventh chord is the major-minor seventh. It most often appears as the chord built on scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> and consequently is also called the dominant seventh chord.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T25 Intro to seventh chords (4:55)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T25 Intro to Seventh Chords\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/PU3icmB85tE?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video presents the properties of the different seventh chord qualities: major seventh, major-minor seventh, minor seventh, half-diminished seventh, and fully diminished seventh.<\/p>\n<\/div>\n<\/div>\n<h1 class=\"import-Normal\"><a><\/a>Seventh chords in context<\/h1>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T26 Seventh chords in context (10:28)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T26 Seventh Chords in Context\" src=\"https:\/\/player.vimeo.com\/video\/1010389967?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video explores each of the seventh chords in different musical contexts, with examples by Coldplay, Roy Orbison, Frederic Chopin, Richard Wagner, and Archangelo Corelli. Please have a sheet of staff paper handy or use Exercise 10-1 as you watch this interactive video.<\/p>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video here: <a class=\"rId96\" href=\"https:\/\/open.spotify.com\/playlist\/7uHzvIJtVRHZaJS42CzrC0?si=5e379ac13c514056\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Seventh chords in context playlist<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 10-1 Seventh chords in context<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 10-1 Seventh chords in context<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">For each of the seventh chord types, spell the indicated chord and study its use in the example that follows.<\/p>\n<p class=\"import-Normal\"><strong>MA7 <\/strong>[major triad + MA7 between root and seventh]. Below or on a separate sheet of staff paper, spell a major seventh chord with D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> as the root. Select the right arrow over the image to view the answer.<\/p>\n<div id=\"h5p-41\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-41\" class=\"h5p-iframe\" data-content-id=\"41\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 10.1 D-flat MA7\"><\/iframe><\/div>\n<\/div>\n<p class=\"import-Normal\">Listen to the D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major seventh chord in Worksheet example 10\u20111. It appears in what is called a shuttle progression, which alternates two different chords, with a B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> minor seventh chord.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 10\u20111. Coldplay, \u201cSparks,\u201d 0:10\u20130:37<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-486-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-10.1.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-10.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-10.1.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7D0RhFcb3CrfPuTJ0obrod?si=fef4e612052342ea\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about British rock band <strong>Coldplay<\/strong> by reading this last.fm <a class=\"rId85\" href=\"https:\/\/www.last.fm\/music\/Coldplay\/+wiki\"><span class=\"import-Hyperlink\">article<\/span><\/a>.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>MAmi7<\/strong> [major triad + mi7 between root and seventh]. Below or on a separate sheet of staff paper, spell a major-minor seventh chord with E as the root. Select the right arrow over the image to view the answer.<\/p>\n<div id=\"h5p-42\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-42\" class=\"h5p-iframe\" data-content-id=\"42\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 10.2 E7\"><\/iframe><\/div>\n<\/div>\n<p class=\"import-Normal\">Listen to the E major-minor seventh chord in Worksheet example 10\u20112.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 10\u20112. Roy Orbison, \u201cOh, Pretty Woman,\u201d 0:00\u20130:21<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-486-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-10.2.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-10.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-10.2.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/48i055G1OT5KxGGftwFxWy?si=f816636838584a9b\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American singer-songwriter <strong>Roy Orbison<\/strong> (1936\u20131988) by reading this <a class=\"rId86\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.47131\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Liz Thomson.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>mi7 <\/strong>[minor triad + mi7 between root and seventh]. Below or on a separate sheet of staff paper, spell a minor seventh chord with C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> as the root. Select the right arrow over the image to view the answer.<\/p>\n<div id=\"h5p-43\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-43\" class=\"h5p-iframe\" data-content-id=\"43\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 10.3 C-sharp mi7\"><\/iframe><\/div>\n<\/div>\n<p class=\"import-Normal\">Find the C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> minor seventh chord in Worksheet example 10\u20113.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 10\u20113. Frederic Chopin, Nocturne in B major, op. 62, no. 1, mm. 1\u20134<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image23.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image23.png\" alt=\"image of score\" class=\"alignnone\" width=\"1432\" height=\"379\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-486-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-10.3.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-10.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-10.3.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Daniel Barenboim, on <a href=\"https:\/\/open.spotify.com\/track\/2G7kaWN8Muiu6B4I6fBesJ?si=f159617602b741be\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Polish composer <strong>Frederic Chopin<\/strong> (1810\u20131841) by reading this <a class=\"rId87\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51099\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Jim Samson.<\/p>\n<\/div>\n<\/div>\n<p><strong>\u00f87<\/strong> [diminished triad + mi7 between root and seventh]. Below or on a separate sheet of staff paper, spell a half-diminished seventh chord with F as the root. Select the right arrow over the image to view the answer.<\/p>\n<div id=\"h5p-44\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-44\" class=\"h5p-iframe\" data-content-id=\"44\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 10.4 F\u00f87\"><\/iframe><\/div>\n<\/div>\n<p class=\"import-Normal\">Now, respell this chord using enharmonic equivalents for the third, fifth, and seventh. The respelled chord should have F as the root and no flats modifying any of the notes. Select the right arrow over the image to view the answer.<\/p>\n<div id=\"h5p-45\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-45\" class=\"h5p-iframe\" data-content-id=\"45\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 10.4 respelled\"><\/iframe><\/div>\n<\/div>\n<p class=\"import-Normal\">Find the respelled version of the F\u00f87 chord in Worksheet example 10\u20114. Notice that the chord is respelled in order to avoid flats in this example. Another half-diminished seventh chord appears in m. 6. This chord is also respelled with enharmonic equivalents. If it were spelled in the traditional way, what the root of this chord be?<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 10\u20114. Richard Wagner, Prelude to <em>Tristan und Isolde<\/em>, mm. 1\u20137, orchestral reduction<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image26.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image26.png\" alt=\"image of score\" class=\"alignnone\" width=\"1194\" height=\"275\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-486-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-10.4.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-10.4.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-10.4.mp3<\/a><\/audio><\/p>\n<p>Listen to the full prelude, performed by the Vienna Philharmonic and conducted by Sir Georg Solti, on <a href=\"https:\/\/open.spotify.com\/track\/3aPL24MGeZ4eEpoD3TuUCK?si=cce7dddb8fb34e7d\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Richard Wagner<\/strong> (1813\u20131883) by reading this <a class=\"rId88\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.O905605\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Barry Millington and others.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>o7<\/strong> [diminished triad + d7 between root and seventh]<strong>. <\/strong>Below or on a separate sheet of staff paper, spell a fully diminished seventh chord with F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> as the root. Select the right arrow over the image to view the answer.<\/p>\n<div id=\"h5p-46\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-46\" class=\"h5p-iframe\" data-content-id=\"46\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 10.5 F-sharp o7\"><\/iframe><\/div>\n<\/div>\n<p class=\"import-Normal\">Find the F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> fully diminished seventh chord in Worksheet example 10\u20115.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 10\u20115. Arcangelo Corelli, Concerto Grosso in B-flat major, op. 6, no. 11, mvt. 3, mm. 1\u20139, accompanimental string parts only<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image28.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image28.png\" alt=\"image of score\" class=\"alignnone\" width=\"1430\" height=\"409\" \/><\/a><\/p>\n<p>Listen to the example, performed by The English Concert, on <a href=\"https:\/\/open.spotify.com\/track\/5hpPZl86SYM0lFrTGgJYw3?si=52a8c140d98e4af6\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Italian composer <strong>Arcangelo Corelli<\/strong> (1653\u20131713) by reading this <a class=\"rId89\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.06478\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Michael Talbot.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex10.1-Seventh-chords-in-context.pdf\" target=\"_blank\" rel=\"noopener\">Ex10.1 Seventh chords in context<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a class=\"rId96\" href=\"https:\/\/open.spotify.com\/playlist\/7uHzvIJtVRHZaJS42CzrC0?si=5e379ac13c514056\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Seventh chords in context playlist<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">\n<p>Want practice identifying triads and seventh chords by ear? Try these drills:<\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId94\" href=\"https:\/\/www.teoria.com\/en\/exercises\/c34e.php\"><span class=\"import-Hyperlink\">Triads and seventh chords ear trainer<\/span><\/a><span class=\"import-Hyperlink\"><\/span><span class=\"import-Hyperlink\"> (<\/span><span class=\"import-Hyperlink\">teoria<\/span><span class=\"import-Hyperlink\">)<\/span><\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId95\" href=\"https:\/\/www.musictheory.net\/exercises\/ear-chord\"><span class=\"import-Hyperlink\">Triads and seventh chords ear trainer<\/span><\/a> (musictheory.net)<\/p>\n<\/div>\n<h1><a><\/a>EXERCISE 10-2 Analysis with triads and sevenths<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 10-2 Analysis with triads and sevenths<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">After listening to the Corelli example again, build upon the skills you began in the previous exercise by identifying the root, quality, and bass for each chord on the blanks provided. The first is done for you.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 10\u20116. Arcangelo Corelli, Concerto Grosso in B-flat major, op. 6, no. 11, mvt. 3, mm. 1\u20139, accompanimental string parts only<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image29.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image29.png\" alt=\"image of score with blanks beneath staff for root, quality, and bass labels\" class=\"alignnone\" width=\"1346\" height=\"572\" \/><\/a><\/p>\n<p>Listen to the example, performed by The English Concert, on <a href=\"https:\/\/open.spotify.com\/track\/5hpPZl86SYM0lFrTGgJYw3?si=52a8c140d98e4af6\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Italian composer <strong>Arcangelo Corelli<\/strong> (1653\u20131713) by reading this <a class=\"rId89\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.06478\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Michael Talbot.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex10.2-Analysis-with-triads-and-sevenths.pdf\" target=\"_blank\" rel=\"noopener\">Ex10.2 Analysis with triads and sevenths<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 10-3 Drills with triads and sevenths<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 10-3 Drills with triads and sevenths<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">PART A. Chord spelling. Given the roots and qualities, spell the following triads and seventh chords on a piece of staff paper. If no modifier is given for a seventh chord, assume the quality is major-minor (MAmi7). All other seventh chords will have a symbol to indicate quality (MA7 = major, mi7 = minor, \u00f87 = half diminished, and o7 = fully diminished). Triad qualities are major (MA), minor (mi), diminished (o), and augmented (+).<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt;text-align: center\">SET 1<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set1-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set1-rev-1024x167.png\" alt=\"image of blank staff with treble clef, with chord labels beneath the staff: C-sharp 7, D-sharp fully diminished 7, G-flat augmented, D minor 7, F major 7, E major 7, E-flat major, F minor 7\" width=\"1024\" height=\"167\" class=\"alignnone wp-image-2878 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set1-rev-1024x167.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set1-rev-300x49.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set1-rev-768x125.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set1-rev-1536x251.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set1-rev-65x11.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set1-rev-225x37.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set1-rev-350x57.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set1-rev.png 1765w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt;text-align: center\">SET 2<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set2-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set2-rev-1024x153.png\" alt=\"image of blank staff with bass clef, with chord labels beneath the staff\" width=\"1024\" height=\"153\" class=\"alignnone wp-image-2879 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set2-rev-1024x153.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set2-rev-300x45.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set2-rev-768x115.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set2-rev-1536x229.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set2-rev-65x10.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set2-rev-225x34.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set2-rev-350x52.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/set2-rev.png 1764w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"text-align: left\">PART B. Chord labeling. Label each of the following chords by root (letter name) and quality (MA, mi, o, and + for triads, and MA7, 7, mi7, \u00f87, and o7) beneath the staff. The first is done for you.<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt;text-align: center\">SET 3<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt;text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image32.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image32.png\" alt=\"image of chords on staff in treble clef with blanks beneath staff for chord labels\" class=\"alignnone\" width=\"1349\" height=\"196\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt;text-align: center\">SET 4<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt;text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image33.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image33.png\" alt=\"image of chords on staff in bass clef with blanks beneath staff for chord labels\" class=\"alignnone\" width=\"1349\" height=\"247\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex10.3-Drills-with-triads-and-sevenths-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex10.3 Drills with triads and sevenths<\/a><\/div>\n<div class=\"textbox shaded\">\n<div>Want more practice constructing and identifying seventh chords? Try these drills:<\/div>\n<div>\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId90\" target=\"_blank\" href=\"https:\/\/www.teoria.com\/en\/exercises\/c4c.php\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice constructing seventh chords<\/span><\/a> (teoria)<\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId91\" target=\"_blank\" href=\"https:\/\/www.musictheory.net\/exercises\/chord-construction\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice constructing seventh chords<\/span><\/a> (musictheory.net)<\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId92\" target=\"_blank\" href=\"https:\/\/www.teoria.com\/en\/exercises\/c4i.php\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice identifying seventh chords<\/span><\/a> (teoria)<\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId93\" target=\"_blank\" href=\"https:\/\/www.musictheory.net\/exercises\/chord\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice identifying seventh chords<\/span><\/a> (musictheory.net)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 10<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a class=\"rId97\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/SeventhChordsIntroduction.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Rob Hutchinson\u2019s chapter on seventh chords<\/span><\/a><\/p>\n<p class=\"import-Normal\"><a class=\"rId98\" href=\"https:\/\/musictheorymaterials.utk.edu\/wp-content\/uploads\/2018\/10\/Seventh-chords.pdf\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Barbara Murphy\u2019s primer on seventh chords<\/span><\/a><\/p>\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/seventh-chords\/\" target=\"_blank\" rel=\"noopener\">Chelsea Hamm&#8217;s chapter on seventh chords<\/a> (Open Music Theory)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_486_1501\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_486_1501\"><div tabindex=\"-1\"><p>chords consisting of four notes stacked in thirds<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_486_1461\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_486_1461\"><div tabindex=\"-1\"><p>the fundamental note from which a chord is built<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_486_1462\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_486_1462\"><div tabindex=\"-1\"><p>with regard to chords, the note that appears a third above the root when the triad is in its most compact form<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_486_1463\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_486_1463\"><div tabindex=\"-1\"><p>with regard to chords, the note that appears a fifth above the root when the triad is in its most compact form<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_486_1601\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_486_1601\"><div tabindex=\"-1\"><p>with regard to chords, the note that appears a seventh above the root when the chord is in root position<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_486_1464\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_486_1464\"><div tabindex=\"-1\"><p>designation for chords whose lowest note is also the root of the chord<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_486_1465\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_486_1465\"><div tabindex=\"-1\"><p>designation for chords that feature a member other than the root as the lowest note<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":10,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-486","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/486","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":60,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/486\/revisions"}],"predecessor-version":[{"id":7011,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/486\/revisions\/7011"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/486\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=486"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=486"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=486"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=486"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}