So far we’ve discussed I, V, IV, and ii. Now we can talk about the rest.
The basic traits:
- Diminished in both major and minor. (Remember the accidental for the leading-tone in minor!)
- Appears only in first inversion: viio6. (Most stable in this form.)
- When part writing, double the bass (the third, Re).
- Bass: Do-Re-Mi
- Upper voices:
Submediant (vi and VI) and Mediant (iii and III)
These two chords can appear in a few different ways:
- Tonic Prolongation moving to a Predominant
- vi can appear as a predominant itself by moving straight to a dominant
- vi can appear as a tonic substitute, which requires specific voice-leading work.
- V-vi and V-VI (Deceptive cadence)
- iii as “Dominant as Apparent Mediant”
- I’ve seen two of these in my life, both in minor (III+6-i).
- Basically a iii chord in first inversion (sol in Bass) functioning as a dominant.
- This is so rare that I’m okay with you forgetting about this.
The major triad built on the subtonic in a minor key always appear with III in minor. These two chords are common together, because III is the chord that matches the relative key (Say in C minor, III = E flat major.). And V in the relative major is the same chord as VII (V in E flat major = B flat major. VII in C minor: B flat major.) So using these two chords is like a short modulation to the relative major for a few chords, but returns to the original key by the next cadence.
- Learn about viio6. This chord is common and useful, and a little tricky. Double the bass: the third.
- Remember to use your 3 Basic Movements for the other chords, because they usually happen in root position.
- Learn to part write the deceptive V-vi. This is very tricky and easy to forget. Double the third in vi after a V.
- Forget about iii in major keys for this class. Use iii in your own music, if you use Roman numerals to help you compose.