Leading tone triad

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Chapter 9 - Secondary Triads

Harmony Manual

Submediant Triad

LEADING TONE TRIAD
Basic Music (TC 12-41/ NAVEDTRA 10244) describes the spelling and quality of the leading tone triad. This chord is often called a dominant seventh with root omitted. The third is normally doubled to avoid doubling a note of the tritone. The root and fifth of the chord ascend to the root and fifth of the tonic chord often producing unequal fifths. It is used exclusively in first inversion.

FIGURE 9.9: Leading Tone Triad
The fifth of the chord is doubled when it appears in the Soprano voice.

FIGURE 9.10: Doubled Fifth on Leading Tone Triad
An Intermediate Cadence occurs with a to I(i) progression at a cadence point. It may appear at any cadence but final.

FIGURE 9.11: Intermediate Cadence
COMMON FUNCTION SUCCESSION
The chord may follow a dominant triad within a progression. A vii06 can be followed only by the dominant seventh (V7).

SUPERTONIC TRIAD
Basic Music (TC 12-41/ NAVEI) TRA 10244) descr ibes the spelling and quality of the supersonic triad. It occurs primarily in first inversion with doubled third (tonal note). The chord may appear in root position with doubled root (modal note) or doubled third (tonal note).

FIGURE 9.12: Supertonic Triad
In major keys, the supersonic chord may be used in second inversion as a passing six-four.

FIGURE 9.13: Second Inversion Supersonic Triad
The supersonic chord may be used to harmonize the raised sixth scale degree in ascending melodic minor. The leading tone may be harmonized with the V# or it may also be a non-harmonic tone.

FIGURE 9.14: Harmonizing the Raised Sixth in Minor with Supersonic Chord