Definition
A dominant (V7 or secondary dominant) has a regular resolution: to its tonic, a fifth below. When it instead goes to another chord we speak of an irregular resolution. It is not a mistake: it is one of the main means of lengthening phrases, surprising the listener and connecting different keys. The principle that makes them convincing is that at least the tendency tones (leading tone and seventh) move logically, even if the arrival chord is unexpected.
The most common irregular resolutions of the V7 (in C)
| Progression | Chords | What happens to the voices |
|---|---|---|
| V7 – vi (deceptive) | G7 – A min | leading tone rises to C, seventh falls to E, bass rises to A |
| V7 – IV6 | G7 – F/A | bass rises to A, the seventh F stays as a common tone |
| V7 – V7/IV | G7 – C7 | the tonic already arrives with the seventh (Bb): B falls chromatically to Bb |
| V7 – V7/V or vii°7/V | G7 – D7 or F#°7 | going “back” toward a new preparation of the cadence |
| V7 – bVI | G7 – Ab | chromatic deceptive cadence (borrowing from the minor) |
| V7 – I6/4 | G7 – C/G | delayed resolution: the true cadence comes afterward |
Chains of dominants
When a secondary dominant resolves to another dominant instead of a triad, a chain forms: E7 – A7 – D7 – G7 – C. In four voices the voice leading is very elegant: the third and seventh of each chord fall by semitone and exchange roles. In E7 the third G# and the seventh D become in A7 the seventh G and the third C#.
Ellipsis
An ellipsis occurs when one dominant goes to another dominant skipping the expected tonic (for example V7/ii going directly to V7/V without passing through the ii). The ear mentally “completes” the missing step. It is typical of Romantic harmony and jazz.
Practical rules
- In every irregular resolution check the leading tone (it must rise or stay as a common tone) and the seventh (it must fall or stay).
- When the seventh cannot fall, hold it as a common tone in the next chord.
- Chains of dominants work best with alternating complete and incomplete chords (without the fifth).
- After one or two irregular resolutions a regular cadence is needed, otherwise the key weakens.
Typical mistakes
- Making the seventh rise for no reason in the irregular resolution.
- Using many irregular resolutions in a row without a goal: the sense of key is lost.
- Writing chains of dominants in complete root position, with parallel fifths.
Examples
- Beethoven, First Symphony: the introduction begins with a C7 that resolves to F (V7/IV – IV) and then with a dominant that goes to a minor chord; the C major tonic is kept waiting for a long time.
- Bridge of the Rhythm changes: D7 – G7 – C7 – F7 (in Bb), a chain of dominants by fifths.
- “Sweet Georgia Brown”: a long chain of dominants that reaches the tonic only at the end.
- Bach chorales: V – vi and V – IV6 resolutions in the inner phrases to lengthen the discourse.
- Chopin and Liszt: ellipses of dominants that slide chromatically into one another.
How to use it in composition
- To lengthen a phrase, replace the expected cadence with V7 – vi or V7 – IV6 and then repeat the cadence in regular form.
- For a bridge, build a chain of dominants that starts from a distant degree and arrives at the main dominant.
- In pop, V – IV6 (G – F/A) is an elegant variant of the deceptive cadence.
Exercise
- Write in four voices in F major: I – V7 – vi – ii6 – V7 – I and I – V7 – IV6 – V7 – I.
- Write the chain A7 – D7 – G7 – C7 – F with thirds and sevenths falling by semitone.
- Reharmonize the final cadence of one of your own pieces with an irregular resolution followed by a regular one.
Related topics
Dominant seventh chord; Deceptive cadence and variants; Secondary dominants and extended dominants; Tonal and modulating sequences; Rhythm changes; Tonicization.