{"id":13609,"date":"2016-05-04T00:00:00","date_gmt":"2016-05-04T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=13609"},"modified":"2024-10-07T18:44:33","modified_gmt":"2024-10-08T02:44:33","slug":"leading-note-chord","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/leading-note-chord\/","title":{"rendered":"A Study On The Leading Note Chord"},"content":{"rendered":"

In today\u2019s post our focus is on the leading note chord.<\/p>\n

We’re learning the ins and outs of the leading note chord – its formation, structure, function, and resolution. To get started, let’s quickly do a review on the degrees of the major and minor scales.<\/p>\n

A Review On The Degrees Of The Scale<\/h2>\n

Traditional scales have eight degrees.<\/p><\/blockquote>\n

Although traditional scales<\/a> have seven notes and are said to be heptatonic<\/em>, an eighth tone is usually added, which is a duplicate of the first tone.<\/p>\n

In the case of the C major scale:
\n
\n…an eighth tone (C):
\n
\n…is added to the seven tones:
\n
\n…which is a duplicate of the first tone (C):
\n
\nThere are scholarly terms [aka – “technical names<\/a>“] that the degrees of the scale are described with.<\/p>\n

The first degree is the tonic<\/p>\n

The second degree is the supertonic<\/p>\n

The third degree is the mediant<\/p>\n

The fourth degree is the subdominant<\/p>\n

The fifth degree is the dominant<\/p>\n

The sixth degree is the submediant<\/p>\n

The seventh degree is the subtonic<\/p>\n

The eight degree is the octave<\/p><\/blockquote>\n

The Subtonic vs The Leading Note<\/h2>\n

There is so much emphasis on the relationship between the seventh (aka – “subtonic”) and the eight degree (aka – “tonic”) of the scale in terms of the distance between them.<\/p>\n

When the relationship between the distance of the subtonic and the tonic is a half step, it creates a stronger pull between the subtonic and the tonic that is known as the leading note feeling<\/em>.<\/p>\n

Consequently, the subtonic is also known as the leading note if it is a half-step below the tonic.<\/p>\n

If you play the first seven notes of the major scale:
\n
\n…when you get to seventh tone (B):
\n
\n…there’s a strong tendency for the seventh tone to resolve to the tonic. Due to the distance between the subtonic (B):
\n
\n…and the tonic (C):
\n
\n…the seventh degree of the major scale is called the leading note.<\/p>\n

In the minor key, there’s no leading note feeling<\/em> because between the subtonic and tonic is a whole step. In the key of A minor:
\n
\n…the distance between the subtonic (G):
\n
\n…and tonic (A):
\n
\n…is a whole step.<\/p>\n

This is one shortcoming of the natural minor scale<\/a> that lead to the evolution of the harmonic minor scale, formed by raising the seventh degree of the natural minor scale.<\/p>\n

For the rest of this study, we’ll use the harmonic minor scale<\/a> instead of the natural minor scale for leading note purposes.<\/p>\n

The Leading Note Chord<\/h2>\n

The leading note chord is the chord of the seventh degree of the major or minor key.<\/p>\n

In this segment, we’ll be doing a contrast between the leading note chords in the major key and the leading note chords in the minor key.<\/p>\n

The Leading Note Chords In The Major Key<\/h3>\n

Let’s use the key of C major:
\n
\n…as a reference to form the leading note triad and seventh chord.<\/p>\n

The leading note in the key of C Major is B:
\n
\nThe leading note chord can be formed in interval of thirds (aka – “tertian harmony<\/a>“) following traditional principles.<\/p>\n

Using the C major scale:
\n
\n…as an underlying scale, a third from B:
\n
\n…is D:
\n
\n…and a third from B-D:
\n
\n…is F:
\n
\nLooking at the intervallic components of this leading note triad:
\n
\nB-D:
\n
\n…is a minor third.<\/p>\n

B-F:
\n
…is a diminished fifth.<\/p>\n

The only triad that has the minor third and the diminished fifth as its intervallic constituents is the diminished triad<\/a>.<\/p>\n

Considering that the leading note chord in the key of C major (B, D, and F) is the B diminished triad:
\n
\n…the same thing is obtainable for other major keys. The leading note triad in the major key is the diminished triad<\/a>.<\/p>\n

Let’s proceed by exploring the leading note seventh chord.<\/p>\n

Adding another third to the leading note triad produces the leading note seventh chord.<\/p>\n

Adding a third above B-D-F:
\n
\n…which is A:
\n
\n…produces the leading note seventh chord. Here are the intervallic constituents of the leading note seventh chord…<\/p>\n

B-D:
\n
\n…a minor third.<\/p>\n

B-F:
\n
\n…a diminished fifth.<\/p>\n

B-A:
\n
\n…a minor seventh:<\/p>\n

The only seventh chord that has the minor third, the diminished fifth, and the minor seventh intervals as its intervallic constituents is the half-diminished seventh chord<\/a>.<\/p>\n

Let\u2019s look at the leading note chords in the minor key.<\/p>\n

The Leading Note Chords In The Minor Key<\/h3>\n

We’ll be using the A harmonic minor:
\n
\n…as a reference to evaluate the leading note triad and seventh chord in the minor key.<\/p>\n

The leading note in the key of A minor is G#:
\n
\nThe leading note chord can be formed in interval of thirds (aka – “tertian harmony<\/a>“) following traditional principles.<\/p>\n

Using the A harmonic minor scale:
\n
\n…as an underlying scale, a third from G#:
\n
\n…is B:
\n
\n…and a third from G#-B:
\n
\n…is D:
\n
\nLooking at the intervallic components of this leading note triad:
\n
\nG#-B:
\n
\n…is a minor third.<\/p>\n

G#-D:
\n
\n…is a diminished fifth.<\/p>\n

The only triad that has the minor third and the diminished fifth as its intervallic constituents is the diminished triad<\/a>.<\/p>\n

Considering that the leading note chord in the key of A minor (G#, B, and D) is the G# diminished triad:
\n
\n…the same thing is obtainable for other minor keys. The leading note triad in the minor key is the diminished triad<\/a>.<\/p>\n

Let’s check out the leading note seventh chord.<\/p>\n

Adding another third to the leading note triad produces the leading note seventh chord.<\/p>\n

Adding a third above G#-B-D:
\n
\n…which is F:
\n
\n…produces the leading note seventh chord. Here are the intervallic constituents of the leading note seventh chord…<\/p>\n

G#-B:
\n
\n…a minor third.<\/p>\n

G#-D:
\n
\n…a diminished fifth.<\/p>\n

G#-F:
\n
\n…a diminished seventh.<\/p>\n

The only seventh chord that has the minor third, the diminished fifth, and the diminished seventh intervals as its intervallic constituents is the diminished seventh chord<\/a>.<\/p>\n

You need to check out this post on the relationship between the diminished seventh chord and the half diminished seventh chord<\/a>.<\/p>\n

The Tritonic Property Of The Leading Note Chord<\/h2>\n

The leading note chord are said to be tritonic chords<\/a>. Tritonic chords are chords that contain the tritone<\/a>. The tritone is a distance of three adjacent whole steps hence the term tritone literally meaning three [whole] tones<\/em>.<\/p>\n

In between the first and the fifth tones of the leading note chord which in the key of C is B and F:
\n
\n…is a diminished fifth interval<\/a>. The diminished fifth interval is synonymous with the term tritone [because they encompass the same distance. However, the tritone is a melodic progression while the diminished fifth is an interval.]<\/p>\n

The tritone formed between the root (B):
\n
\n…and the fifth (F):
\n
\n…of the leading note chord makes it unstable, dissonant and harsh to use.<\/p>\n

“What Are Leading Note Chords Used For?”<\/em><\/h2>\n

The leading note chord has a strong attraction to the tonic chord.<\/p>\n

The tones of the leading note chords (the diminished triad, half-diminished seventh and diminished seventh chords) are the active tones<\/a> of the major and minor scale respectively.<\/p>\n

Active tones<\/strong> are tones that have the tendency to move to stable tones<\/a>. In other words, they are also called tendency tones<\/em>.<\/p>\n

In the key of C major, when an F note:
\n
\n…is played over the C major triad:
\n
\n…it has a tendency to resolve to E:
\n
\n…which is a more stable tone. The E note:
\n
\n…is considered as a stable tone because it a chord tone of the tonic triad<\/a>.<\/p>\n

Suggested reading: Active tones vs Stable Tones Of The Major Scale<\/a>.<\/p>\n

The leading note chord because of its affinity to the tonic chord, can be used to as a passing chord to the tonic chord<\/a>.<\/p>\n

Let me show you how this works by using the leading note chord as a passing chord<\/a> to the tonic chord of the major and minor key.<\/p>\n

“…As Passing Chord To The Tonic Triad In The Major Key”<\/h3>\n

In the key of G major:
\n
\n…the F# half-diminished seventh chord:
\n
\n…which is the leading note chord, can be used to resolve to the G major seventh chord:
\n
\n…which is the tonic chord in the key of G major.<\/p>\n

“…As Passing Chord To The Tonic Triad In The Minor Key”<\/h3>\n

In the key of B minor:
\n
\n…the A# diminished seventh chord:
\n
\n…which is the leading note chord, can be used to resolve to the B minor seventh chord:
\n
\n…which is the tonic chord in the key of B minor.<\/p>\n

Final Words<\/h2>\n

Chords of the seventh degree are rarely used in traditional harmony. Instead, they are substituted with the chord of the fifth degree.<\/p>\n

In the key of C major:
\n
\n…it’s common to substitute the B diminished triad:
\n
\n…with the G dominant seventh chord:
\n
\nThe B half-diminished seventh chord:
\n
\n…can also be substituted with the G dominant ninth chord:
\n
\nThese substitutions are possible because the G dominant seventh chord:
\n
\n…has all the notes in the B diminished triad:
\n
\n…and the G dominant ninth chord:
\n
\n…has all the notes in the B half-diminished seventh chord:
\n<\/p>\n

That’s the much we can cover today. See you in another post.<\/p>\n","protected":false},"excerpt":{"rendered":"

In this lesson, you’ll learn the ins and outs of the chord of the seventh degree – the leading note chord.<\/p>\n","protected":false},"author":9,"featured_media":22860,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,9],"tags":[17,1270,1614,1432,2062,2095],"class_list":["post-13609","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-piano","tag-basic-songs","tag-diminished-seventh-chords","tag-diminished-triads","tag-half-diminished-7th-chord","tag-leading-note-chord","tag-leading-note-triad","post-wrapper","thrv_wrapper"],"yoast_head":"\nA Study On The Leading Note Chord - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"In this lesson, you'll learn the ins and outs of the chord of the seventh degree - the leading note chord.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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