Linear Chromatic Chords
Chapter V.2

Let’s look at the chord on the word “Cross”

What notes do you see? What chord does
that make it?

The chord is…
 D#, F#, A, C
 That makes it a viio7 in e minor, right?
 If not, then it must be an enharmonic spelling of that chord, which could be
viio7 in
 E
 G
 Bb
 C#

How does the chord resolve?

The chord goes to a C chord
 This is not the right resolution for any enharmonic spelling.
 Now the learning can begin…

Harmony vs. Voice Leading
 Most chords arise harmonically.
 Tonic, Dominant, Pre-Dominant, etc.
 These are examples of harmonically-functioning chords
 Other chords arise through voice leading
 That means that the voices move however they move, and we get a chord.
 This music is conceived more horizontally than vertically. It’s contrapuntal
 The music of Palestrina is a good example. You can some chords, but he wasn’t
thinking chordally.

This chord moves step-wise, indicating
more voice-leading than harmony.

This is a linear chromatic chord: The
common tone diminished seventh.

Note how this is spelled, doubled, and how
it moves

Common Tone Diminished 7th
 Connects two other chords linearly
 These are often the same two chords (I-CTo7-I), but don’t have to be
 The CT chord spells a diminished 7th, but doesn’t resolve like one
 That’s why it gets the label CT instead of vii

Writing the CTo7 when going from and to
the same chords
 On the beginning and ending chords, double the 5th
 One fifth goes up by whole step
 One fifth goes down by half step
 The third goes down by half step
 The bass note stays the same
 That’s why it’s called a common tone chord

Doubled 5th, moving by half and whole
step. The word “of” is just switching voices

CT+6
 We can also make these chords Augmented 6th chords
 For the doubled 5th that goes up, make it move by a half step instead of a
whole step. This will automatically make it an Aug6 (maybe a diminished 3rd)
 Everything is the same, but we have a slightly different color

CT chords as passing chords
 As indicated in your chapter, these chords can also serve as passing chords.
 In this case, the chords don’t go back to their original chord
 There are not as specific part-writing rules for these because they chords
they connect can all be different.