Septa chord II stage (designation II 7 ) - the main chord of the subdominant function, combining the triad II and IV stages.
In natural major major minor minor in structure, in harmonic major and minor / semi-minimized.
Content
Appeals
| Appeal | Chord name | Composition | Denoted by |
|---|---|---|---|
| Main chord | Septa chord second stage | m. 3 + b. 3 + m. 3 | II 7 |
| The first | Quintsekstakkord second stage | b. 3 + m. 3 + b. 2 | II 65 |
| The second | Tertskvartakkord second stage | m. 3 + b. 2 + m. 3 | II 43 |
| Third | Second stage second | b. 2 + m. 3 + b. 3 | II 2 |
As with any seventh chord, it has three appeals: a second-degree quintsex chord, a second-grade tercquart chord, and a second-second chord; The first two of them are used in different parts of the form, including often in cadders. Quintsekstakakkord, due to its position at the IV stage (functional bass subdominants) is the brightest of the diatonic subdominants. The second in cadence is not used, its scope due to the lethargy of the bass (level I) is limited by the exposure and additional plug-in revolutions.
Resolution
II 7 and his appeals can be resolved both directly into the tonic (plagual circulation), and by transferring to the circulation [[dominant dectacorda and with further resolution into the tonic, thus forming a complete perfect cadence (except for chord seconds 2 steps).
Alteration
II 7 and its treatment allow for a variety of alterations in order to increase the unstable levels in stable and harmony complications.
See also
- Dominant septa chord
- Introductory seventh chord