Volume II · Chapter 17

Applied Leading-Tone Chords

MUSIC 20B · C-ID MUS 130Chapter quiz →

In the musicianship bookChapter 21: Leading-Tone Chords and Seventh-Chord Inversions

Introduction: The Other Dominant-Function Chord

In Chapter 16 you borrowed the dominant of another chord. But in any key there are two dominant-function chords: V(7) and vii°(7). So you can also borrow the leading-tone chord of another chord. These applied leading-tone chords (vii°/x, vii°⁷/x, vii^ø7/x) tonicize their targets just as strongly, and the diminished seventh in particular has a tense, dramatic color that Romantic composers loved.

Click any example to hear it. Applied chords are shown in red.

Spelling Applied Leading-Tone Chords

Find the root of the target chord.
Go down a minor 2nd (a half step): that's the root of the applied chord, the temporary leading tone.
Build the chord on that root: a diminished triad (vii°/x), a fully diminished seventh (vii°⁷/x: minor 3rds stacked), or a half-diminished seventh (vii^ø7/x: diminished triad plus a minor 3rd).

Target (C major)	vii°⁷/x	vii^ø7/x
ii	C♯ – E – G – B♭	—
iii	D♯ – F♯ – A – C	—
IV	E – G – B♭ – D♭	E – G – B♭ – D
V	F♯ – A – C – E♭	F♯ – A – C – E
vi	G♯ – B – D – F	—

Which seventh chord for which target? The fully diminished vii°⁷/x can tonicize any major or minor triad. The half-diminished vii^ø7/x tonicizes only major triads (IV and V in major; III, V, VI, and VII in minor), because its seventh is the major 6th scale degree of the target's key; in front of a minor target it would clash with the target's own minor 6th. When in doubt, use the fully diminished seventh: it's far more common, especially as vii°⁷/V.

Voice Leading

The root is the temporary leading tone: it rises by half step to the target's root. Don't double it.
The seventh falls by step (to the target's 5th).
In a diminished seventh chord, the fifth usually falls by step too (to the target's 3rd), because it forms a tritone with the root that resolves inward or outward.
Watch for unequal fifths: a diminished 5th moving to a perfect 5th (d5–P5) between the bass and an upper voice is best avoided; P5–d5 is fine.
One special case: when vii°⁷/V moves to a cadential six-four, its seventh (E♭ in C major) usually rises chromatically to E, because the six-four chord delays the arrival of V.
As always, keep chromatic changes in a single voice to avoid cross relations.

Example 17.1. vii°⁷/V in C major. The bass F–F♯–G rises chromatically; the seventh, E♭ (in the alto), falls to D.

Example 17.2. The same progression with vii^ø7/V: E♮ instead of E♭ gives a gentler, less tense sound. (Allowed here because the target, G major, is major.)

Example 17.3. vii°⁶₅/ii in D major (D♯–F♯–A–C). D♯ (in the alto) rises to E; the seventh, C (in the soprano), falls to B.

Example 17.4. vii°⁷/iv in A minor (C♯–E–G–B♭). The bass C–C♯–D climbs chromatically into the subdominant.

Applied Leading-Tone Chords and Applied Dominants Together

vii°⁷/x and V⁷/x share three notes (vii°⁷/x is like V⁹/x without its root). That's why they can substitute for each other, and why you'll often see both in the same passage. Compare: in C major, V⁷/V = D–F♯–A–C and vii°⁷/V = F♯–A–C–E♭.

One more property of the diminished seventh is worth knowing now: because it is built entirely of minor 3rds, it divides the octave into four equal parts. Respell any note and you get another diminished seventh chord pointing at a different target. Chapter 24 uses this to modulate to distant keys.

Try It: Leading-Tone Chord Builder

Leading-Tone Chord Builder

Choose a key and an applied leading-tone chord. The temporary leading tone (the root) is red; the seventh is blue. Only the chords that need an accidental are listed.

Key Chord

Summary

An applied leading-tone chord (vii°/x, vii°⁷/x, vii^ø7/x) is built on the note a half step below the target's root.
vii°⁷/x works for any major or minor target; vii^ø7/x only for major targets.
The root rises to the target; the seventh (and in vii°⁷, usually the fifth) falls by step.
vii°⁷/x shares three notes with V⁷/x and can substitute for it.

Check Your Understanding

Chapter 17 Quiz →A new set of questions each time. Your score is sent to your instructor.Practice Worksheet (PDF)Spell, identify, and resolve applied leading-tone chords; harmonize a chromatic bass.Composing Worksheet (PDF)Write a phrase with applied leading-tone chords and harmonize a chromatic bass line.

MuseScore TemplatesPart A: Phrase (SATB)
Part B: Chromatic Bass to Harmonize (SATB, bass given)