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Leading-tone seventh chord
In music theory, the leading-tone seventh chords are vii7 and vii7,〔Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p.219. ISBN 978-0-07-294262-0.〕 the half-diminished and diminished seventh chords on the seventh scale degree, or leading-tone, in major and harmonic minor, resolving to the tonic. Leading-tone triads and seventh chords are frequently substituted for dominant chords, with which they have three common tones, for variety.〔Benward & Saker (2003), p.217.〕
The leading-tone seventh chord is half diminished in C major (B-D-F-A) and fully diminished in C minor (B-D-F-A). However, composers throughout the Common practice period often employed modal mixture when using the leading-tone seventh chord in a major key, allowing for the substitution of the half-diminished seventh chord for the fully diminished seventh chord. This mixture is commonly used when the leading-tone seventh chord is functioning as a secondary leading-tone chord. The leading-tone seventh chord contrasts with the subtonic seventh chord in that the subtonic has a flatted seventh (chord root): in C minor, B-D-F-A.
Fétis tunes the leading-tone seventh in major 5:6:7:9.〔Fétis, François-Joseph and Arlin, Mary I. (1994). ''Esquisse de l'histoire de l'harmonie'', p.139n9. ISBN 978-0-945193-51-7.〕
==See also==
*Secondary leading-tone chord
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