Précisions sur la septième de dominante
L'accord de dominante cadencielle
- La cadence parfaite, fin de la phrase.
- La cadence imparfaite, la phrase est en suspension, elle n'est pas finie.
- La cadence rompue, la phrase est en suspension, elle n'est pas finie.
- La demi-cadence, le repos sur dominante.
1. La cadence parfaite
Précission sur la cadence A et la cadence B.
Lorsque la sensible est au soprano, on utilise seulement la cadence de type A :
Q:1/1=40
%%player_no_voice
%%piano2+2CD
[V:C] "G"x | "C"x || "G7"x | "C"x || "G7"x | "C"x |]
[V:D] "V"x | "I"x || "V7"x | "I"x || "V7"x | "I"x |]
[V:S] !r>(!!red!B | !r>)!!blue!c || !r>(!!red!B | !r>)!!blue!c || !r>(!!red!B | !r>)!!blue!c |]
[V:A] !blue!!n>(!G | !n>)!G || !n>(!!blue!G | !n>)!G || !n>(!!blue!G | !n>)!G |]
[V:T] D | E || D/!o>(!!orange!F/ | !o>)!E || !o>(!!orange!F | !o>)!E |]
[V:B] !blue!G, | !blue!C, || !blue!G, | !blue!C, || "_*"!blue!G, | !blue!C, |]
Q:1/1=40
%%player_no_voice
%%piano2+2CD
K:Cm
[V:C] "G"x | "Cm"x || "G7"x | "Cm"x || "G7"x | "Cm"x |]
[V:D] "V"x | "I"x || "V7"x | "I"x || "V7"x | "I"x |]
[V:S] !r>(!!red!=B | !r>)!!blue!c || !r>(!!red!=B | !r>)!!blue!c || !r>(!!red!=B | !r>)!!blue!c |]
[V:A] !blue!!n>(!G | !n>)!G || !n>(!!blue!G | !n>)!G || !n>(!!blue!G | !n>)!G |]
[V:T] D | E || D/!o>(!!orange!F/ | !o>)!E || !o>(!!orange!F | !o>)!E |]
[V:B] !blue!G, | !blue!C, || !blue!G, | !blue!C, || "_*"!blue!G, | !blue!C, |]
* L'accord de dominante est incomplet, la septième est optenue par suppression de la quinte, il y a doublure de la fondamentale.
L'écriture de type A
Q:1/1=40
%%player_no_voice
%%piano3+1CD
[V:C] "G"x | "C"x || "G7"x | "C"x || "G7"x | "C"x |]
[V:D] "V"x | "I"x || "V7"x | "I"x || "V7"x | "I"x |]
[V:S] d | e || d/!o>(!!orange!f/ | !o>)!e || !o>(!!orange!f | !o>)!e |]
[V:A] !r>(!!red!B | !r>)!!blue!c || !r>(!!red!B | !r>)!!blue!c || !r>(!!red!B | !r>)!!blue!c |]
[V:T] !blue!!n>(!G | !n>)!G || !n>(!!blue!G | !n>)!G || !n>(!!blue!G | !n>)!G |]
[V:B] !blue!G, | !blue!C, || !blue!G, | !blue!C, || !blue!G, | !blue!C, |]
Q:1/1=40
%%player_no_voice
%%piano3+1CD
K:Cm
[V:C] "G"x | "Cm"x || "G7"x | "Cm"x || "G7"x | "Cm"x |]
[V:D] "V"x | "I"x || "V7"x | "I"x || "V7"x | "I"x |]
[V:S] d | e || d/!o>(!!orange!f/ | !o>)!e || !o>(!!orange!f | !o>)!e |]
[V:A] !r>(!!red!=B | !r>)!!blue!c || !r>(!!red!=B | !r>)!!blue!c || !r>(!!red!=B | !r>)!!blue!c |]
[V:T] !blue!!n>(!G | !n>)!G || !n>(!!blue!G | !n>)!G || !n>(!!blue!G | !n>)!G |]
[V:B] !blue!G, | !blue!C, || !blue!G, | !blue!C, || !blue!G, | !blue!C, |]
- V.8 → I.5, la note commune reste à sa place.
- V.5 → I.3
L'écriture de type B
Q:1/1=40
%%player_no_voice
%%piano3+1CD
[V:C] "G"x | "C"x || "G7"x | "C"x || "G7"x | "C"x |]
[V:D] "V"x | "I"x || "V7"x | "I"x || "V7"x | "I"x |]
[V:S] !n>(!d | !n>)!!blue!c || !n>(!d | !n>)!!blue!c || !n>(!d | !n>)!!blue!c |]
[V:A] !red!B | G || !red!B | G || !red!B | G |]
[V:T] !n>(!!blue!G | !n>)!E || !blue!G/ !o>(!!orange!F/ | !o>)!E || !o>(!!orange!F | !o>)!E |]
[V:B] !blue!G, | !blue!C, || !blue!G, | !blue!C, || "_*"G, | !blue!C, |]
Q:1/1=40
%%player_no_voice
%%piano3+1CD
K:Cm
[V:C] "G"x | "Cm"x || "G7"x | "Cm"x || "G7"x | "Cm"x |]
[V:D] "V"x | "I"x || "V7"x | "I"x || "V7"x | "I"x |]
[V:S] !n>(!d | !n>)!!blue!c || !n>(!d | !n>)!!blue!c || !n>(!d | !n>)!!blue!c |]
[V:A] !red!=B | G || !red!=B | G || !red!=B | G |]
[V:T] !n>(!!blue!G | !n>)!E || !blue!G/ !o>(!!orange!F/ | !o>)!E || !o>(!!orange!F | !o>)!E |]
[V:B] !blue!G, | !blue!C, || !blue!G, | !blue!C, || "_*"G, | !blue!C, |]
* L'accord de dominante est complet, la septième est optenue par suppression de la doublure de la fondamentale.
- V.5 descend vers la doublure de la tonique I.8
- V.8 descend vers I.3.
- V.3 descend vers I.5 ,la sensible ne suit plus son mouvement obligé.
2. La cadence rompue
L'écriture de type B
Q:1/1=40
%%player_no_voice
%%piano3+1CD
[V:C] "G"x | "Am"x || "G7"x | "Am"x || "G7"x | "Am"x |]
[V:D] "V"x | "VI"x || "V7"x | "VI"x || "V7"x | "VI"x |]
[V:S] !n>(!d | !n>)!!blue!c || !n>(!d | !n>)!!blue!c || !n>(!d | !n>)!!blue!c |]
[V:A] !red!B | !blue!c || !red!B | !blue!c || !red!B | !blue!c |]
[V:T] !n>(!!blue!G | !n>)!E || !blue!G/ !o>(!!orange!F/ | !o>)!E || !o>(!!orange!F | !o>)!E |]
[V:B] !blue!G, | A, || !blue!G, | A, || G, | A, |]
On a ici la doublure de la tierce sur l'accord VI.
On trouve aussi cette écriture en majeur :
Q:1/1=40
%%player_no_voice
%%piano3+1CD
[V:C] "G"x | "Am"x || "G7"x | "Am"x || "G7"x | "Am"x |]
[V:D] "V"x | "VI"x || "V7"x | "VI"x || "V7"x | "VI"x |]
[V:S] !n>(!d | !n>)!c || !n>(!d | !n>)!c || !n>(!d | !n>)!c |]
[V:A] !red!B | !blue!A || !red!B | !blue!A || !red!B | !blue!A |]
[V:T] !n>(!!blue!G | !n>)!E || !blue!G/ !o>(!!orange!F/ | !o>)!E || !o>(!!orange!F | !o>)!E |]
[V:B] !blue!G, | !blue!A, || !blue!G, | !blue!A, || G, | !blue!A, |]
En mineur la sensible ne peut descendre sur la doublure de la fondamentale car elle franchit l'intervalle de seconde augmentée.
%%bgcolor #FFDBDB
Q:1/1=40
%%player_no_voice
%%piano3+1CD
K:Cm
[V:C] "G"x | "An"x || "G7"x | "Ab"x || "G7"x | "Ab"x |]
[V:D] "V"x | "bVI"x || "V7"x | "bVI"x || "V7"x | "bVI"x |]
[V:S] !n>(!d | !n>)!c || !n>(!d | !n>)!c || !n>(!d | !n>)!c |]
[V:A] !red!=B | !blue!A || !red!=B | !blue!A || !red!=B | !blue!A |]
[V:T] !n>(!!blue!G | !n>)!E || !blue!G/ !o>(!!orange!F/ | !o>)!E || !o>(!!orange!F | !o>)!E |]
[V:B] !blue!G, | !blue!A, || !blue!G, | !blue!A, || G, | !blue!A, |]
En mineur doublure de la tierce de l'accord bVI est obligatoire.
Q:1/1=40
%%player_no_voice
%%piano3+1CD
K:Cm
[V:C] "G"x | "Ab"x || "G7"x | "Ab"x || "G7"x | "Ab"x |]
[V:D] "V"x | "bVI"x || "V7"x | "bVI"x || "V7"x | "bVI"x |]
[V:S] !n>(!d | !n>)!!blue!c || !n>(!d | !n>)!!blue!c || !n>(!d | !n>)!!blue!c |]
[V:A] !red!=B | !blue!c || !red!=B | !blue!c || !red!=B | !blue!c |]
[V:T] !n>(!!blue!G | !n>)!E || !blue!G/ !o>(!!orange!F/ | !o>)!E || !o>(!!orange!F | !o>)!E |]
[V:B] !blue!G, | A, || !blue!G, | A, || G, | A, |]
La cadence parfaite avec la fondamentale au soprano
L'écriture serrée de type A
Q:1/1=40
%%player_no_voice
%%piano2+2CD
[V:C] "G"x | "C"x || "G7"x | "C"x || "G7"x | "C"x |]
[V:D] "V"x | "I"x || "V7"x | "I"x || "V7"x | "I"x |]
[V:S] !blue!!n>(!G | !n>)!G || !n>(!!blue!G | !n>)!G || !n>(!!blue!G | !n>)!G |]
[V:A] D | E || D/!o>(!!orange!F/ | !o>)!E || !o>(!!orange!F | !o>)!E |]
[V:T] !r>(!!red!B, | !r>)!!blue!C || !r>(!!red!B, | !r>)!!blue!C || !r>(!!red!B, | !r>)!!blue!C |]
[V:B] !blue!G, | !blue!C, || !blue!G, | !blue!C, || !blue!G, | !blue!C, |]
Q:1/1=40
%%player_no_voice
%%piano2+2CD
K:Cm
[V:C] "G"x | "Cm"x || "G7"x | "Cm"x || "G7"x | "Cm"x |]
[V:D] "V"x | "I"x || "V7"x | "I"x || "V7"x | "I"x |]
[V:S] !blue!!n>(!G | !n>)!G || !n>(!!blue!G | !n>)!G || !n>(!!blue!G | !n>)!G |]
[V:A] D | E || D/!o>(!!orange!F/ | !o>)!E || !o>(!!orange!F | !o>)!E |]
[V:T] !r>(!!red!=B, | !r>)!!blue!C || !r>(!!red!=B, | !r>)!!blue!C || !r>(!!red!=B, | !r>)!!blue!C |]
[V:B] !blue!G, | !blue!C, || !blue!G, | !blue!C, || !blue!G, | !blue!C, |]
L'écriture serrée de type B
Q:1/1=40
%%player_no_voice
%%piano2+2CD
[V:C] "G"x | "C"x || "G7"x | "C"x || "G7"x | "C"x |]
[V:D] "V"x | "I"x || "V7"x | "I"x || "V7"x | "I"x |]
[V:S] !n>(!!blue!G | !n>)!E || !blue!G/ !o>(!!orange!F/ | !o>)!E || !o>(!!orange!F | !o>)!E |]
[V:A] !n>(!D | !n>)!!blue!C || !n>(!D | !n>)!!blue!C || !n>(!D | !n>)!!blue!C |]
[V:T] !red!B, | G, || !red!B, | G, || !red!B, | G, |]
[V:B] !blue!G, | !blue!C, || !blue!G, | !blue!C, || G, | !blue!C, |]
Q:1/1=40
%%player_no_voice
%%piano2+2CD
K:Cm
[V:C] "G"x | "Cm"x || "G7"x | "Cm"x || "G7"x | "Cm"x |]
[V:D] "V"x | "I"x || "V7"x | "I"x || "V7"x | "I"x |]
[V:S] !n>(!!blue!G | !n>)!E || !blue!G/ !o>(!!orange!F/ | !o>)!E || !o>(!!orange!F | !o>)!E |]
[V:A] !n>(!D | !n>)!!blue!C || !n>(!D | !n>)!!blue!C || !n>(!D | !n>)!!blue!C |]
[V:T] !red!=B, | G, || !red!=B, | G, || !red!=B, | G, |]
[V:B] !blue!G, | !blue!C, || !blue!G, | !blue!C, || G, | !blue!C, |]
L'écriture large de type B
Q:1/1=40
%%player_no_voice
%%piano2+2CD
[V:C] "G"x | "C"x || "G7"x | "C"x || "G7"x | "C"x |]
[V:D] "V"x | "I"x || "V7"x | "I"x || "V7"x | "I"x |]
[V:S] !n>(!!blue!G | !n>)!E || !blue!G/ !o>(!!orange!F/ | !o>)!E || !o>(!!orange!F | !o>)!E |]
[V:A] !red!B, | G, || !red!B, | G, || !red!B, | G, |]
[V:T] !n>(!D, | !n>)!!blue!C, || !n>(!D, | !n>)!!blue!C, || !n>(!D, | !n>)!!blue!C, |]
[V:B] !blue!G, | !blue!C, || !blue!G, | !blue!C, || G, | !blue!C, |]
Q:1/1=40
%%player_no_voice
%%piano2+2CD
K:Cm
[V:C] "G"x | "Cm"x || "G7"x | "Cm"x || "G7"x | "Cm"x |]
[V:D] "V"x | "I"x || "V7"x | "I"x || "V7"x | "I"x |]
[V:S] !n>(!!blue!G | !n>)!E || !blue!G/ !o>(!!orange!F/ | !o>)!E || !o>(!!orange!F | !o>)!E |]
[V:A] !red!=B, | G, || !red!=B, | G, || !red!=B, | G, |]
[V:T] !n>(!D, | !n>)!!blue!C, || !n>(!D, | !n>)!!blue!C, || !n>(!D, | !n>)!!blue!C, |]
[V:B] !blue!G, | !blue!C, || !blue!G, | !blue!C, || G, | !blue!C, |]
La cadence rompue avec la fondamentale au soprano
L'écriture large de type B
Q:1/1=40
%%player_no_voice
%%piano2+2CD
[V:C] "G"x | "Am"x || "G7"x | "Am"x || "G7"x | "Am"x |]
[V:D] "V"x | "VI"x || "V7"x | "VI"x || "V7"x | "VI"x |]
[V:S] !n>(!!blue!G | !n>)!E || !blue!G/ !o>(!!orange!F/ | !o>)!E || !o>(!!orange!F | !o>)!E |]
[V:A] !r>(!!red!B, | !r>)!!blue!C || !r>(!!red!B, | !r>)!!blue!C || !r>(!!red!B, | !r>)!!blue!C |]
[V:T] !n>(!D, | !n>)!!blue!C, || !n>(!D, | !n>)!!blue!C, || !n>(!D, | !n>)!!blue!C, |]
[V:B] !blue!G,, | A,, || !blue!G,, | A,, || G,, | A,, |]
Q:1/1=40
%%player_no_voice
%%piano2+2CD
K:Cm
[V:C] "G"x | "Ab"x || "G7"x | "Ab"x || "G7"x | "Ab"x |]
[V:D] "V"x | "bVI"x || "V7"x | "bVI"x || "V7"x | "bVI"x |]
[V:S] !n>(!!blue!G | !n>)!E || !blue!G/ !o>(!!orange!F/ | !o>)!E || !o>(!!orange!F | !o>)!E |]
[V:A] !r>(!!red!=B, | !r>)!!blue!C || !r>(!!red!=B, | !r>)!!blue!C || !r>(!!red!=B, | !r>)!!blue!C |]
[V:T] !n>(!D, | !n>)!!blue!C, || !n>(!D, | !n>)!!blue!C, || !n>(!D, | !n>)!!blue!C, |]
[V:B] !blue!G,, | A,, || !blue!G,, | A,, || G,, | A,, |]
Exercice n°1 en A majeur avec la cadence parfaite
Q:1/1=40
L:1/2
%%player_no_voice
%%piano2+2CD
K:A
[V:C] "A"x "D"x | "E"x "E7"x | "A"x2 |]
[V:D] "I"x "IV"x | "V"x "V7"x | "I"x2 |]
[V:S] E x | x x | x2 |]
[V:A] x x | x x | x2 |]
[V:T] x x | x x | x2 |]
[V:B] A,, D, | E,2 | A,,2 |]
Réalisation avec l'écriture type A
Q:1/1=40
L:1/2
%%player_no_voice
%%piano2+2CD
K:A
[V:C] "A"x "D"x | "E"x "E7"x | "A"x2 |]
[V:D] "I"x "IV"x | "V"x "V7"x | "I"x2 |]
[V:S] E F | !blue!E2 | E2 |]
[V:A] C !blue!D | B, !o>(!!orange!D | !o>)!C2 |]
[V:T] !blue!A, A, | !r>(!!red!G,2 | !r>)!!blue!A,2 |]
[V:B] !blue!A,, !blue!D, | !blue!E,2 | !blue!A,,2 |]
Réalisation avec l'écriture type B
Q:1/1=40
L:1/2
%%player_no_voice
%%piano2+2CD
K:A
[V:C] "A"x "D"x | "E"x "E7"x | "A"x2 |]
[V:D] "I"x "IV"x | "V"x "V7"x | "I"x2 |]
[V:S] E F | !blue!E !o>(!!orange!D | !o>)!C2 |]
[V:A] C !blue!D | B,2 | !blue!A,2 |]
[V:T] !blue!A, A, | !red!G,2 | E,2 |]
[V:B] !blue!A,, !blue!D, | !blue!E,2 | !blue!A,,2 |]
Exercice n°2 en A majeur avec la cadence rompue
Q:1/1=40
L:1/2
%%player_no_voice
%%piano2+2CD
K:A
[V:C] "A"x "D"x | "E"x "E7"x | "F#m"x2 |]
[V:D] "I"x "IV"x | "V"x "V7"x | "VI"x2 |]
[V:S] E x | x x | x2 |]
[V:A] x x | x x | x2 |]
[V:T] x x | x x | x2 |]
[V:B] A,, D, | E,2 | F,2 |]
Q:1/1=40
L:1/2
%%player_no_voice
%%piano2+2CD
K:A
[V:C] "A"x "D"x | "E"x "E7"x | "F#m"x2 |]
[V:D] "I"x "IV"x | "V"x "V7"x | "VI"x2 |]
[V:S] E F | !blue!E !o>(!!orange!D | !o>)!C2 |]
[V:A] C !blue!D | B,2 | !blue!A,2 |]
[V:T] !blue!A, A, | !r>(!!red!G,2 | !r>)!!blue!A,2 |]
[V:B] !blue!A,, !blue!D, | !blue!E,2 | F,2 |]
3. La cadence imparfaite
Q:1/1=40
%%player_no_voice
%%piano2+2CD
[V:C] "G"x | "C/E"x || "G7"x | "C/E"x || "G7/F"x | "C/E"x |]
[V:D] "V"x | "I/3"x || "V7"x | "I/3"x || "V7/7"x | "I/3"x |]
[V:S] !r>(!!red!B | !r>)!!blue!c || !r>(!!red!B | !r>)!!blue!c || !r>(!!red!B | !r>)!!blue!c |]
[V:A] !blue!!n>(!G | !n>)!G || !n>(!!blue!G | !n>)!G || !n>(!G | !n>)!G |]
[V:T] D | !blue!C || D | !blue!C || D | !blue!C |]
[V:B] !blue!G, | E, || !blue!G,/!o>(!!orange!F,/ | !o>)!E, || !o>(!!orange!F, | !o>)!E, |]
Q:1/1=40
%%player_no_voice
%%piano2+2CD
K:Cm
[V:C] "G"x | "Cm/Eb"x || "G7"x | "Cm/Eb"x || "G7/F"x | "Cm/Eb"x |]
[V:D] "V"x | "I/3"x || "V7"x | "I/3"x || "V7/7"x | "I/3"x |]
[V:S] !r>(!!red!=B | !r>)!!blue!c || !r>(!!red!=B | !r>)!!blue!c || !r>(!!red!=B | !r>)!!blue!c |]
[V:A] !blue!!n>(!G | !n>)!G || !n>(!!blue!G | !n>)!G || !n>(!G | !n>)!G |]
[V:T] D | !blue!C || D | !blue!C || D | !blue!C |]
[V:B] !blue!G, | E, || !blue!G,/!o>(!!orange!F,/ | !o>)!E, || !o>(!!orange!F, | !o>)!E, |]
La septième apparait à la basse.