t the chord is much more unstable&emdash;a resource! Successive chordal skips can extend the dominant triad or dominant seventh without chord change over a long period of time; in a single exercise three successive skips is a maximum
2. USE COMMON TONE (V==>I==>V) Keep the 5th degree of the scale in the soprano (5==>5==>5). Chord progression from V to I then back to V under the soprano: bass moves from root of V to root of I to root of V; inner voices move by step to the nearest chord tones.
3. MOVE AWAY FROM AND BACK TO NOTE IN DOMINANT CHORD WITH NEIGHBOR TONE (V==>I==>V ): Soprano moves scale degrees 7==>1==>7, 2==>1==>2, 2==>3==>2. Chord progression from V to I then back to V under the soprano: bass moves from root of V to root of I to root of V; inner voices move by step to the nearest chord tones. Note that these vary greatly in effect; half step neighbor notes in the soprano voice are considerably more intense than whole step neighbors. Note that at this point the root of the dominant triad has no usable neighbor tones.
4. FILL THIRD IN DOMINANT TRIAD WITH A PASSING TONE (V==>I==>V ): Soprano moves scale degrees 7==>1==>2 or 2==>1==>7. Chord progression from V to I then back to V under the soprano: bass moves from root of V to root of I to root of V; inner voices move by step to the nearest chord tones.
5. SAME AS 2, but extend V7 chord.
6. SAME AS 3, but extend V7 chord. Note that there is are new neighbor possibilities in the soprano: 4==>3==>4 and 4==>5==>4
7. SAME AS 3, but extend V7 chord. Note that the soprano can now fill the third fifth to seventh of the dominant seventh chord: scale degrees 4==>3==>2.
8. LINK THESE TOGETHER:
CHORDAL SKIP + COMMON TONE: 2==>5==>5==>5 or the reverse.
CHORDAL SKIP + NEIGHBOR TONE: 7==>2==>3==>2 or the reverse
CHORDAL SKIP + PASSING TONE: 7==>2==>==>1==>7 or the reverse.
DOUBLE NEIGHBOR: 2==>1==>3==>2 or the reverse (note that this one extends the tonic for two chords as as a way to extend the dominant!).
NEIGHBOR NOTE + FILL IN THIRD: 2==>3==>2==>1==>7 or the reverse