ABSTRACT
The leading-tone seventh chords are harmonically dormant. They are contrapuntal decorations of more structurally significant harmonies. The parallel period structure of mm. 1–4 makes the onset of the consequent phrase in m. 3 sound like a new beginning rather than the harmonic resolution of m. 2. These harmonies reinforce the notion that an individual chord cannot be classified according to a single, predictable function, and that analytical labels used carelessly can give a misleading or faulty impression of a chord’s function. Many are found in thin textures where the diminished triad represents a seventh chord whose missing tone is either nearby or implied. Shrill-sounding in isolation, 64 diminished triads usually ally themselves with nearby tones to suggest harmonies of warmer quality. Thin textures are responsible for many 64 diminished triads. Some 64 diminished sonorities are derived from melodic decoration. These incidental triads are hardly recognizable as functional harmonies.
