Jody Nagel
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XI. Major-Minor-7th --- Major Triad Relationships
XII. Half-Diminished-7th --- Major Triad Relationships

The Fully-Diminished-7th-to-Major-Tonic-Triad Prototype
Used as a Voice-Leading Model and "Correct Linear Spelling" Paradigm:
Major-Minor 7ths and Half-Diminished 7ths as alterations of Fully-Diminished 7ths, from a Tonal Perspective
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Unique Harmonic Relationships

Harmonic Relationships, Examples 11 & 12
"Chromatic Modal" scale convention used: 1, b2, 2, b3, 3, 4, #4, 5, b6, 6, b7, 7 (Do, Ra, Re, Me, Mi, Fa, Fi, Sol, Le, La, Te, Ti)
(optional - for a major tonic triad: #2 = b3)
Closest "tonal" voice-leading, using only common-tones, semitones, or whole-tones.
(The specified voice-leading-type is shown in black note-heads.)
In this chart, each chord leads directly to its Primary Tonic triad (in each case, a C-Major Triad).
All Harmonic Types can also be used in a secondary relationship with some other tonicized major triad, and indeed some of these
Harmonic Types have, historically speaking, been used more often to tonicize the dominant triad rather than the primary tonic triad.
This system emphasizes linear voice-leading, and implicitly rejects Rameau's notion that tertian chords must be "spelled in 3rds."
Relationships Example 11
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Unique Harmonic Relationships

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