<P> On the other hand, the leading - tone seventh chord does appear in root position . For this reason, outside of the two uses listed below, a leading - tone triad is less common than a leading - tone seventh chord . </P> <P> The leading - tone triad is used in several functions . Commonly, it is used as a passing chord between a root position tonic triad and a first inversion tonic triad (Aldwell, Schachter, and Cadwallader 2010, 138). The leading - tone triad prolongs tonic through neighbor and passing motion in this instance . </P> <P> The leading - tone triad may also be regarded as an incomplete dominant seventh chord: "A chord is called' incomplete' when its root is omitted . This omission occurs, occasionally, in the chord of the dom. - seventh, and the result is a triad upon the leading - tone" (Goetschius 1917, 72, § 162--63, 165). The vii 7 chord is often considered a, "dominant ninth chord without root" (Gardner 1918, 49). (Goldman 1965, 72) Since it contains three common tones with a dominant seventh chord, it easily can replace and function as a dominant . For example, vii often substitutes for V4 3, which it closely resembles (in C: D, F, B versus D, F, G, B), and its use may be required in situations by voice leading: "In a strict four - voice texture, if the bass is doubled by the soprano, the VII (vii) is required as a substitute for the V4 3 ." (Forte 1979, 168). When used at a cadence point, the leading - tone triad creates an imperfect authentic cadence since there is no root motion from scale - degree 5 to scale - degree 1 in the bass . This type of cadence was used commonly in the Renaissance era but increasingly grew out of fashion as the common practice period progressed . Leading - tone seventh chords were not characteristic of Renaissance music but are typical of baroque and classical music, they are used more freely in romantic music but began to be used less in classical music as conventions of tonality broke down, but are integral to ragtime and contemporary popular and jazz music genres (Benward and Saker 2003, 220 - 2). </P> <P> In music theory, the leading - tone seventh chords are vii and vii (Benward and Saker 2003, 218 - 9), 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 and Saker 2003, 217). </P>

What is the leading tone in g major