LINEAR DOMINANT CHORDS V , vii , and Inversions of V

V6 , viio6 , and Inversions of V7
LINEAR DOMINANT CHORDS
Introduction
 Expanded bass line options (chords built on
^7, ^2, & ^4
 First inversion dominant - V6
 First inversion leading-tone triad – vii06
 Inversions of the dominant seventh
 V6/5 ,V4/3 , and V4/2 in both major and minor
The V6, viio6 & inversions of V7
 V chords retain chord quality in both major
and minor modes
 Chords built on the leading-tone (vii) are
usually found in first inversion; root position
and second inversion contain a tritone in the
outer voices
 Mm7 harmonies: V6/5 ,V4/3 , and V4/2
V chord varieties
In bass:
^5
^7
^2
^4
 New chords contain active scale degrees in the bass that
want to move to more stable scale degrees in the tonic
 These chords occur most often in the phrase and
function as linear or embellishing dominant harmonies;
embellish the tonic by passing, neighboring, or
incomplete neighboring motion in the bass
 Appear only rarely as part of a cadence formula
Uses of the V6
 No specific part-writing guidelines; double
the soprano – never the bass (its the LT)
 Bass should resolve to tonic ^7 - ^8
 Typical functions (bass scale degrees)
 I – V6 – I (^8-^7-^8 - lower neighbor)
 (^4-^7-^8 - inc. neigh)
 I – V6 – V7 – I (^8-^7-^5-^8 - delayed neighbor)
 IV6 – V6 – I (^6-^7-^8 – passing chords)
 Be careful using this; successive first inversion
chords can lead to parallel perfect octaves
Uses of the viio6
 Diminished triad doublings: ^2 or ^4; never
double the root / leading tone (^7)
 Unequal fifths will occur occasionally and are
acceptable (see B.)
A.
(3rd)
vii06
B.
i
(3rd)
vii06 i
C.
(5th)
vii06
i
D.
(3rd)
vii06
i
Uses of the viio6
 Bass note is ^2; functions as a passing chord
between I and I6 (^1-^2-^3 or ^3-^2-^1)
 When soprano moves ^6-^7-^8, vii06 is a great
exit from IV-V-I (IV – vii06 – I); avoids parallels
of root progression IV-V
I6
vii06 I
I
vii06 I6
I6
IV vii06 I
Inversions of the V7 - INTRO
 Doublings aren’t an issue; almost always
complete: ^7 in bass in both V6 & V6/5:
^2 in bass in both vii06 & V4/3
 V4/2 and V7 resolve the same way
 In both root positions and inversions 7th are
prepared by passing or neighboring motion,
suspension, or appogiatura figuration &
resolves downward by step to ^3
V6 and V6/5
 Chordal seventh preparation
 Avoid unequal fifths except in V to V6/5 (see D.
or E.)
Unequal
Unequal
A.
B.
i V6/5 i
C.
i V6/5 V7 i
D.
i IV6 V6/5 I
fifths
avoid
i V6/5 i
E.
fifths
Ok!
V V6/5 i
The viio6 and V4/3
 Function as passing embellishing chords
between I and I6 or vice versa
 Useful in harmonizing scale degrees ^6, ^7, & ^8
i6
V4/3
i
i
V4/3
i6
i6
IV
V4/3
i
•Ex #2 contradicts the normal resolution practice of the chordal seventh (4-3).
In this case the 10ths in the soprano and bass overrides the need for harmonic
resolution. The unequal fifths are also permissible.
The V4/2
 Dissonant seventh between outer voices
makes this a very striking chord
V
V4/2 I6
I6 V4/2 I6
IV V4/2 i6
i
V4/2 i6
•Ex. #4 employs a common technique in the bass of ^1 - ^4 in appogiatura
Arpeggiated Extension of the
Dominant Harmony
 Inversions in ascending or descending bass
arpeggiation
 Dominant prolongations oftentimes serve as
an introduction to the main theme of a piece
V:
7
4/2
(I6)
4/3 (I) 6/5 IV6
7
Exceptional treatment of the
Chordal 7th
 Delayed resolution – chordal 7th does not
move immediately to ^3, momentarily
diverted
 Dangling 7th – chordal 7th does not resolved
until a later beat in the measure
 Displacement – chordal 7th is moved to a
different voice before the resolution
 Transferred Resolution – chordal 7th is moved
and resolved in another voice; very rare
Extended Embellishment of the
Tonic Harmony
 Tonic harmony may be prolonged by one
more embellishing chords prior to the
cadential formula
 I (IV – vii06) – I6 in major OR i (iv – V4/2) – i6 in minor
 Inversions are used that this interior
prolongation does not give a false sense of
cadence or anticipate a more stable rootprogression at the cadence
Terms
 Embellishing dominants
 V6 vii06 V6/5 V4/3 V4/2
 Embedded voice leading
 Extensions of V7
 Extended prolongation of tonic harmony
 Unusual treatment of the chordal 7th
 Delayed resolution – dangling 7th – displaced 7th –
transferred resolution