11 Inversions of the Dominant Seventh Chord

I. In the inversions of the dominant seventh chord, the tritone is resolved in the same manner as the rootposition dominant seventh chord.

A. In the first inversion, V 65, the third is in the bass; figures represent the intervals of the root (6) and seventh(5) above the bass.

B. In the second inversion, V(6)43, the fifth is in the bass; figures represent the intervals of the root (4) and

seventh (3) above the bass. The figure is normally used only in the minor mode to indicate alterationof the leading tone. A slash through a figure means that the note is to be raised a half step.

88

*Note the doubled third, which often occurs in the resolution of the V43.

INVERSIONS OF THE DOMINANT SEVENTH CHORD 89

Note the exceptional resolution of the seventh in the progression I–V 43–I6, resulting from parallel tenthsin the bass and soprano.

C. In the third inversion, V(42)

the seventh is in the bass; the figure represents the interval of the root above thebass (2). The figure 4 is normally used only in the minor mode to indicate the alteration of the leadingtone.

D. The fifth may be omitted and the root doubled in the V 65 and the V2.

*Note the doubled fifth.

E. The following example includes several very common inverted dominant seventh chord idioms, shownbracketed. Note the bass scale-degrees associated with these idioms.

II. Nonharmonic tones (see Part V, Unit 3, for descriptions).

In both the appoggiatura (app.) and the suspension (sus.), the note of resolution should not be doubled unlessit is normally doubled in the chord of resolution. It is helpful to observe that the appoggiatura and suspensionare similar except that the suspension is prepared.

A. Appoggiatura.

B. Suspension.

90 DIATONIC MATERIALS

INVERSIONS OF THE DOMINANT SEVENTH CHORD 91

Analysis

Analyze the examples in Unit 8 of Music for Analysis. Refer to Part V, Unit 20, for a discussion of small forms.In addition to all elements previously discussed, consider the following:

1. Where do inversions of the dominant seventh occur? What is the nature of the bass line at that point?Analyze the bass line with scale-degree numbers.

2. Do inversions of V7 occur at cadence points?

Exercises

1. Harmonize the following, employing inversions of the dominant seventh as indicated:

2. In the following progressions, introduce appoggiaturas where indicated by an asterisk:

3. In the following progressions, introduce suspensions where indicated by an asterisk:

4. Realize the following figured basses. Employ nonharmonic tones. Work for a musical soprano melody,being attentive to the counterpoint between the outer voices. Analyze all work completely. Refer to Part V,Unit 9, for a discussion of figured-bass symbols and Part V, Unit 10, for a discussion of harmonizing afigured bass.

a.

b.

c.

d.

e.

f.

92 DIATONIC MATERIALS

INVERSIONS OF THE DOMINANT SEVENTH CHORD 93

5. Harmonize the following melodies, employing inversions of the dominant seventh chord in placesmarked with an asterisk. Employ nonharmonic tones. Work for a musical bass line, being attentive to thecounterpoint between the outer voices. Refer to Part V, Units 8 and 11, for a discussion of chord functionsand harmonizing a melody.

a.

b.

c.

d.

e.

6. Complete the following to a total length of at least eight measures. Continuing with the given texture,score the example for instruments that are available in class. Refer to Part V, Unit 23, for information oninstrumental ranges and transpositions.

7. Realize the following figured basses in the given contrapuntal textures:

a.

b.

8. Study examples of ground bass (basso ostinato) from the literature. Then compose a passacaglia for organusing the following unfigured bass. Refer to Part V, Unit 19, on counterpoint.

9. In the style of Exercise 6, compose a contrasting period of eight to sixteen measures. End the first phrasewith a half cadence and the second with a perfect authentic cadence.

10. The following patterns may be used for composition or improvisation:

a. E minor:

94 DIATONIC MATERIALS

INVERSIONS OF THE DOMINANT SEVENTH CHORD 95

b. A major:

11. Compose a brief binary composition, using the following formal outline: