Linear Dominant Chords

V6 , viio6 , and Inversions of V7
LINEAR DOMINANT CHORDS
Introduction
п‚§ Expanded bass line options (chords built on
^7, ^2, & ^4
пѓє First inversion dominant - V6
 First inversion leading-tone triad – vii06
пѓє Inversions of the dominant seventh
п‚ V6/5 ,V4/3 , and V4/2 in both major and minor
The V6, viio6 & inversions of V7
п‚§ V chords retain chord quality in both major
and minor modes
п‚§ 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
п‚§ Mm7 harmonies: V6/5 ,V4/3 , and V4/2
V chord varieties
In bass:
^5
^7
^2
^4
п‚§ New chords contain active scale degrees in the bass that
want to move to more stable scale degrees in the tonic
п‚§ 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
п‚§ Appear only rarely as part of a cadence formula
Uses of the V6
п‚§ No specific part-writing guidelines; double
the soprano – never the bass (its the LT)
п‚§ Bass should resolve to tonic ^7 - ^8
п‚§ Typical functions (bass scale degrees)
 I – V6 – I (^8-^7-^8 - lower neighbor)
п‚ (^4-^7-^8 - inc. neigh)
 I – V6 – V7 – I (^8-^7-^5-^8 - delayed neighbor)
 IV6 – V6 – I (^6-^7-^8 – passing chords)
п‚ Be careful using this; successive first inversion
chords can lead to parallel perfect octaves
Uses of the viio6
п‚§ Diminished triad doublings: ^2 or ^4; never
double the root / leading tone (^7)
п‚§ 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
п‚§ Bass note is ^2; functions as a passing chord
between I and I6 (^1-^2-^3 or ^3-^2-^1)
п‚§ 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
п‚§ V4/2 and V7 resolve the same way
п‚§ 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
п‚§ Chordal seventh preparation
п‚§ 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
п‚§ Function as passing embellishing chords
between I and I6 or vice versa
п‚§ 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
п‚§ 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
п‚§ Inversions in ascending or descending bass
arpeggiation
п‚§ 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
п‚§ 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
п‚§ 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
п‚§ Embellishing dominants
пѓє V6 vii06 V6/5 V4/3 V4/2
п‚§ Embedded voice leading
п‚§ Extensions of V7
п‚§ Extended prolongation of tonic harmony
п‚§ Unusual treatment of the chordal 7th
 Delayed resolution – dangling 7th – displaced 7th –
transferred resolution