V6 , viio6 , and Inversions of V7 LINEAR DOMINANT CHORDS Introduction  Expanded bass line options (chords built on ^7, ^2, & ^4 пѓє First inversion dominant - V6 пѓє 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  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) пѓє I – V6 – I (^8-^7-^8 - lower neighbor) п‚ (^4-^7-^8 - inc. neigh) пѓє I – V6 – V7 – I (^8-^7-^5-^8 - delayed neighbor) пѓє 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  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 пѓє 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 пѓє 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 пѓє Delayed resolution – dangling 7th – displaced 7th – transferred resolution
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