Resolving the V7 and its Inversions.  Let’s create a V7 chord by stacking 3rds on scale degree 5.  SATB style, anyone?  What is the quality of the.

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Presentation transcript:

Resolving the V7 and its Inversions

 Let’s create a V7 chord by stacking 3rds on scale degree 5.  SATB style, anyone?  What is the quality of the intervals between the chord tones?

1. *A chordal seventh (almost) always resolves DOWN by step* 2. In a dominant to tonic cadence, scale degree 7 leads to scale degree one 3. When a root position V7 moves to a root position I, one chord must be incomplete.

 Yes, to avoid those dreaded parallel 5ths!  An incomplete chord is one that is lacking 5 th, which is considered the least essential interval.  An incomplete I/i chord:  Written with 3 roots and one third.  An incomplete V7 chord:  The root is usually doubled and the 5 th is left out.

 V7 to I in G major  Notice how the last chord is missing the 5th

 Root position  1 st inversion (3 rd in bass)  Bass must resolve up to tonic  2 nd inversion (5 th in bass)  Bass usually resolves down a step to tonic  3 rd inversion (7 th in bass)  Must resolve to a first inversion I chord.

 Notice how the leading tone resolves upward

 The tri-tone between scale degrees 7 and 4 resolves inward

 Scale degree 4 in the bass resolves downward  the leading tone resolves upward to G

Just remember: The chordal 7 th (scale degree 4) resolves DOWN to scale degree 3 The leading tone (scale degree 7) resolves UPWARD to scale degree 1 (tonic)