Inversions of V7

So far we have seen how the use of 6-3 position allows us to expand beyond root position I and V chords. In addition we saw that the Vii6 chord with its leading tone and 4th scale degrees forms a tritone above the bass and also acts as a very compelling force towards a resolution to I. In this unit we will now take a look at function and voice leading of the many inversions of the V7 chord.

Homework: Workbook Chapter 8 Pg 54 #s 1,2,3 Pg 56 #1, Pg 57 #3 & #6

V6-5, V4-3, & V4-2

1.  New Ways to Expand I
a. When we add the 7th of the V chord (the 4th scale degree) we introduce a new set of inversions to the Dominant harmony and thus continue to expand the melodic capacity of the bass. In the prevsious chapter we saw the V6 and Vii6 chords gave us bass tones on the 7th (leading tone) and 2nd scale degrees. Of particular importance in this chapter is the addition of the V4-2. With the V4-2 we now also include the 4th scale degree as a possible bass tone. Thus, with the exception of the 6th scale degree, we now have a chordal structure with a functional bass on every diatonic note.

b. Additionally, the introduction of the 7th in the V7 (and inversions) creates a dissonance within the chord that was not present before. As a result the dominant harmony with an added 7th (4th scale degree) has an extremely strong tendancy towards I.

2. Descending Resolution of 4 (7th above the root)
a.    Just as the Vii6 chord contained a tritone in the upper voices between the 4th and 7th scale degrees that had to resolve (most ofter 4 to 3 and 7 to 8), so too does the V7 chord contain the 4th and 7th scale degrees and so too must these scale degrees resolve. As with the Vii6, the most common resolution is 4 to 3 and 7 to 8.

3.  V6-5
a. Like the V6 chord, the V6-5 has the leading tone as its bass. However since the 7th of the chord is now present it forms a tritone against the bass and therefore the bass of the V6-5 must resolve upwards to the 1st scale degree. (the exception is when the V6-5 is part of a larger expansion of V)

4.  V4-3
a. If we eliminate the root of the V4-3 chord we are left with a Vii6 chord. The V4-3 and Vii6 are very similar in their function and contrapuntal voice leading. Just as we saw that the 2nd scale degree bass of the Vii6 was more stable than the active leading tone bass of the V6 and therefore could move easily to either the 1st scale degree or the 3rd scale degree, so too may the same be said for the bass of the V4-3.

b. Similarly we saw that Vii6 served as a very effective expansion of I since the dissonance of the diminished chord made the chord very active. The same tritone dissonance exists in the V4-3 and a similar resolution will occur

1. The 7th of the V4-3 chord is now consonant against the bass so like the Vii6 chord, when the V4-3 ascends to a I6, the 4th scale degree may resolve upwards.

2. When the V4-3 chord moves as a neighbor to 15 or passes from 16 to 15 the 4th scale degree will resolve down as expected.

5.  V4-2
a. With the V4-2 chord we now add a new tone available to our bass: the 4th scale degree. Since that bass tone will always form a dissonance with the leading tone, the bass of a V4-2 will always resolve down.

b. The main function of the V4-2 is as a passing chord from V5 to 16 and
c. As a upper neighbor (complete or incomplete) to 16
d. As an intermediary allowing V7 to fall to 16 via V4-2 (remember V7-16 should be avoided as it results in hidden octaves

6-9.  Other observations
a. Double neighbors and passing figures in the bass create opportunites to create progressions of movement from one inversion to the next. The chordal 7th resolves from the last voice in which it appeared
b. V7 and its inversions will appear incomplete at times. For now, we will try to conceive of them as complete chords.
c. Similar to 5-d above, avoidance of hidden octaves will neccesitate that you dont move from 4-3 and 5-3 in similar motion.

Contrapuntal Expansions of Tonic & Dominant

10.  Typical figures for bass and soprano
a.In addition to the in-class examples presented above, examples 8-10 through 8-13 in H&VL provide invaluable practice at writing good harmony and voiceleading for all the chords and inversions about which we have now discussed.

11.  Contrapuntal Cadences
a. In order to provide a well grounded and functionally stable authentic cadence, the penultimate chord (the V or V7) will almost always be in root position. As we have seen, using an inversion of V adds motion to the chord (and pulls it further from the fundamental of the overtone series) and therefore significantly weakens the otherwise grounded effect.

12.  "I" as a neighboring or passing chord
a. This discussion is a bit premature. For now please disregard.

13.  Melodic dissonance
a. The combination of I, V, Vii and the inversions makes dissonance in the melodic soprano line available for our use. Whereas in 1st species counterpoint dissonant leaps of a tritone and 7th are forbidden, they are rather fasionable and hip in 4 part writing. Just as the approach to and departure from a leap should be done from opposite directions in 1st species counterpoint, such a practice is also sonorous in 4 part writing. Avoid dissonant leaps in the inner voices.

ABOUT THE QUIZ:

Yes, its that time again to check up on ya and have a little fun.

I still need you guys to recognize intervals faster so we will have a section just like we have seen before which is nothing but intervals. The difference this time is that there will be a lot of them and some of them will be contained in triads. For the ones contained in triads, you will need to identify both the interval and the quality of the triad. I know you know how to figure them out. Im not worried about that. I want to see it happen quickly. As such expect a lot of intervals and not a whole lot of time to deal with them. Go to that interval trainer on the index page and get your speed down as low as possible.

There will be a species counterpoint but this time you will be writing under the cantus firmus in Bass clef!

A good bit of the quiz however will be from page 63-124 in H&VL. Be prepared to write 4 part chorale style harmony using all the inversions of I, V and Vii we have discussed so far. Look at the "points for review" at the end of each chapter of H&VL as your knowledge and understanding of these points are what I will be testing. I may give you a nothing but a figured bass and ask you to fill in the Soprano, Alto and Tenor. I may give you a Soprano and ask you to harmonize it in the bass then write the figured bass notation then fill in the Alto and Tenor. I may do some other derivation as well. Heck, I may just say write something... and see if you can put some chords together in a way that shows your Super Star DJ capacity.

Another interesting concept would be to give you a 4 part piece with lots of mistakes and see how many you can identify ;-)