| A | B |
|---|
| Inversions of V^7 | Are subordinate contrapuntal chords= Thus, they CANNOT substitute for V or V^7 as the dominant in a cadential progression |
| Inversions of V^7: Function | Generally function as passing or neighboring chords connecting I and I^6= THUS, they MUST be approached and/or left by STEP |
| Tendency Tones | V^7 and its inversions have 2 tendency tones: (1) the leading tone, and (2) the chord 7th |
| Inversions of V^7: Rules for Treatment | Leading tones that appear in the soprano or bass MUST resolve UP by STEP= Chord 7ths must ALWAYS resolve DOWN by STEP (EXCEPTION: Uses of V^[4/3] that involve three ascending parallel 10ths in the outer voices= Never double the leading tone= Never double the chord 7th= Inversions of 7th chords MUST be COMPLETE= Avoid similar motion to a tonic with a doubled 3rd= Watch out for 5-3 in the soprano |
| V^[6/5]-I: Soprano Progression | 4-3 |
| I-V^[4/3]-I^6 | 3-4-5 |
| V^[4/2]-I^6 | [2-5] OR [5-8] |
