MUSC1600 Music Techniques 1

Week 6

Topics
 Second inversions - Introduction
 The V7 chord in root position and inversions.

Readings
Gauldin, chapters 4, 10.

Second Inversions - Introduction

Remember that we indicate the position of the chord by means of numbers: 5/3 for root, 6/3 for first inversion
and 6/4 for second inversion.

To recognize a second inversion triad, calculate the intervals formed between the bass and each of the upper
parts. Roman numerals with superscripts may be used. (When numbers alone are present, we usually refer to
them as Figured Bass symbols.)

IN-CLASS TASK
Identify the following as root position, first inversion or second inversion. The first two are done for you.

We will use second inversion chords sparingly in this class – only in certain places. Not every second
inversion triad is useful, and we will restrict our usage to second inversion of the chord of I (or i), IV (or iv),
and V and V7. We will return to the topic of second inversions in much greater detail in a later class.

SEVENTH CHORDS
A seventh chord involves four notes: the root, third fifth and seventh. For example, to build a seventh chord on
C, you should add the notes E, G and B (notice how each of these is placed a 3rd above the previous note).

There are various kinds of 7th chord depending on whether the lower three notes make a major, minor or
diminished triad, and whether the 7th itself forms a major, minor or diminished 7th with the root.
Dominant Seventh (V7) Chords
In this class we will only deal with one kind of seventh chord: The dominant seventh chord comprises the
notes of the triad built on V with the addition of the seventh above the root of V. Note that this is a minor
seventh above the root.

V7 is often used as a substitute for V, especially at cadence points.

As with the other chords we have so far encountered, V7 can be inverted, i.e., we have the first inversion V6/5,
the second inversion V4/3, and also the third inversion V4/2.

The seventh above the root of V7 requires careful resolution: it drops by step to form the 3rd or 5th of the next
chord.

The only time when the 7th does not fall is when we have V7 repeated with the voices taking different notes of
the chord or perhaps changing from root position to an inversion or vice-versa. In this case, the 7th is
transferred to another voice, which will resolve it by dropping a step to the next chord.

The following examples show V7 in root position and inversions.

In summary:
 Include all four tones when writing V7. In some cases it may be necessary to omit the 5th and double the
root in order to get smoother part-writing.
 The V7 chord can be used in root position or in any of its three inversions.
 Resolve the 7th of V7 downwards by step to the 3rd or 5th of the next chord. The resolution may be delayed
(or ornamented) by using different positions of V7.
 V7 can resolve to either I or vi (or i or VI), while the inversions of the dominant seventh chord must
resolve to the tonic chord I or i (in root position or first inversion – look at the examples again to see how).
 The Half (Imperfect) Cadence must end on the dominant (V) chord, never on V7.

Notice the occurrences of the hitherto forbidden diminished fifth interval in this example (second line, first bar
and second last bar). These involve the 7th and 3rd (i.e., leading note) of V7. Specifically, the 3rd of the chord
leaps to the 7th which resolves by dropping a step to the next chord.

This can also work when the seventh leaps down to the third which resolves upwards (leading note to tonic).
See the bass in the following example:

EXERCISES: Resolve each of these V7 chords. Identify the keys and write in Roman numeral chord indications
with superscripts.

Add alto and tenor to the following. The asterisks indicate where you should use the appropriate positions of
the V7 chord.

Solution: