Linear Dominant Chords

V 6 , vii o6 , and Inversions of V 7
LINEAR DOMINANT CHORDS

Introduction
• Expanded bass line options (chords built on
^7, ^2, & ^4
First inversion dominant - V 6
First inversion leading-tone triad – vii 06
Inversions of the dominant seventh
• V 6/5 ,V 4/3 , and V 4/2 in both major and minor

The V 6 , vii o6 & inversions of V 7
• 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: V 6/5 ,V 4/3 , and V 4/2

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 V 6
• 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)
I – V 6 – I (^8-^7-^8 - lower neighbor)
• (^4-^7-^8 - inc. neigh)
I – V 6 – V 7 – I (^8-^7-^5-^8 - delayed neighbor)
IV 6 – V 6 – I (^6-^7-^8 – passing chords)
• Be careful using this; successive first inversion
chords can lead to parallel perfect octaves

Uses of the vii o6
• Diminished triad doublings: ^2 or ^4; never
double the root / leading tone (^7)
• Unequal fifths will occur occasionally and are
acceptable (see B.)
A. (3 rd ) B. (3 rd ) C. (5 th ) D. (3 rd )
vii 06 i vii 06 i vii 06 i vii 06 i

Uses of the vii o6
• Bass note is ^2; functions as a passing chord
between I and I 6 (^1-^2-^3 or ^3-^2-^1)
• When soprano moves ^6-^7-^8, vii 06 is a great
exit from IV-V-I (IV – vii 06 – I); avoids parallels
of root progression IV-V
I 6 vii 06 I I vii 06 I 6 I 6 IV vii 06 I

Inversions of the V 7
- INTRO
• Doublings aren’t an issue; almost always
complete: ^7 in bass in both V 6 & V 6/5 :
^2 in bass in both vii 06 & V 4/3
• V 4/2 and V 7
resolve the same way
• In both root positions and inversions 7 th are
prepared by passing or neighboring motion,
suspension, or appogiatura figuration &
resolves downward by step to ^3

V 6 and V 6/5
• Chordal seventh preparation
• Avoid unequal fifths except in V to V 6/5 (see D.
or E.)
Unequal
fifths
avoid
A. B. C. D. E.
Unequal
fifths
Ok!
i V 6/5 i i V 6/5 V 7 i i IV 6 V 6/5 I i V 6/5 i V V 6/5 i

The vii o6 and V 4/3
• Function as passing embellishing chords
between I and I 6 or vice versa
• Useful in harmonizing scale degrees ^6, ^7, & ^8
i 6 V 4/3 i i V 4/3 i 6 i 6 IV V 4/3 i
•Ex #2 contradicts the normal resolution practice of the chordal seventh (4-3).
In this case the 10 ths in the soprano and bass overrides the need for harmonic
resolution. The unequal fifths are also permissible.

The V 4/2
• Dissonant seventh between outer voices
makes this a very striking chord
V V 4/2 I 6 I 6 V 4/2 I 6 IV V 4/2 i 6 i V 4/2 i 6
•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 (I 6 ) 4/3 (I) 6/5 IV 6 7

Exceptional treatment of the
Chordal 7th
• Delayed resolution – chordal 7 th does not
move immediately to ^3, momentarily
diverted
• Dangling 7 th – chordal 7 th does not resolved
until a later beat in the measure
• Displacement – chordal 7 th is moved to a
different voice before the resolution
• Transferred Resolution – chordal 7 th 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
I (IV – vii 06 ) – I 6 in major OR i (iv – V 4/2 ) – i 6 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
V 6 vii 06 V 6/5 V 4/3 V 4/2
• Embedded voice leading
• Extensions of V 7
• Extended prolongation of tonic harmony
• Unusual treatment of the chordal 7 th
Delayed resolution – dangling 7 th – displaced 7 th –
transferred resolution