Inversions of V7

Just like with a triad, the tones of a major-minor seventh chord may be rearranged
vertically resulting in three possible inversions: 65, 43 and 42. These numbers reflect the structure
of every inversion and emphasize the most characteristic intervals forming each particular
inversion. Mm65, for instance, denotes a diminished fifth and a minor sixth above the bass
without signifying the minor third; Mm43 indicates m3 and P4 above the bass, without showing
M6; and finally, Mm42 signifies M2 and +4 above the bass, omitting the Arabic numeral for M6.
Since the dominant seventh chord is major-minor in structure, the specific intervals and
symbology described above are fully applicable to any V7. See Example 1.
Example 1

As a rule, the inversions of V7, just like root position, resolve to the tonic triad. Even
though inversions of V7 represent a significant structural departure from root position, the rules
of voice leading and voicing/spacing while resolving into the tonic triad remain largely
unchanged. In an overwhelming majority of cases, the seventh of the chord always proceeds
downward by a diatonic step, with very few exceptions. The leading tone, as expected, resolves
upward by half-step, except when placed in an inner voice where it may also resolve down by
M3; the fifth of the chord may move either direction although it tends to resolve down by a
whole step to the tonic pitch; as for the root, instead of leaping up or down to the tonic pitch, it
remains unchanged in most cases.

Inversions of V7 (cont.) p. 2

V65 (1st Inversion)

Built on the third of the V7 chord, V65 belongs to some of the most commonly used
species of V7. It has the same level of tonal tension as root position but requires more stringent
voice leading as the third of the chord must always resolve up by a half-step to the tonic pitch.
Yet, it proceeds to the tonic triad stepwise in all voices, without any leaps, a factor which made it
highly attractive to composers. See Example 2.
Example 2

V43 (2nd Inversion)

Providing several voice leading options, V43 is also commonly used. Built on the
supertonic pitch, this inversion may resolve both to the tonic triad in root position (Ex. 3) and
first inversion (Ex. 4). Note that while proceeding to I6, V43 works as part of a musical idiom in
which it is preceded by the tonic triad in root position, followed by a I6, contains three pairs of
parallel tenths and, very importantly, allows the seventh of the chord to proceed upward.

Inversions of V7 (cont.) p. 3

Example 3

Example 4

V42 (3rd Inversion)

V42 is built on the seventh of V7 and, for this reason, can only resolve into I6. Quite often
preceded by the V triad, V42 occurs mostly on the weak beats of a measure and is perceived as a
transitory and decorative chord. See Example 5.

Inversions of V7 (cont.) p. 4

Example 5

As a rule, none of the inversions of V7 is used in an incomplete form, as no chord

member in a V7 inversion forms a P5 with a bass, an interval most likely to be left out without
having a poor effect on the sound characteristics of an incomplete chord.

Analysis Examples Provide Roman numeral and non-chord tone analysis for the following
excerpts.

Beethoven Op. 2, No. 3, 2nd Movement

Inversions of V7 (cont.) p. 5

Mozart Sonata in G Major, KV 283

Beethoven Sonata in F Minor, Op. 2, No. 1

Inversions of V7 (cont.) p. 6

Inversions of V7 (cont.) p. 7

Exercise 1 Build inversions of V7 according to the specifications below. Use key signatures.

Inversions of V7 (cont.) p. 8

Inversions of V7 (cont.) p. 9

Piano Exercise 1

Play and transpose by any given interval the following pattern consisting of the inversions of V7.

Inversions of V7 (cont.) p. 10

Notes

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