Part I

Root Position V7

V7 examples 


       Model 1                       Model 2

       F  -  E  (a)                  F  -  E (a)
       D  -  C  (s)                  B  -  C (a)
       B  -  C  (a)                  G  -  G (ct)
----  ---------                      ---------
Bass:  G  -  C                       G  -  C
C +:   V7 -  I                       V7 -  I
   (  c.  -  i.c. )               ( i.c. -  c. )

We treat V7 like V where it almost always moves to I or a I substitute.

In S.A.T.B. writing, root position V7 is formed two different ways: complete (c), that is with all four pitches present; or incomplete (i.c.), with the root of the chord doubled, and the 5th omitted.

For example, in C major:

  • V7 = GBDF or
  • V7 = GGBF

In V7, we find two active tones in the chord, the leading note, and the subdominant, which make up the tritone of the key. Try to resolve the tritone correctly to retain a strong sense of the tonic key. Later, in Grade 4 harmony, students learn how to introduce tritones from keys other than the the notated one to facilitate modulations, the changing of a piece's key.

In C major, the tritone is B and F. In V7, the B, or leading tone, should resolve up by step, and the subdominant note, F, should move down by step.

  • B - C
  • F - E

Since there are two spellings for V7, we can create 2 basic models, as shown above, where: a complete V7 (c.) moves to an incomplete I chord (i.c.) with the root tripled, and the fifth omitted; or an incomplete V7 moves to a complete I chord.