Part II

vii6

ii7-examples

In Grade 3 harmony, use of the vii chord is limited to its most common form: in first inversion as a substitute for V7. Comparing the pitches from V7 and vii will show why this is possible.

In C+: 


V7  =  G B D F
vii =    B D F

vii, like V7, contains the tritone of the key. Any chord that contains a tritone can be treated as having a dominant function.

In vii6, double the third of the chord and treat it as you would a second inversion V7, either moving to I or I6. To avoid awkward voice leading, resolve the tritone using a R.R.S.D. Note that the parallel fifths in the examples are are acceptable because we have a diminished fifth moving to a perfect fifth rather than two perfect fifths in the same voices. 


       F - G (rrsd)       F - G (rrsd)
       D - E (s)          D - C (s)
       B - C (a)          B - C (a)
-----  ------            ------
Bass:  D - C              D - E
C+:  vii6 -I             vii6-I6