Nikolai Rimsky-Korsakov · section 37 of 96

Root position

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§ 36. — 1) The dominant seventh chord in root position resolves to the tonic triad.

2) The seventh moves downward to the third of the tonic triad; the other parts, being notes of the dominant triad, move according to the rules of melodic connection:

The dominant seventh (G–B–D–F) resolving to the tonic triad in C major, with the seventh in the soprano, the alto and the tenor in turn — Fig. 123 · See it in the reader

3) The dominant seventh chord may be complete or incomplete; in the latter case it lacks the fifth and doubles the root.

4) Because of the rule that the leading note must rise to the tonic, the complete dominant seventh chord resolves to an incomplete tonic chord, and the incomplete dominant seventh chord resolves to a complete tonic chord:

V7 – I in C major: the complete seventh chord resolving to an incomplete tonic chord, then the incomplete seventh chord resolving to a complete tonic chord, etc — Fig. 124 · See it in the reader

5) The dominant seventh chord is used in the same situations as the dominant triad:

a) After the chord of the first degree, the seventh is approached by step.

Six progressions in C major in which the dominant seventh follows a tonic chord (root position, first inversion or 6/4), its seventh approached by step; in 2) a — Fig. 125 · See it in the reader

REMARK. — Parallel fifths (ex. 2), of which the second is diminished, are tolerated.

b) After the triad of the fourth degree, with which the dominant seventh chord is connected harmonically, the seventh is a common note and is called a prepared seventh; the other parts move according to the rule of melodic connection:

Three IV–V7–I progressions in C major (A♭ optional, for C minor): after the IV triad the prepared seventh F stays and the dominant seventh is incomplete; after — Fig. 126 · See it in the reader

REMARK. — After the triad of the fourth degree the dominant seventh chord must be incomplete; after the sixth chord of the fourth degree it may be complete.

c) After the triad of the fifth degree, the dominant seventh chord is formed by the passing seventh, or by the seventh that results from a leap of any note of the fifth-degree triad; the other parts may stay where they are or change position.

Five V–V7–I progressions in C major: 1) passing seventh in the tenor; 2)–5) the seventh F reached by a leap in an upper voice, the other voices holding or chang — Fig. 127 · See it in the reader

REMARK. — Ascending motion by a diminished fifth or a minor seventh is tolerated.

b) The dominant seventh chord, like the triad on the same degree, also resolves onto the chord of the sixth degree, with the third doubled, in the deceptive cadence. (See § 32.)

V7–VI in C major, the third (C) of the VI chord doubled: with a passing seventh in the alto, and with the seventh already present — Fig. 128 · See it in the reader

REMARK. — In this case the dominant seventh chord must without fail be complete.