Nikolai Rimsky-Korsakov · section 38 of 96

Inversions of the dominant seventh chord

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§ 37. — 1) The inversions of the dominant seventh chord resolve onto the first degree, the seventh above the root moving to the third of the tonic chord.

2) First inversion: the chord of the fifth and sixth (six-five chord). It is placed after one of the chords of the first order and resolves to the tonic triad:

First inversion (six-five chord) of the dominant seventh in C major, after I, IV and V, resolving to the tonic triad — Fig. 130 · See it in the reader

3) Second inversion: the chord of the third and fourth (four-three chord). It is placed after one of the chords of the first order and resolves to the tonic triad:

Second inversion (four-three chord) of the dominant seventh in C major, after I, IV and V, resolving to the tonic triad — Fig. 131 · See it in the reader

4) Third inversion: the chord of the second (four-two chord). It is placed after one of the chords of the first order and after the sixth chord of the second degree, and resolves to the sixth chord of the tonic:

Third inversion (four-two chord) of the dominant seventh in C major, after I, IV, V and II6, resolving to the tonic sixth chord — Fig. 132 · See it in the reader

REMARK. — The chord of the fourth degree, before the four-two chord, can appear only in root position.

The three upper parts move by descending motion.

5) When the three inversions come after the chord of the first degree, the seventh may arise from a leap of a fourth upward in one of the parts; the other parts must not exceed the interval of a third:

The three inversions after I in C major, the seventh reached by an upward leap of a fourth in one part — Fig. 133 · See it in the reader

6) Leaps of the roots or of the fifths of the chord (see § 25) may be used when resolving the inversions of the dominant seventh chord:

Bad: V6/5 to I with hidden octaves between the outer voices (*); good: V4/3 to I and V4/2 to I6 with leaps in the inner or upper voice — Fig. 134 · See it in the reader

7) The dominant seventh chord and its inversions may be connected with one another, provided that the seventh is a common note; consequently the chord of the second cannot take part in these connections.

V7 moving through its inversions over a held seventh (F) before resolving to I — Fig. 135 · See it in the reader

REMARK.— This rule may later admit exceptions.