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4.5 Voice Leading with Seventh Chords in Inversions

7 min readjanuary 26, 2023

Mickey Hansen

Mickey Hansen

Mickey Hansen

Mickey Hansen

Voice Leading with Seventh Chords

As a general rule, when we write of sevenths chords in a harmonic progression, it is important to keep entry and exit of the chord through a . Minimal or no leaps in or out of a seventh chord is essential. in often allow the bass to have a melodic stepwise quality. Just like those walking bass players in jazz!

Leading Tone Seventh Chords

, the ⅶo7 diminished and ⅶø7, have two possible functions:

  • To substitute for the Ⅴ or Ⅴ7 chord as part of the dominant, or

  • Placed between tonic chords, to prolong the tonic in a stepwise voice leading

Let’s see an example of both. First, consider a vii7-I cadence. Remember that the vii7 has a because the leading tone resolves well to the tonic. Usually, we use this chord in root position, which gives a stronger leading tone-tonic resolution. We can also use it in some other inversion where the leading tone is in the top voice. This will also give this progression a strong resolution. 

https://firebasestorage.googleapis.com/v0/b/fiveable-92889.appspot.com/o/images%2FScreenshot%202023-01-07%2011.36-0dT4GviOuzyV.png?alt=media&token=80a87872-63e8-446f-961c-fdec6aede34e

Using is more useful in the second case, where we place the vii chord between two tonic chords. While we can use this in root position, perhaps with a I-vii6/5-I progression, we can also use it in first inversion to create a voice exchange. Here is an example:

https://firebasestorage.googleapis.com/v0/b/fiveable-92889.appspot.com/o/images%2FScreenshot%202023-01-07%2011.37-ZJVXXzEtUsgh.png?alt=media&token=7cfc5fb7-b633-4667-a55b-6df0bcbb612f

of the are also used quite a bit in music. We will cover this in later units! 

Omitting Voices

Remember that inverted chords should contain all the tones of the chord. While it is okay to omit chord tones in a seventh chord in root position, any inversion chords cannot do so. Keep them all!

https://firebasestorage.googleapis.com/v0/b/fiveable-92889.appspot.com/o/images%2F-MxmqeSD9czXE.webp?alt=media&token=4afbfa09-bb78-4b8b-9b85-463ab132437f

🦜 Polly wants a progress tracker: If you have a V7 chord in the key of A Major, what is the 7th chord tone and to what note will it resolve?

Unit 4 Voice Leading Rules Summary

We’ve covered a TON of thus far. Let’s take a step back and summarize all of them, starting with Unit 4.1

General Voice Leading Rules and Considerations: 

  1. Voice leading should proceed mostly by step without excessive leaps. 

  2. When possible, pitches common to adjacent chords, or , should be retained in the same voice part(s). 

  3. For clarity of voice leading, any chord should maintain soprano-alto-tenor-bass (SATB) order from high to low to avoid

  4. If a perfect fifth between two voices is not immediately repeated, it should proceed to an interval other than another perfect fifth between the same voices. This applies to parallel motion (i.e., ) as well as contrary motion; it also applies to nonadjacent chords on successive beats. 

  5. If a perfect octave or unison between two voices is not immediately repeated, it should proceed to an interval other than another perfect octave or perfect unison between the same voices. This applies to parallel motion (i.e., ) as well as contrary motion; it also applies to nonadjacent chords on successive beats. 

  6. All voices should proceed melodically with the following intervals—major and minor second, major and minor third, perfect fourth, and perfect fifth. All melodic augmented and diminished intervals should be excluded, as they produce uncharacteristic dissonances. All melodic intervals larger than a perfect fifth should also be excluded, as they create uncharacteristic disjunct motion. 

  7. The leading tone in an outer voice (i.e., soprano or bass) should always resolve up by step to avoid an

  8. Outer voices may include leading tones as long as those leading tones are not doubled in another voice and resolve to the tonic by ascending in , to avoid an .

  9. All implied chords must allow the corresponding soprano notes to make harmonic sense.

  10. An acceptable harmonic progression can be made using tonic, supertonic, subdominant, and dominant triads exclusively, as long as the normative procedures of harmonic progression are followed. 

  11. Repeated instances of a specific harmony— that is, repeating a particular chord in a particular position (root position or inversion)— are acceptable only if the repeated harmonies start on a strong beat. However, at the beginning of a phrase, the repeated harmonies may start on a weak beat.

  12. Melodic interest in a bass line may be created by balancing upward and downward motion and by balancing melodic steps and leaps.

  13. A bass line uses melodic leaps with greater frequency than upper voices or parts, which tend toward more

  14. Allowable leaps include thirds, perfect fourths and fifths, sixths, and octaves, and, if resolved properly, descending diminished fifths. 

  15. Octave leaps should be followed by changes in direction. 

  16. The bass line may include successive leaps in the same direction as long as the pitches outline a triad.

  17. Repeated bass notes are acceptable only if they start on a strong beat. However, the repeated notes may start on a weak beat if it is the beginning of a phrase or if the second note is a suspension.

  18. Although bass lines may feature note values ranging from half notes to eighth notes, the quarter note is the most frequent rhythmic value

Parallel Voices 

  1. Avoid and . and octaves occur when two outer voices move in similar motion and they maintain the same perfect fifth or octave interval between the voices

  2. Also avoid direct fifths and direct octaves, which occurs when you retain the same perfect interval between two inner voices, or between one outer voice and one inner voice 

  3. Additionally, avoid three consecutive thirds and three consecutive sixths between voices

  4. Avoid rising unequal fifths, where an interval of a diminished fifth between two voices resolves to a perfect fifth 

Doubling and Spacing Rules 

  1. Double the root of a triad whenever voice leading allows. 

  2. Thirds and fifths may also be doubled in triads when they result in good voice leading. 

  3. In all situations, always double (i.e., tones other than the leading-tone and chordal seventh). 

  4. If the fifth is omitted in a root-position seventh chord, double the root. 

  5. Following a complete root position V7, the tonic triad may have three roots and a third (no fifth). 

  6. In 6/4 chords, always double the bass

  7. In general, upper voices should be less than an octave apart 

Seventh Chords 

  1. should be approached by common tone or by step. When the voice-leading context precludes these options, may also be approached by ascending leap or (rarely) by a descending leap of a third.

  2. All should resolve by a descending step, to avoid an unresolved seventh. However, the chordal seventh in a V4/3 chord may move up by a step when appearing in a I-V4/3-I6 progression. In some cases, the chordal seventh may be retained in the same voice before resolving down by a step. 

  3. The fifth of a root-position dominant seventh chord may be omitted if it helps the voice leading. When the fifth is omitted in a root position seventh chord, the root should be doubled. 

  4. All inverted must be spelled completely in writing the chord.

Cadences 

  1. Harmonic progressions and phrases should end with a cadence

  2. Authentic are used to create a sense of resolution and finality for phrases. They have a V-I or V-i chord progression. Sometimes, there will be a vii chord between the dominant and the tonic to prolong the dominant area. You can have perfect authentic or imperfect authentic . In perfect authentic , both the dominant and the tonic chords are in root position, so there is a stronger sense of resolution. In imperfect authentic , either one or both of the chords may be inverted. Imperfect authentic provide a weaker sense of resolution. 

  3. Half end on a dominant chord. Usually, half will be a vi-V or VI-V progression, but that is not always the case. By ending on a dominant chord, half give some sense of resolution without fully finishing the phrase. They are best used in the middle of a piece, when transitioning from one phrase to another. 

  4. Deceptive try to trick listeners into thinking that there will be resolution, but they don’t provide a resolution. Deceptive go from a dominant chord to some other chord. Usually, the vi chord follows the dominant chord in deceptive . They are often used to prolong phrases and create tension 

  5. Finally, plagal are a IV-I or iv-i progression. They give a weaker sense of resolution than authentic , but the phrase will still sound resolved. Plagal were used a lot in church music (hence the name) and they are used in several modern pop songs as well. 

Make sure to remember these for the AP Music Theory exam! While it is true that some of the rules are more important than others, you should at least be aware of all the – sometimes, even if a voice leading rule is not on the rubric of a free response question, the multiple choice section may ask about it. 

Key Terms to Review (22)

Authentic Cadence

: An authentic cadence is a chord progression that creates a sense of resolution and finality. It typically consists of a V (dominant) chord followed by a I (tonic) chord.

Cadences

: Cadences are musical phrases or progressions that mark the end or pause in music. They provide closure and help establish tonality.

Chordal Sevenths

: Chordal sevenths are four-note chords that include a root, third, fifth, and seventh. They add tension and color to a chord progression.

Common Tones

: Common tones are pitches that are shared between two or more chords. They create a sense of stability and continuity in music.

Deceptive cadence

: A deceptive cadence occurs when there is an unexpected resolution from V (dominant) to vi (relative minor) instead of resolving to I (tonic). This creates tension and surprise in music.

Dominant Function

: The dominant function refers to the role of the V chord in a key, which creates tension and leads back to the tonic (I) chord. It is an essential part of harmonic progressions.

Doubling and Spacing Rules

: Doubling and spacing rules are guidelines that determine which notes should be doubled (repeated) within chords and how they should be spaced apart. These rules help maintain balance, clarity, and proper voice-leading in harmony.

Half Cadence

: A half cadence is a musical phrase that ends on the dominant chord (V), creating an incomplete or "hanging" feeling. It leaves listeners with a sense of expectation for further resolution.

ii7 chord

: The ii7 chord is a four-note chord built on the second scale degree of a major or minor key. It consists of a root, a minor third, a perfect fifth, and a minor seventh.

Imperfect Authentic Cadence

: An Imperfect Authentic Cadence is similar to a Perfect Authentic Cadence but with one small difference - instead of ending on the tonic chord (I), it ends on another chord within the key, such as IV or vi.

Inversions

: Inversions occur when you rearrange the order of notes in a chord so that its lowest note is no longer the root. This creates different voicings and can change the overall sound and character of the chord.

Leading-tone Seventh Chords

: Leading-tone seventh chords are four-note chords built on the seventh scale degree of a major or minor key. They consist of a diminished triad with an added minor seventh.

Non-tendency Tones

: Non-tendency tones, also known as non-chord tones, are melodic notes that do not belong to the underlying harmony. They create temporary dissonance and add color and interest to music before resolving to a chord tone.

Parallel fifths

: Parallel fifths occur when two voices move in perfect fifths (or octaves) in the same direction. This creates a harmonic progression that is considered undesirable in traditional voice leading.

Parallel Octaves

: Parallel octaves are similar to parallel fifths, but instead of moving in perfect fifths, two voices move in perfect octaves in parallel motion. Like parallel fifths, this creates a specific sound that may be considered undesirable in traditional music theory.

Perfect Authentic Cadence

: A perfect authentic cadence (PAC) is a harmonic progression consisting of V-I chords where both chords are in root position, ending on the tonic (I) chord. It creates a strong sense of resolution and finality.

Plagal Cadence

: A plagal cadence is a chord progression commonly used in hymns and religious music. It involves moving from the subdominant (IV) to tonic (I) chord, creating a peaceful and conclusive sound.

Seventh Chords

: Seventh chords are four-note chords consisting of a triad (three notes stacked in thirds) and an additional note called the seventh. They add richness and tension to music.

Stepwise Motion

: Stepwise motion refers to melodic movement by step, where the notes move to an adjacent pitch either higher or lower. It creates a smooth and connected sound.

Unresolved Leading Tone

: The unresolved leading tone is a musical note that creates tension and wants to resolve to the tonic note, but remains unresolved. It adds a sense of anticipation and instability in the music.

Voice Crossing

: Voice crossing occurs when two voices in a musical composition cross over each other, meaning that the higher voice temporarily goes below the lower voice or vice versa. This can create dissonance and affect the overall harmony of the piece.

Voice Leading Rules

: Voice leading rules are guidelines that dictate how individual voices should move from one chord to another in order to create smooth and pleasing musical transitions. These rules help maintain the independence and clarity of each voice while ensuring harmonic coherence.

4.5 Voice Leading with Seventh Chords in Inversions

7 min readjanuary 26, 2023

Mickey Hansen

Mickey Hansen

Mickey Hansen

Mickey Hansen

Voice Leading with Seventh Chords

As a general rule, when we write of sevenths chords in a harmonic progression, it is important to keep entry and exit of the chord through a . Minimal or no leaps in or out of a seventh chord is essential. in often allow the bass to have a melodic stepwise quality. Just like those walking bass players in jazz!

Leading Tone Seventh Chords

, the ⅶo7 diminished and ⅶø7, have two possible functions:

  • To substitute for the Ⅴ or Ⅴ7 chord as part of the dominant, or

  • Placed between tonic chords, to prolong the tonic in a stepwise voice leading

Let’s see an example of both. First, consider a vii7-I cadence. Remember that the vii7 has a because the leading tone resolves well to the tonic. Usually, we use this chord in root position, which gives a stronger leading tone-tonic resolution. We can also use it in some other inversion where the leading tone is in the top voice. This will also give this progression a strong resolution. 

https://firebasestorage.googleapis.com/v0/b/fiveable-92889.appspot.com/o/images%2FScreenshot%202023-01-07%2011.36-0dT4GviOuzyV.png?alt=media&token=80a87872-63e8-446f-961c-fdec6aede34e

Using is more useful in the second case, where we place the vii chord between two tonic chords. While we can use this in root position, perhaps with a I-vii6/5-I progression, we can also use it in first inversion to create a voice exchange. Here is an example:

https://firebasestorage.googleapis.com/v0/b/fiveable-92889.appspot.com/o/images%2FScreenshot%202023-01-07%2011.37-ZJVXXzEtUsgh.png?alt=media&token=7cfc5fb7-b633-4667-a55b-6df0bcbb612f

of the are also used quite a bit in music. We will cover this in later units! 

Omitting Voices

Remember that inverted chords should contain all the tones of the chord. While it is okay to omit chord tones in a seventh chord in root position, any inversion chords cannot do so. Keep them all!

https://firebasestorage.googleapis.com/v0/b/fiveable-92889.appspot.com/o/images%2F-MxmqeSD9czXE.webp?alt=media&token=4afbfa09-bb78-4b8b-9b85-463ab132437f

🦜 Polly wants a progress tracker: If you have a V7 chord in the key of A Major, what is the 7th chord tone and to what note will it resolve?

Unit 4 Voice Leading Rules Summary

We’ve covered a TON of thus far. Let’s take a step back and summarize all of them, starting with Unit 4.1

General Voice Leading Rules and Considerations: 

  1. Voice leading should proceed mostly by step without excessive leaps. 

  2. When possible, pitches common to adjacent chords, or , should be retained in the same voice part(s). 

  3. For clarity of voice leading, any chord should maintain soprano-alto-tenor-bass (SATB) order from high to low to avoid

  4. If a perfect fifth between two voices is not immediately repeated, it should proceed to an interval other than another perfect fifth between the same voices. This applies to parallel motion (i.e., ) as well as contrary motion; it also applies to nonadjacent chords on successive beats. 

  5. If a perfect octave or unison between two voices is not immediately repeated, it should proceed to an interval other than another perfect octave or perfect unison between the same voices. This applies to parallel motion (i.e., ) as well as contrary motion; it also applies to nonadjacent chords on successive beats. 

  6. All voices should proceed melodically with the following intervals—major and minor second, major and minor third, perfect fourth, and perfect fifth. All melodic augmented and diminished intervals should be excluded, as they produce uncharacteristic dissonances. All melodic intervals larger than a perfect fifth should also be excluded, as they create uncharacteristic disjunct motion. 

  7. The leading tone in an outer voice (i.e., soprano or bass) should always resolve up by step to avoid an

  8. Outer voices may include leading tones as long as those leading tones are not doubled in another voice and resolve to the tonic by ascending in , to avoid an .

  9. All implied chords must allow the corresponding soprano notes to make harmonic sense.

  10. An acceptable harmonic progression can be made using tonic, supertonic, subdominant, and dominant triads exclusively, as long as the normative procedures of harmonic progression are followed. 

  11. Repeated instances of a specific harmony— that is, repeating a particular chord in a particular position (root position or inversion)— are acceptable only if the repeated harmonies start on a strong beat. However, at the beginning of a phrase, the repeated harmonies may start on a weak beat.

  12. Melodic interest in a bass line may be created by balancing upward and downward motion and by balancing melodic steps and leaps.

  13. A bass line uses melodic leaps with greater frequency than upper voices or parts, which tend toward more

  14. Allowable leaps include thirds, perfect fourths and fifths, sixths, and octaves, and, if resolved properly, descending diminished fifths. 

  15. Octave leaps should be followed by changes in direction. 

  16. The bass line may include successive leaps in the same direction as long as the pitches outline a triad.

  17. Repeated bass notes are acceptable only if they start on a strong beat. However, the repeated notes may start on a weak beat if it is the beginning of a phrase or if the second note is a suspension.

  18. Although bass lines may feature note values ranging from half notes to eighth notes, the quarter note is the most frequent rhythmic value

Parallel Voices 

  1. Avoid and . and octaves occur when two outer voices move in similar motion and they maintain the same perfect fifth or octave interval between the voices

  2. Also avoid direct fifths and direct octaves, which occurs when you retain the same perfect interval between two inner voices, or between one outer voice and one inner voice 

  3. Additionally, avoid three consecutive thirds and three consecutive sixths between voices

  4. Avoid rising unequal fifths, where an interval of a diminished fifth between two voices resolves to a perfect fifth 

Doubling and Spacing Rules 

  1. Double the root of a triad whenever voice leading allows. 

  2. Thirds and fifths may also be doubled in triads when they result in good voice leading. 

  3. In all situations, always double (i.e., tones other than the leading-tone and chordal seventh). 

  4. If the fifth is omitted in a root-position seventh chord, double the root. 

  5. Following a complete root position V7, the tonic triad may have three roots and a third (no fifth). 

  6. In 6/4 chords, always double the bass

  7. In general, upper voices should be less than an octave apart 

Seventh Chords 

  1. should be approached by common tone or by step. When the voice-leading context precludes these options, may also be approached by ascending leap or (rarely) by a descending leap of a third.

  2. All should resolve by a descending step, to avoid an unresolved seventh. However, the chordal seventh in a V4/3 chord may move up by a step when appearing in a I-V4/3-I6 progression. In some cases, the chordal seventh may be retained in the same voice before resolving down by a step. 

  3. The fifth of a root-position dominant seventh chord may be omitted if it helps the voice leading. When the fifth is omitted in a root position seventh chord, the root should be doubled. 

  4. All inverted must be spelled completely in writing the chord.

Cadences 

  1. Harmonic progressions and phrases should end with a cadence

  2. Authentic are used to create a sense of resolution and finality for phrases. They have a V-I or V-i chord progression. Sometimes, there will be a vii chord between the dominant and the tonic to prolong the dominant area. You can have perfect authentic or imperfect authentic . In perfect authentic , both the dominant and the tonic chords are in root position, so there is a stronger sense of resolution. In imperfect authentic , either one or both of the chords may be inverted. Imperfect authentic provide a weaker sense of resolution. 

  3. Half end on a dominant chord. Usually, half will be a vi-V or VI-V progression, but that is not always the case. By ending on a dominant chord, half give some sense of resolution without fully finishing the phrase. They are best used in the middle of a piece, when transitioning from one phrase to another. 

  4. Deceptive try to trick listeners into thinking that there will be resolution, but they don’t provide a resolution. Deceptive go from a dominant chord to some other chord. Usually, the vi chord follows the dominant chord in deceptive . They are often used to prolong phrases and create tension 

  5. Finally, plagal are a IV-I or iv-i progression. They give a weaker sense of resolution than authentic , but the phrase will still sound resolved. Plagal were used a lot in church music (hence the name) and they are used in several modern pop songs as well. 

Make sure to remember these for the AP Music Theory exam! While it is true that some of the rules are more important than others, you should at least be aware of all the – sometimes, even if a voice leading rule is not on the rubric of a free response question, the multiple choice section may ask about it. 

Key Terms to Review (22)

Authentic Cadence

: An authentic cadence is a chord progression that creates a sense of resolution and finality. It typically consists of a V (dominant) chord followed by a I (tonic) chord.

Cadences

: Cadences are musical phrases or progressions that mark the end or pause in music. They provide closure and help establish tonality.

Chordal Sevenths

: Chordal sevenths are four-note chords that include a root, third, fifth, and seventh. They add tension and color to a chord progression.

Common Tones

: Common tones are pitches that are shared between two or more chords. They create a sense of stability and continuity in music.

Deceptive cadence

: A deceptive cadence occurs when there is an unexpected resolution from V (dominant) to vi (relative minor) instead of resolving to I (tonic). This creates tension and surprise in music.

Dominant Function

: The dominant function refers to the role of the V chord in a key, which creates tension and leads back to the tonic (I) chord. It is an essential part of harmonic progressions.

Doubling and Spacing Rules

: Doubling and spacing rules are guidelines that determine which notes should be doubled (repeated) within chords and how they should be spaced apart. These rules help maintain balance, clarity, and proper voice-leading in harmony.

Half Cadence

: A half cadence is a musical phrase that ends on the dominant chord (V), creating an incomplete or "hanging" feeling. It leaves listeners with a sense of expectation for further resolution.

ii7 chord

: The ii7 chord is a four-note chord built on the second scale degree of a major or minor key. It consists of a root, a minor third, a perfect fifth, and a minor seventh.

Imperfect Authentic Cadence

: An Imperfect Authentic Cadence is similar to a Perfect Authentic Cadence but with one small difference - instead of ending on the tonic chord (I), it ends on another chord within the key, such as IV or vi.

Inversions

: Inversions occur when you rearrange the order of notes in a chord so that its lowest note is no longer the root. This creates different voicings and can change the overall sound and character of the chord.

Leading-tone Seventh Chords

: Leading-tone seventh chords are four-note chords built on the seventh scale degree of a major or minor key. They consist of a diminished triad with an added minor seventh.

Non-tendency Tones

: Non-tendency tones, also known as non-chord tones, are melodic notes that do not belong to the underlying harmony. They create temporary dissonance and add color and interest to music before resolving to a chord tone.

Parallel fifths

: Parallel fifths occur when two voices move in perfect fifths (or octaves) in the same direction. This creates a harmonic progression that is considered undesirable in traditional voice leading.

Parallel Octaves

: Parallel octaves are similar to parallel fifths, but instead of moving in perfect fifths, two voices move in perfect octaves in parallel motion. Like parallel fifths, this creates a specific sound that may be considered undesirable in traditional music theory.

Perfect Authentic Cadence

: A perfect authentic cadence (PAC) is a harmonic progression consisting of V-I chords where both chords are in root position, ending on the tonic (I) chord. It creates a strong sense of resolution and finality.

Plagal Cadence

: A plagal cadence is a chord progression commonly used in hymns and religious music. It involves moving from the subdominant (IV) to tonic (I) chord, creating a peaceful and conclusive sound.

Seventh Chords

: Seventh chords are four-note chords consisting of a triad (three notes stacked in thirds) and an additional note called the seventh. They add richness and tension to music.

Stepwise Motion

: Stepwise motion refers to melodic movement by step, where the notes move to an adjacent pitch either higher or lower. It creates a smooth and connected sound.

Unresolved Leading Tone

: The unresolved leading tone is a musical note that creates tension and wants to resolve to the tonic note, but remains unresolved. It adds a sense of anticipation and instability in the music.

Voice Crossing

: Voice crossing occurs when two voices in a musical composition cross over each other, meaning that the higher voice temporarily goes below the lower voice or vice versa. This can create dissonance and affect the overall harmony of the piece.

Voice Leading Rules

: Voice leading rules are guidelines that dictate how individual voices should move from one chord to another in order to create smooth and pleasing musical transitions. These rules help maintain the independence and clarity of each voice while ensuring harmonic coherence.


© 2024 Fiveable Inc. All rights reserved.

AP® and SAT® are trademarks registered by the College Board, which is not affiliated with, and does not endorse this website.


© 2024 Fiveable Inc. All rights reserved.

AP® and SAT® are trademarks registered by the College Board, which is not affiliated with, and does not endorse this website.