Inverted V-I and deceptive progression in SATB MU 109 Feurzeig Inverted dominant chords allow dominant-tonic progressions with stepwise bass line motion: 7 - 1, 2 - 1, 2 - 3, or 4 - 3. 2 In inverted authentic progression, there is no need for incomplete chords.* However, in invertedincomplete dominants, V7: no the fifth bass (common) part may have new obligationsincomplete, as V7: des nocribed third below.(less common) 2 Firs° t inversionb and third inversion. Y˙ou must˙ resolve˙ the tendency˙ tone in the bass˙ . (Re˙call tha&t theb leading˙ ˙tone resolution˙ ˙ may be˙ “frustrated˙ ” in˙ an inner˙ voice,˙ but not˙ in the soprano˙ or bass.incomplete) V7:˙ no fifth (common) incomplete˙ V7: no third (less common) 6 6 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ?• bInb a ˙V or V˙5 chord,˙ the leading˙ tone˙ is˙ in the bass˙ and˙ must resolve˙ up, so the˙˙ tonic ˙ ° b resolutionb˙ ˙ ˙must be˙ in root˙˙ position˙ (ex.˙ ˙a-f). ˙ ˙ ˙ ˙˙ ˙ ˙˙ &¢• In˙ a ˙V4 chord, the˙ chord˙ seventh is in the bass and˙˙ must resolve˙ down˙, so the tonic (a)2 ˙ (b) (c) (d) ˙ (e) (f) resolution must be˙ in first˙ inversion˙ (ex.˙ g-i). ˙ ˙ ˙ ˙ ? b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ¢ b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ° #(a)# ˙ ˙ ˙ (b)˙ ˙ (c)˙ ˙ (d) ˙ (e) (f) & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ?# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ° ## #˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙˙ ˙˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ &¢ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙˙ D:˙V6 ˙ I V6 ˙I ˙V6 ˙I V6% ˙I ˙V6% ˙I V6%˙ ˙I V4"˙ I6˙ V4"˙ I6˙ V4"˙ I6˙ ˙ (a)˙ ˙ (b)˙ ˙ (c)˙ ˙ (d)˙ (e) (f) (g) ˙(h) ˙ ˙(i) ˙ ?# 6 6 ˙ ˙ ˙ ˙ 4˙ ˙ ˙ V# : v˙arious˙ doublings˙ ˙ and˙ voice˙ ˙ V˙5 : various˙ voice˙ leadings˙ ˙ ˙ V2 : various voice leadings 5 5 6 ¢leadings are possible, all resolving to I 3 are possible, all resolving to I 3 ˙are possible,˙ all resolv˙ing to˙ I D: V6 I V6 I V6 I V6% I V6% I V6% I V4" I6 V4" I6 V4" I6 (a) (b) (c) (d) (e) (f) (g) (h) (i) Second inversion. A second-inversion dominant seventh chord can resolve to a root-position tonic (j) or to a first-inversion tonic (k). !! ° # & # ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ ˙ ˙ !! ˙ ˙ œ œ ˙ ?# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ # ˙ ˙ ˙ ˙ ˙ œ œ ¢ D: V4£ I V4£ I6 V4£ I6 V4£ I6 I V4£ I6 (j) (k) (l) (m) (n) In the latter case, the chord seventh may resolve up by step instead, as in (l) or (m). It is not entirely clear why composers tolerated this exception to the strong general rule about seventh resolution, but it is a common idiom. It is usually part of the three-chord progression of (n). Note the soprano/alto fifths in (m) and (n): these are not parallel perfect fifths, but a dim. 5 followed by a p5. This is allowed in most tonal styles. * In a root position V7, the bass voice takes 5 and jumps to 1, which “pre-empts” the voice leading 5-5 and leaves the tonic incomplete—that is, unless the 5 in the V7 is doubled in an upper part, and in a 4-part texture, this doubling leaves the V7 incomplete. But in an inverted dominant, the bass is on some other pitch, leaving 5 free to be used as a common tone in an upper voice. 2 incomplete V7: no fifth (common) incomplete V7: no third (less common) ° bb ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ? b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ¢ b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ (a) (b) (c) (d) (e) (f) ° # ˙ ˙ ˙ & # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ?## ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ¢ ˙ ˙ ˙ ˙ D: V6 I V6 I V6 I V6% I V6% I V6% I V4" I6 V4" I6 V4" I6 (a) (b) (c) (d) (e) (f) (g) (h) (i) 2 incomplete V7: no fifth (common) incomplete V7: no third (less common) ° b ˙ ˙ ˙ ˙ ˙ ˙ &b ˙ ˙ ˙ ˙ ˙ ˙ !! ˙ ˙ ˙ ˙ ˙ ° ## ˙ ˙ ˙ ˙ & ˙ ˙ ˙ ˙ ˙ ˙ ˙!! ˙ ˙ ˙˙ ˙ œ œ ˙˙ ˙ ˙ ˙ ˙ ˙? b ˙ ˙˙ ˙ ˙ ˙ ˙ ˙ œ˙ œ ˙˙ ˙ ¢ b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ?# ˙ ˙ (a)˙ ˙ (b) ˙ ˙ (c) ˙ ˙(d) œ œ (e)˙ (f) # Second inversion dominant triads, like all second inversion triads, are rare. We will hold off ¢ D: V4£ I V4£ I6 V4£ 6 I6 V4£ I6 I V4£ I6 discussing them until we cover 4 chords in general. (j) # ˙(k) ˙ (l) ˙ (m) (n) V°-I6. Finally,# ˙ a root˙ position˙ ˙ V triad˙ (no seventh)˙ ˙ may˙ also˙ resolve˙ ˙to a ˙first-inver˙ ˙sion tonic˙ (ex. & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 4 ˙ ˙ o). If the bass line is embellished with a passing tone,˙ it forms˙ a V2˙ chord˙ (ex. p)˙. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ?## ˙ ˙ ˙ °˙ #˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ¢ & # ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ D: V6 I V6 I V6 ˙I V6% ˙I V6% I ˙ V6% I V4"˙ I6 V4" I6 V4" I6 (a) (b) (c) (d) (e) (f) (g) (h) (i) ˙ ˙ œ˙ œ ˙ ?## ˙ ˙ ¢ !! ° # D: V I6 V˙ I6 & # ˙ ˙ (o) ˙ ˙ (p)˙ ˙ œ ˙ ˙ ˙ ˙ ˙ !! ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ Deceptive?# #progression˙ ˙ (V-vi ˙or V-VI)˙ in four˙ voices˙ ˙ ˙ œ œ ˙ ¢ D: V4£ I V4£ I6 V4£ I6 V4£ I6 I V4£ I6 From V (triad only) (j) (k) (l) (m) (n) • The leading tone has the same “obligation” to resolve to 1 as in an authentic progression. • The root of the V is doubled in an upper° # #voice, where it moves down a third in contrary motion to the bass, to the fifth of the& submediant˙ chord˙. If it went˙ up instead, it˙ would create parallel octaves with the bass, as in (b) below. • The fifth of the chord also resolves down, by˙ step. If it˙ went up insteadœ˙ , itœ would˙ create parallel fifths with the bass, as in (c). ? ## ˙ ˙ • The resolution chord vi or VI has a¢ doubledD: V third (whichI6 is scale degreeV 1). YouI6 could think of it as the doubled root of the tonic triad we(o) were “deceived” out of(p). 8 — 8 ° &b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙5 — 5 #˙ ˙ #˙ ˙ 5 — 5 #˙ ˙ #˙ ˙ #˙ ˙ ? ˙ b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ¢ D min: V VI V VI V VI V7 VI V7 VI (a) (b) (c) (d) (e) From V7 • The leading tone and chord seventh resolve just as in an authentic progression (ex. d). • The chord fifth again resolves down to the tonic, to avoid parallel fifths with the bass (e). In general, watch out when realizing progressions with root motion by step. It is tempting to resolve all voices up a step, which gives close voice leading but may create forbidden parallels. .