Lesson 13—Harmony Exercises

Reviewing the chords learned this far, we have studied the tonic chord built on C, E, and G (in the key of C); the subdominant built on F, A, and C; the dominant, on G, B, and D, and the dominant seventh, on G, B, D, and F. This lesson will cover the inversions of the dominant seventh chord, the previous lesson having covered the inversions of the dominant chord.

Because the dominant seventh chord has four notes, it has three inversions. See below the direct or fundamental position of the chord. The figure 7 shows that it is the dominant seventh. The first inversion is labeled ; the second inversion, ; and the third inversion, :

These inverted dominant seventh chords resolve the same way as the dominant form: the 4^th leads to the 3^rd (F-E), the 7^th leads to the 8^th (B-C); the 2^nd leads to the 1^st (D-C); and the 5^th (G) is retained as a binding tone unless in the bass. Below are some of the most common resolutions.

Most of the time the seventh note (F) must descend (to E), but when the second inversion of the dominant seventh is followed by the first inversion of the tonic chord it will ascend:

Harmonize Exercises 1 and 2

Sample chords are given below:

The Tonic Chord: C

The Dominant Chord: G

The Subdominant Chord: F

The Dominant Seventh Chord: G

Common Resolution of the Dominant Seventh: G, -C

Exercise 1

Exercise 2