How to Resolve Inverted V7 Chords

Remember that chord inversion refers to what chord tone is the lowest, that is, which one is in the bass. See this music theory lesson for a review of chord inversions.

When we invert the V7 chord, there is no worry about complete or incomplete chords as in the V7 in root position. Both chords are complete. In fact all inversions of the V7 chord resolve exactly the same way:

The root of the V7 chord () stays where it is and becomes the fifth of the tonic chord
The third of the V7 chord () resolves up by half-step to the root of the tonic chord
The fifth of the V7 chord () resolves down by step to the root of the tonic chord
The seventh of the V7 chord () resolves down by step to the third of the tonic chord

It doesn’t matter what voice (SATB) has a given chord tone of the V7; that chord tone should always resolve according to the pattern above.

In the first example, the third of the V7 is in the bass. Notice how each scale degree resolves according to the prescribed pattern:

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Compare the previous example with this next one, and you’ll see that all we did was exchange the soprano and bass voices. Now the soprano has the third of the V7, while the bass has the 5th:

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Finally we put the seventh of the V7 in the bass. Here, the requirement of the resolution of the seventh (down by step), means that the resolution is to a first-inversion tonic triad. Incidentally, this is one of the strongest two-chord progressions because the “pull” of the seventh to resolve down seems to be even stronger when it’s in the bass:

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The excerpt below is the beginning of the second movement of Beethoven’s Piano Sonata No. 8, Op. 13 (sometimes called The Pathétique). These opening measures contain at least one example of every inverted dominant seventh chord. (The harmonic analysis is given, and there are a few things we haven’t covered yet, such as secondary dominants and non-chord tones.)

Listen to the passage and notice how beautifully Beethoven complements the melody by using chord inversions:

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If you study the above passage carefully, you’ll discover that Beethoven doesn’t always resolve the V7 chord according to our prescription. For example, on the second beat of measure one, the melody has the fifth of the V7, and it leaps up to the fifth of the tonic chord in the next measure.

When we start harmonizing melodies, we’ll find out that we have to make exceptions to accommodate the melody. Always keep in mind that we’re studying music, not science. We learn voice leading principles based on tendencies, and it’s important for a musician to know what the tendencies are in tonal harmony, even if he or she chooses not to adhere to those tendencies.

Having said that, notice that in the passage above, Beethoven is always careful to resolve the seventh of the V7 down by step. This is especially noticeable when the seventh is in the bass (measures one and five).

There are four different progressions for you to practice using the various inversions of the V7 chord. You will find them written out in every major and minor key on the Harmonic Progressions page.

Alfred Brendel is considered to be one of the greatest performers of Beethoven’s piano music. You can download a beautiful recording of his interpretation of The Pathétique here: