The cadential [I ] chord has the intervals of a 6^th and 4^th over the bass. The bass is the fifth of the chord and is always doubled.

For a review of chord inversions, see Review: Chord Inversions and Figured Bass.

In the Roman numeral analysis, the chord is written in brackets to indicate that it is functioning in a linear manner as an introduction to V or V⁷.

Voice Leading

All examples also work in harmonic minor by adding me, and in open spacing by lowering the alto by an octave.

1.   [ I ] – V

1a – 1c. The 6^th and the 4^th above the bass move down by step. The octave above the bass remains stationary. The bass remains stationary or drops an octave to the root of the V chord.

1d. The so – ti soprano can be harmonized by moving the upper three voices of the cadential [ I ] in a non-common tone connection to V.

2.   [ I ] – V⁷

2a. To create a complete V⁷, the upper three voices move down (8-7, 6-5, 4-3).

2b. m(e) can move up to fa to create an incomplete V⁷.

2c. The so – ti soprano can be harmonized by moving the upper three voices of the cadential [ I ] in a non-common tone connection to V⁷.

The bass remains stationary or drops an octave.

Placement of the cadential [ I ] chord

The cadential [ I ] chord always appears in a metrically stronger position than the following V or V⁷ chord.

3a. The [ I ] chord is on beat 3, which in quadruple meter is metrically stronger than V⁷ on beat 4.

3b. The [ I ] chord is on beat 2, which in triple meter is metrically stronger than V on beat 3.

3c. The [ I ] chord is on a downbeat, which means the resolution can be on any part of the measure or on the downbeat of the next measure.

3d. Avoid [ I ] on a weak beat moving to V⁽⁷⁾ on a strong beat.