Diatonic seventh chords can be built on dominant chords (V and vii^o) and non-dominant chords (I, ii, iii, IV, and vi).

Diatonic seventh chords function the same way as their earlier triadic forms, utilizing the falling 5^th, falling 3^rd, and rising 2^nd functional root movements.

The 7^th of the chord resolves down by step in the same way as the 7^th of the dominant seventh chord (Dominant Seventh Chord). Similarly, inversions of all the diatonic seventh chords resolve with the same tendencies as the inversions of the dominant seventh chord (Inversions of the Dominant Seventh Chord).

Figured bass symbols for all the diatonic seventh chords are the same as for the inversions of the dominant seventh chord. Review and memorize:

7			2   or
Root in bass	3rd in bass	5th in bass	7th in bass

diatonic seventh chords IN MAJOR

Memorize the diatonic set in major:

• I^maj7 and IV^maj7 are major seventh chords
• V⁷ is a dominant seventh chord
• ii⁷, iii⁷, and vi⁷ are minor seventh chords
• vii^ø7 is a half diminished seventh chord. The “5” in the commercial chord symbol indicates the diminished 5^th interval and does not necessarily indicate that the note will have an accidental.

diatonic seventh chords IN MINOR

The diatonic seventh chords in minor are shown below.

Due to the complexity of some of the chords because of their variants, it is advisable to memorize the harmonic minor chord set first as it is most commonly used. In harmonic minor, the seventh chord built on vii^o is a diminished triad with a diminished 7^th over the bass, which is referred to as a diminished seventh chord.

The i⁷, III^maj7, and VII⁷ seventh chords are often borrowed from natural minor into harmonic minor.

At times, the IV⁷ from melodic minor substitutes for the iv⁷ of harmonic minor.

Below is the combined 14-chord set of the three minor modes. The labels above the chords show their origin (Natural, Harmonic, Melodic).

typical resolutions of diatonic seventh chords

• ii⁷ typically resolves to V (ii^ø7 – V in minor) in a falling 5^th root movement
• I^maj7 typically resolves to IV (i⁷ – iv in minor) in a falling 5^th root movement
• IV^maj7  typically resolves to V (iv⁷ – V) in a rising 2^nd root movement
• vii^ø7  typically resolves to the tonic (vii^o7 – i in minor) in a rising 2^nd root movement (see the chapter on the Leading Tone Seventh Chord)
• iii⁷ and vi⁷ (III^maj7 and VI^maj7 in minor) are typically used in the circle of fifths sequence (see the chapter on Diatonic Sequences: Falling Fifths)

Voice LeadinG

The falling 5^th root movement of non-dominant seventh chords resolve in the same manner as the dominant seventh. The falling 3^rd root movement involves three common tones: I – vi⁷, IV – ii⁷, V – iii⁷ (see the practice exercises, examples 1 and 2).

All connections work in harmonic minor and can be converted into open spacing.

A. Resolution of the ii⁷ chord and its inversions to V⁽⁷⁾ and its inversions

1. ii⁷

2. ii

3. ii

4. ii²

B. Resolution of the tonic and subdominant seventh chords

5. In major, I^maj7 typically moves to IV. Resolution to vi is possible from the I^maj2 chord.

In minor, avoid the ti – le A2 by employing a i⁷ chord from natural minor.

6. In major, IV^maj7 moves to V. Resolution to ii is possible from the IV^maj2 chord.

Note that when IV^maj7 moves to V, the V chord has a doubled 5^th since doubling the root would result in parallel 5^ths.

The progressions also work in minor.

The imperfect circle of fifths with seventh chords

• In major keys:     I^maj7 – IV^maj7 – vii^ø7 – iii⁷ – vi⁷ – ii⁷ – V⁷ – I
• In minor keys:     i⁷ – iv⁷ – VII⁷ – III^maj7 – VI^maj7 – ii^ø7 – V⁷  – i

If every chord in the diatonic sequence is a seventh chord, the chords alternately will become complete and incomplete, and every chord 7^th will resolve to the 3^rd of the next chord. Note the resolutions in the three voice examples below: 3-7 and 7-3, with each 7^th introduced as a common tone from the 3^rd of the previous chord.

Root position: 7^th chord to 7^th chord
The 7^th of the chord can be a passing tone (#1 below) or it can be introduced as a common tone from the 3^rd of the previous chord (#2 below).

Inversions: to ²,  7 to

In la-minor, the vi⁷ of the relative major key is simply renumbered as a i⁷ chord. All subsequent connections are the same as in major except at the final cadence with the raised leading tone (si) of harmonic minor. For example: