The V⁷ chord has three inversions: V , V , and V².

When using a dominant seventh chord in inversion, usually all four notes are present and there are no doubled notes.

• The V chord has ti (the third of the chord) in the bass. The intervals over the bass are a 6^th, 5^th, and 3^rd. The chord is typically notated as V, with the 3^rd over the bass being implied in the analysis.
• The V has re (the fifth of the chord) in the bass. The intervals over the bass are a 6^th, 4^th, and 3^rd. The chord is typically notated as V, with the 6^th over the bass being implied in the analysis.
• The V² has fa (the seventh of the chord) in the bass. The intervals over the bass are a 6^th, 4^th, and 2^nd. The chord is typically notated as V² or V, with the 6^th over the bass being implied in the analysis.

Major

Minor

The dominant seventh chord inversions are the same in major and parallel minor keys, but in harmonic minor the figured bass needs to indicate the raised leading tone by a , , or a number with a slash.

Resolutions of V⁷ inversions

• The V chord has ti in the bass, which resolves to do (root position I chord).
• The V has re in the bass, which resolves either to do (I) or mi (I ) with an irregularly doubled 3^rd.
• The V² has fa in the bass, which resolves to mi (I⁶) or mi (I ) with an irregularly doubled 3^rd. By keeping two common tones, the V² may also resolve to iii.
• So is always kept as a common tone.

Voice Leading

A. Regular resolutions

FIRST INVERSION
1. V to I in major (i in minor): ti in the bass resolves to do

SECOND INVERSION

2a. V to I in major (i in minor): re in the bass resolving to do

2b. V to I in major (i in minor): re in the bass resolving to m(e). The in the figured bass indicates the irregularly doubled bass (the 3^rd of the chord).

THIRD INVERSION

3a. V² to I⁶ (i⁶ in minor): fa in the bass resolves to m(e)

3b. V² to iii: fa in the bass resolving to mi. Major only.

B. Irregular resolutions

1. The progression of I – V – I⁶ with a do – re – m(e) bass and a m(e) – fa – so soprano results in parallel 10^ths in the outer voices that cover the irregular movement of a d5 to P5.

2. The progression of I – V – I with do – re – m(e) in the soprano produces an irregularly doubled 3^rd in octaves in the tonic triad.

3. The I with an irregularly doubled 3^rd functions as a passing chord between two dominant seventh inversions: V – I – V². A voice exchange occurs in the outer voices: fa – m(e) – re and re – m(e)– fa. 

4.  An example of acceptable parallel 5^ths with V moving to I⁶. Works in minor by adding me and le.

In harmonic minor, the raised 6 ^th of the V chord indicates the raised leading tone.

5. An example of V moving to an irregularly doubled I. Works in minor by adding me and le.

6. An example using the irregularly doubled I. Contrary motion between I and IV avoids parallel octaves. Works in minor by adding me and le.

7. An example using the irregularly doubled I  as a passing chord between V and V². Works in minor by adding me and le.

C. Prolonging the Dominant Seventh

The dominant seventh chord can be prolonged through the consecutive use of its inversions. Keep at least one common tone between the inversions or move three voices against one voice in contrary motion. The last dominant seventh chord in the progression resolves to the tonic.