ABSTRACT
Like the dominant seventh chord, the leading-tone seventh chord appears in all inversions. A generally reliable guideline is: A seventh as long as the chord Usually belongs to the chord. Whether to analyze a seventh as a chord member or as one of the nonchord tones depends in part on its length. As in the dominant seventh chord, the leading tone resolves up, the seventh resolves down, and the other voices move stepwise. This might or might not produce normal doubling in the tonic. Seventh chords can succeed each other in chain suspensions. This is especially common in circular-fifth patterns. Effective part writing requires effective melody writing for each voice. However, effective melody writing requires a sensitivity to the tendencies of the individual pitches. But the tendencies of the individual pitches depend on their harmonic context.
