How to write Roman numeral figures for non-chord tones (NCT) and inversions, triads and seventh chords?

Question

What Roman numeral figures distinguish a 2nd inversion dominant triad with a NCT fourth from a root position dominant 7th chord with a NCT fourth?

Related to How writing a dominant 7 sus4 chord in RNA ( Vsus7 chord in the 1st inversion)

Examples, V chord in A major:

2nd inversion dominant triad with a NCT fourth

B E A

Bass B with 7 and 4 above = V7/4

root position dominant seventh chord with a NCT fourth

E A D

Bass E with 7 and 4 above = V7/4

If I don't have an incomplete seventh chord, I have...

E A B D

Bass E with 7, 5, and 4 above = V7/5/4

It might be worth while to extend to examples to a...

second inversion dominant seventh chord with NCT fourth

B E A D

Bass B with 7, 4, and 3 above = V7/4/3

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Am I following the correct procedure to get RNA figures?

If so, it seems I need to include all three figures for seventh chords to avoid ambiguity with triads.

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EDIT

I'm adding an edit about why I don't accept the only answer posted.

My question is specifically about the ambiguity of the numeric figures and whether the figure will indicate not only a NCT, but also an inversion.

My question isn't about the figures 7-6 or 4-3 to show a resolution. I understand that if the NCT resolves that adding the resolution figures will make clear on the chord or resolution what the bass is for both chords... but what if the NCT doesn't resolve?

Another point of clarification: an 11 figure won't clear this up. An 11 figure would in most cases require the chord third. In my examples the figures 7 and 4 are specifically the NCT displacement of the third.

I dont' know if this will clarify my question but...

With jazz symbols I could write Esus4/B for a 2nd inversion triad (clearly not a seventh chord) with the third displaced as a NCT the minimal tones being B E A, and I could write E7sus4 for a root position dominant seventh chord with the third displaced as a NCT the minimal tones being E A B D and the B sometimes optionally omitted. These symbols seem unambiguous.

In RNA I think I can write the equivalent figures, but to be unambiguous I must use inactive figures which are conventionally omitted the 5 or 3 depending on the inversion as I detailed in my examples.

I'm only looking for confirmation if I'm treating the figures the right way.

If not, I'm looking for an explanation about the chord with the NCT, not an answer that only applies to a specific case of resolution.

Answer 1

What Roman numeral figures distinguish a 2nd inversion dominant triad with a suspended fourth from a root position dominant 7th chord with a suspended fourth?

It's important not to lose the sense of showing harmonic function.

2nd inversion dominant triad with a suspended fourth B E A

Bass B with 7 and 4 above = V7/4

A major = Dominant is "E"

Dominant 2nd Inversion: B E G#

The Roman Numeral for this would be V6/4.

Cool, so where does that handy suspension come in?

Well, remember we need to show function. So the correct way to put the suspension into RNA would be to show where the suspension goes:

V(7-6)/4

Here we show that the "7" above the bass resolves by step to a sixth, thus revealing the "2nd inversion".

root position dominant seventh chord with a suspended fourth

Okay, so still A Major:

Root position dominant-7th chord:

E G# B D = V7

With suspended 4th:

E A B D = V7/(4-3)

Again, we're showing where the suspension is expected to go. If you want to get really technical, the chord should be: V7/5/(4-3) but nobody would write this because it's obnoxious.

second inversion dominant seventh chord with suspended fourth

Still A Major:

B E A D = V(7-6)/4/3

So you're on the right track. Just don't lose sight of function, which is sort of the whole point of RNA (and why the system breaks down when you try to apply it to analyze non-functional harmony).