Since you can only use 4 notes in 4 part writing and the inversions of V7 must be complete then is it correct to say that

  • V65 supports ^5 ^2 and ^4
  • V43 supports ^7 ^4 and ^5
  • V42 supports ^5 ^7 and ^2

is this correct or are certain inversions not used for certain scale degrees?

  • In accompaniment parts, V6/5 is often stripped to just scale degrees 5, 7, and 4 (e.g. accompaniment chords of B-F-G in C major).
    – Dekkadeci
    Sep 5 at 14:14

In standard eighteenth-century voice-leading practice, inverted seventh chords must be complete. This changes in more modern practice, but when you're practicing voice leading in this specific style, keep those inverted seventh chords complete.

As such, you're 100% correct. Since the inversion determines the bass note, that determines what three pitches need to be present in the upper voices.

Inversion Bass Scale Degree Upper-Voice Scale Degrees
V65 7 5, 2, 4
V43 2 5, 7, 4
V42 4 5, 7, 2

When in root position, however, then you can omit the fifth (scale-degree 2) of a V or V7.

  • Could either of those tones be equally good candidates for the soprano or are some better than others?
    – armani
    Sep 5 at 19:19
  • @armani They all work!
    – Richard
    Sep 5 at 19:21

Why must V7 (inverted or not) be complete? As with all major and minor triads, the 5th is dispensable.

4-part doesn't have to mean 4 voices ALL the time. In real music we often drop into 3, 2 or even just 1 voice. The 3rd and 7th are quite sufficient to imply a dom7 harmony.

  • Not sure. That is what it says in my textbook.. Harmony and voice leading by Carl Schacter
    – armani
    Sep 5 at 14:03

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