What are the primary conditions concerning the IRREGULAR resolutions of the following harmonies in common practice music?:
-Auxiliary Seventh chords (chords of sequence)
-Diminished seventh chords
-Minor seventh chords
From what I've read, the dominant can resolve to various other keys, but on the whole, the dissonant tones present should resolve to a different degree due to the motion inherently created by all dissonant harmonies.
One example of such a resolution (in four parts) is when a dominant seventh in first inversion with the soprano as the fifth scale degree, and the alto as the fourth degree, resolve to another dominant seventh constructed upon the original key’s leading tone. Some other examples are shown below:
Some explanations for these occurrences (most notable in the romantic idiom) are sometimes explained by theorists as appearing through voiceleading tendencies, an incomplete harmonic system, or extended tonality. (this term is to be clarified later).