Dominant-function chords aside from root-position V and V7 include inversions of V and V7 as well as chords based on the leading tone, namely vii^o6, vii^ø7 (and its inversions), and vii^o7 (and its inversions). \

As before, properly part-writing with these chords involves resolving one or more tendency tones:

All of the above-mentioned dominant-function chords contain the leading tone (ti). Except in leading-tone drops (discussed on the previous page), The leading tone should always resolve to scale degree 1 (do).
If the dominant-function chord contains a chordal seventh, that chordal seventh must resolve down by step.
- The chordal seventh in a V7 is scale degree 4 (fa), which must resolve to scale degree 3 (mi/me).
- The chordal seventh in a vii^ø7 or vii^o7 is scale degree 6 (la/le), which must resolve to scale degree 5 (sol).

Below are some examples of proper part-writing with dominant-function chords. To highlight the tendency tones, leading tones are circled and chordal sevenths are enclosed in inverted triangles.

Inverted chords should always be complete.
Never double tendency tones, as doing so will cause both voices to resolve the same way, resulting in parallel octaves.

In the example showing vii^o6 resolving to I, note the alto and tenor voices. These illustrate the possibility of unequal fifths, which involve a diminished fifth (B/F in the example) moving to a perfect fifth (C/G in the example), or vice versa. Unequal fifths are allowable except when moving from a diminished fifth to a perfect fifth that involves the bass. (Perfect fifth to diminished fifth involving the bass is fine.)

When part-writing vii^ø7 to I in a major key, be mindful of the placement of scale degrees 2 and 6 (re and la). If re is placed in a lower voice than la, there is a perfect fifth that wants to move to another perfect fifth in the I chord, resulting in parallel fifths. Instead, place la in a lower voice, so that the perfect fourth can move to another perfect fourth, since parallel fourths are allowable.