Non-dominant sevenths

The supertonic seventh, root position and 6/5: the pre-dominant workhorse, its seventh prepared as a common tone and falling into the dominant’s third.

The supertonic seventh’s outer inversions: the 4/3 passing between tonic chords, and the 4/2 assembled over a held bass that then inherits the fall.

The subdominant seventh: a major seventh above the bass, prepared by the tonic’s own third, pressing into the dominant with the brightest dissonance the key owns.

The seventh spread down the whole ladder: iii7, vi7 and ii7 in succession, each seventh prepared by the chord before and falling into the chord after.

The standalone dominant ninth — a chord, not a suspension: figured 9/7 over a moving bass, needing no resolution over its own bass, owing its fall to the next harmony.

The dominant minor ninth: the same 9/7 figures with minor’s dark second — the ninth a semitone over the root’s octave, prepared here by the subdominant and twice spent.

The subdominant seventh in root position and 6/5: the same four tones from two floors, the major seventh falling into the dominant both times.

The ladder again in a new key, the seventh passed from voice to voice: tenor, alto, tenor — prepared, struck, and fallen three times before the dominant ends the process.