Pedal point

The tonic pedal: the bass enters as a consonance, holds while the subdominant and the full dominant seventh sound against it, and leaves as the consonance it never stopped being.

The tonic pedal in minor: the dominant’s stack over the ground carries its sharp inside the figures — ♯7/4/2 — and the drone darkens everything it holds.

The Ponte: the harmony stands on the dominant and waits, alternating its own chord with the tonic six-four above the held bass, gathering the seventh as it goes.

The Ponte in minor: the sharp returns with every dominant stack over the held bass, and the six-four between them carries none — the accidental belongs to the chord, not the ground.

The whole neighborhood over one drone: subdominant, supertonic and dominant seventh each stand on the tonic pedal, spelled as full stacks — 6/4, 6/4/2, 7/4/2.

The double cadence heard as what it always was — a short dominant pedal: six-four, suspended fourth, resolution and the gathering seventh, all over the held fifth degree.