Diatonic sevenths are created by adding a seventh above the root of each diatonic triad. The approach to the seventh and its resolution is the same as that for the dominant seventh chord (Chapter 7). Acceptable chord progression must be maintained. The chord following the diatonic seventh chord normally contains the note of resolution. A delayed resolution of the seventh occurs when the seventh is sustained or repeated in the following chord. Ultimately it must resolve. Figured bass for diatonic sevenths is the same as that for the dominant seventh.

LEADING TONE SEVENTH
The leading tone seventh is a min7 in major keys and a dim7 in minor keys. It may occur in root position resolving to a root position tonic chord; in first inversion it may resolve either to a root position or first inversion tonic chord. In major, the to I will result in parallel fifths. To avoid the parallel fifths, should be borrowed from the parallel minor.

FIGURE 10.1. Leading Tone Seventh Chords
When chord roots are chromatically altered and the chord appears in root position, the analysis (Roman numeral) must reflect the alteration.

FIGURE 10.2. Analysis of Chromatically Altered Roots