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I understand that the bass of V65 or V6 wants to move up to I. My text book does have some double neighbor figures where V65 goes to V43 before resolving to I or I6. However, I am unable to find an example where V65 or V6 moves to V7 root position. Is this not a good chord progression or perhaps not a common one?

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Moving between inversions of the same chord, or even different chords with the same function (for example - moving from III to V without sharpening the dominant with a 7) usually results with weak progressions. It is more common to sharpen the dominant by adding a 7th to the chord, or using different suspensions (or tensions).

Moving from a V6/5 to a V4/3 is possible, but to me sounds too redundant (at least with a direct progression), and it requires a weird leap in the bass. Most of the times inversion changes in the dominant would be V -> V6 (or V6/5), V -> V4/2, V -> V7, or other suspensions like V4 -> V7 - I4 - I, or even V7(b13) - > V7 -> I, etc. Pay attention that all of those progressions suppose to sharpen the dominant, Make it more dissonance and carry more tension towards the solution, but the progression between V6/5 to V7 is weakening the dominant, and therefore should be avoided (unless this is what you're trying to do).

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  • If we're going by "strengthens the dominant" as "the chord progression goes from less firm to more firm", then I thought V -> V6 and V7(b13) -> V7 both weaken the dominant. If we're going by "strengthens the dominant" as "the overall chord progression is firmer and stronger than the V chord alone", then I thought V -> V6 weakens the dominant (for starters, you no longer have a perfect authentic cadence and, therefore, that's a weak way to end a piece).
    – Dekkadeci
    Commented Oct 5, 2021 at 12:37
  • my bad about the V7(b13) -> V7, I meant the opposite. but V to v6 is extremely common. Not as an ending progression, since, as you mentioned, it is not a perfect cadence, but it used to spice up cadences during the piece.
    – Ron Shehebar
    Commented Oct 5, 2021 at 13:00
  • Just because a chord progression is used to spice up cadences does not mean that it strengthens them. As far as I can tell, V -> V6 increases variety in the bassline, but it goes from stronger to weaker (I find that V6 -> I has less finality than V -> I). I personally find that V6 -> V strengthens the dominant.
    – Dekkadeci
    Commented Oct 5, 2021 at 15:32
  • I dont know, it seems like you two are saying opposite things. So Dekka for you, going to V7 from V65 would be a good progression?
    – user35708
    Commented Oct 6, 2021 at 9:13
  • @armani - I wouldn't bat an eye at V6/5-V7, and I'm fairly sure I've actually used V6-V in my piano compositions before.
    – Dekkadeci
    Commented Oct 6, 2021 at 14:35