Nondominant seventh chord

Since the nondominant function chords are I, i, ii, iio, iii, III, IV, iv, vi, and VI,[2] the nondominant seventh chord qualities include the augmented major seventh chord, major seventh chord, minor major seventh chord, minor seventh chord, and major minor seventh chords that do not possess dominant function, such as, in melodic minor, IV7m.

To analyze seventh chords indicate the quality of the triad; major: I, minor: ii, half-diminished: viiø, or augmented: III+; and the quality of the seventh; same: 7, or different: 7M or 7m.

[1] As with dominant seventh chords, nondominant seventh chords often resolve by stepwise progression around the circle of fifths—that is, by intervals of a descending fifth (clockwise) or ascending fourth (counter-clockwise).

[4] (see: circle progression) Root motion through these perfect intervals is already compelling, but becomes even more so with seventh chords, because it naturally produces the smoothest continuous voice leading, swapping the voices of the third and seventh function in lockstep.

[3] Tonic Supertonic Sp Mediant Dp, Tkp, tP, [D](Sp) Subdominant Dominant Submediant Tp, sP, tCp Leading tone D̸7 Subtonic dP

Nondominant seventh chord resolution along a circle progression, the seventh resolves down by step to the third of the next chord: I 7 –IV [ 3 ] Play ⓘ . B resolves to A.
Nondominant seventh chords are, "found in large number," in popular music and jazz ("a legacy from the romantic period"), such as in this example from " Try To Remember " ( The Fantasticks ) by Harvey Schmidt (lyrics: Tom Jones ) [ 4 ] Play ⓘ . Note the circle progression derived root motion by fourths/fifths.
ii 7 –V 7 –I turnaround in C Play ⓘ .