Chord Function, Cadence, and Phrase

The ninth should resolve down by whole step.

The ninth may leap upward if supporting voice leading requirements are met.

The ninth might be kept static if it smooths into an available tension tone on I chord.

The ninth is often omitted completely during resolution to avoid dissonance.

Remain stationary on the same pitch

Downward to the submediant

Upward to the tonic

Downward to the subdominant

Alto

Soprano

Tenor

Bass

To highlight dynamic shifts across different sections within compositions

To maintain strict adherence to traditional counterpoint rules regardless of musical context

To ensure smooth melodic continuity and avoid unanticipated dissonance

To emphasize rhythmic variety through unexpected harmonic changes

The bass moves from A-G#-A-B-C#, utilizing half-step motion at cadence points.

Sequential descending fifths E-B-A-E-D create powerful resolutions despite occasional parallels.

The bass descends wholly by steps B-A-G#-F#-E creating linear contrary motion against upper voices.

Bass leaps B-F#-G#-D#-E provide dramatic contrast yet disrupt linearity.

Fifth

First

Third

Seventh

The root of the V7 chord should leap down a fifth.

The fifth of the V7 chord may remain static if it is common to both chords.

The seventh of the V7 chord must step down.

The third of the V7 chord should move up by step.

Third

Fifth

Root

Seventh

Baritone voices handle these tensions well due to their mid-range flexibility (Note that there's no baritone in SATB, this makes this answer incorrect).

The soprano voice should contain it as it provides melodic interest at high pitches.

The bass voice maintains it as part of smooth bass line motion between chords.

The tenor voice should contain the major seventh above bass note E (the third).

Not raising scale degree seven creating parallel fifths from $vii^{\circ}65$ to I.

Doubling scale degree two causing unresolved dissonance within $vii^{\circ}65$.

Failing to double scale degree three resulting in improper balance at I.

Omitting scale degree five which leads to an incompletely voiced tonic triad.