Help, keepers of the canon!
To what extent are the following two examples conventional/schematic in classical/romantic repertories/pedagogies?
1. Bass line do-te-LA-sol-do at a cadence supporting Cm - Cm/Bb - D7/A - G7 - Cm
2. Connection of I6/3 to ii7 via a dim7 chord such that the highest voice descends 5-b5-4 and the lowest voice descends 3-b3-2
Thanks for the help!