## Section27.3Voice Leading the $$\left.\text{V}^{7}\right.$$ to $$\left.\text{I}\right.$$ Progression

In voice leading the $$\left.\text{V}^{7}\right.$$ to $$\left.\text{I}\right.$$ progression in four parts, one must deliberately choose one of the following methods:

1. “Strict” resolution:

1. Complete $$\left.\text{V}^{7}\right.$$ to incomplete I: resolve $$\hat{7}$$ up and $$\hat{4}$$ and $$\hat{2}$$ down. This means resolving the 3rd of the $$\left.\text{V}^{7}\right.$$ chord ($$\hat{7}$$ ) up and the 7th and 5th of the $$\left.\text{V}^{7}\right.$$ chord down. For the sake of consistency in terminology, the examples below label $$\hat{7}$$ , $$\hat{2}$$ , and the 7th of the chord. The incomplete I chord will have a tripled root and one 3rd. 2. Incomplete $$\left.\text{V}^{7}\right.$$ (no fifth) to complete I. 2. “Free” resolution:

1. If $$\hat{7}$$ is not in the soprano part, you can resolve it down by the interval of a third to $$\hat{5}$$ . In piano music you will sometimes find “improper” resolution of the 7th of a chord because it fits the hand better. This should be considered an exception and will not be acceptable in voice leading exercises completed for this class.

### Subsection27.3.1Voice Leading $$\left.\text{I}^{6}_{4}\right.$$ to $$\left.\text{V}^{7}\right.$$
When $$\left.\text{I}^{6}_{4}\right.$$ resolves to $$\left.\text{V}^{7}\right.$$, beware of parallel fifths if the fifth is above the root in the $$\left.\text{I}^{6}_{4}\right.$$ chord. If it is, move all upper voices upward to the closest notes of the $$\left.\text{V}^{7}\right.$$ chord, or to an incomplete $$\left.\text{V}^{7}\right.$$ (no 5th). 