## 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). 