3. Follow the principle for resolving $\left.\text{vii}^{\circ}{}^{7}\right.$ and $\left.\text{vii}^ø{}^{7}\right.$ when dealing with secondary $\left.\text{vii}^{\circ}{}^{7}\right.$ and $\left.\text{vii}^ø{}^{7}\right.$ chords.
1. An important exception occurs when $\left.\text{vii}^{\circ}{}^{7}\middle/\text{V}\right.$ or $\left.\text{vii}^ø{}^{7}\middle/\text{V}\right.$ resolves to V. If the melody requires the 7th of the chord to be voiced above the 3rd of the chord, solve the example by writing parallel (unequal) fifths instead of the doubling of the leading tone, which is considered less acceptable.