Music Theory for the 21st-Century Classroom

The ${\text{vii}}^{\circ }{}^7$ and ${\text{vii}}^{ø}{}^7$ chords consist entirely of tendency tones ($\hat{7}$, $\hat{2}$, $\hat{4}$, $\hat{6}$). If one resolves all of those tendency tones correctly ($\hat{2}$–$\hat{1}$, $\hat{4}$–$\hat{3}$, $\hat{6}$–$\hat{5}$, $\hat{7}$–$\hat{8}$), one might write parallel 5ths depending on the voicing of the ${\text{vii}}^{\circ }{}^7$ and ${\text{vii}}^{ø}{}^7$ chord. Therefore, be sure to memorize the following principle:

The third measure above shows that revoicing the chord is another solution, since parallel 4ths are not objectionable in this situation.

If the 7th of the chord is voiced below the 3rd of the chord, resolve all tendency tones normally.