Section27.4The Special Resolution of vii\(\left.\text{}^{\circ}{}^{7}\right.\) (and vii\(\left.\text{}^ø{}^{7}\right.\))
The \(\left.\text{vii}^{\circ}{}^{7}\right.\) and \(\left.\text{vii}^ø{}^{7}\right.\) 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 \(\left.\text{vii}^{\circ}{}^{7}\right.\) and \(\left.\text{vii}^ø{}^{7}\right.\) chord. Therefore, be sure to memorize the following principle:
When the 7th of a \(\left.\text{vii}^{\circ}{}^{7}\right.\) or \(\left.\text{vii}^ø{}^{7}\right.\) chord is voiced above the 3rd of the chord, resolve the 3rd of the chord (scale degree \(\hat{2} \)) up by step while resolving all other tendency tones normally (\(\hat{4} \)–\(\hat{3} \), \(\hat{6} \)–\(\hat{5} \), \(\hat{7} \)–\(\hat{8} \)).
