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## 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. Figure 27.3.1. Giuseppe Giordani, Caro mio ben (1783)

### 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). 