Music Theory for the 21st-Century Classroom

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).