Key Takeaways
- V7 contains two tendency tones that drive resolution: scale degree vii (leading tone) resolves up to I; scale degree iv (chordal 7th) resolves down to iii
- Three valid ways to resolve V7→I: complete V7→incomplete I, incomplete V7→complete I, or complete→complete with a sprung leading tone
- In minor, always raise scale degree vii to preserve the leading tone and dominant quality
V7 Structure ▶ 1:30
- Built from scale degrees V, vii, ii, iv (root, 3rd, 5th, 7th)
- Scale degrees vii and iv form a tritone (aug 4th or dim 5th) — source of V7's dissonance and drive to resolve
Tendency Tones ▶ 3:00
- Scale degree iv (chordal 7th) → always resolves down by step to iii, in any voice
- Scale degree vii (leading tone) → resolves up by step to I; OR springs down (see below)
- Scale degree ii (chordal 5th) → flexible; prefer down by step to I
Three Resolution Options ▶ 4:52
| V7 | I | How |
|---|---|---|
| Complete | Incomplete (no 5th) | Follow all tendency tones normally; results in tripled root |
| Incomplete (no 5th, doubled root) | Complete | Omit scale degree ii; doubled V stays as common tone |
| Complete | Complete | Spring the leading tone: vii leaps down to V (inner voice only) |
- Doubled tendency tones are forbidden — they must move to the same destination, causing parallel octaves/unisons
- Sprung leading tone only valid in root-position V7; not available in inversions
- Sprung leading tone works because another voice moves to the tonic the leading tone "would have" reached — creating a sonic illusion of resolution (▶ 8:50)
Minor Keys
- Same rules apply; must raise scale degree vii to create a true leading tone and proper dominant quality