What is the primary characteristic of the interval resolution of the tritone within a V7 chord when it resolves to I?
Explanation
The tritone in a V7 chord is formed between the 3rd (leading tone) and the 7th. Its resolution is inherently contrary: the leading tone moves up, and the 7th moves down. Depending on the inversion, this motion results in the tritone resolving either outward to a sixth or inward to a third.
Other questions
To obtain a major-minor seventh quality for the V7 chord in minor keys, which action is necessary?
What is the essential and most consistent voice-leading principle for handling the 7th of any seventh chord?
In a V7 chord, what is the typical resolution of the 3rd of the chord (the leading tone), especially when it is in an outer part?
If the chord tone preceding the 7th of a V7 chord is a step above the 7th, how is this approach classified?
What is the result of strictly following the voice-leading principles for the 3rd and 7th of a root position V7 resolving to a root position tonic triad in four parts?
What is the most common method to resolve a complete, root position V7 to a complete tonic triad in four parts?
When writing a V7 chord in a three-part texture, which chord tone is most commonly omitted?
In the deceptive progression V7–vi in four parts, which member of the vi chord is typically doubled?
What is the main reason the V7-I6 resolution is considered a poor choice in part writing?
What is a typical harmonic function of the V6/5 chord in a phrase?
The V4/3 chord is often used in a similar fashion to which other chord to harmonize scale degree 2 in the bass?
Due to the required downward resolution of the 7th, which chord almost always follows a V4/2 chord?
What is the least common way to approach the 7th of a V7 chord, which historically involves a leap?
In the deceptive progression V7-vi, when is it permissible for the leading tone to move down to scale degree 6 instead of up to the tonic?
Which statement accurately describes the v7 chord (minor-minor seventh on the dominant) in minor keys?
What are the two diatonic triads that commonly follow a root position V7 chord?
If a composer uses an incomplete V7 to achieve a complete tonic triad, which tone of the V7 is omitted?
In which context is a V4/3 chord seldom used, with V6/4 or vii-diminished-6 being preferred instead?
What type of voice leading error is risked when a V7 resolves to I by leaping the 5th of the V7 to the 5th of the I chord?
Which statement best describes the difference in handling a V7 in a deceptive progression (V7-vi) versus an authentic progression (V7-I)?
In a V4/3-I6 progression, what is the rare but acceptable upward resolution of the 7th of the V4/3 chord?
When a V7 chord is presented in a three-part texture with its 3rd omitted, which two chord members are present besides the root?
Which voice-leading practice should be avoided when approaching the 7th of a V7 chord?
What is the relationship between the chord 7th and the seventh scale degree in a V7-I progression?
Which chord is NOT a common choice to precede a V4/2 chord?
According to the text, which voice leading is sometimes found in instrumental music but should be avoided in beginning exercises?
What is the only inversion of the V7 chord that places the leading tone in the bass?
What is the primary reason an inverted V7 chord is not considered a substitute for a root position V7 at an important cadence?
In the summary of part-writing the V7-vi progression, what do the 'other upper voices' (those that are not the bass or the leading tone) do?
If the 7th of a V7 is approached from the same pitch class, which NCT terminology is used to describe this contour?
In a four-part texture, resolving a V7 to an incomplete tonic triad will result in a tonic chord containing which combination of notes?
Which inversion of the V7 chord places the 7th in the bass?
What is the result of revoicing a root position V7 to I progression so that parallel 4ths replace parallel 5ths?
How many fundamental voice leading principles for the V7 chord are summarized at the beginning of the chapter?
When is a V7 chord in three parts likely to have its 3rd omitted?
If the chord preceding the 7th of a V7 is a step below it, which NCT figure describes this approach?
What is the figured bass symbol for the second inversion of a V7 chord?
In the less conventional resolution of a V4/2 to I6, which member of the V4/2 leaps to the 5th of the I6 chord?
Why must the leading tone of a V7 be raised in a minor key to function as a true dominant?
The resolution of V7 to an incomplete tonic triad is described as:
What is the typical bass line movement harmonized by a passing V4/3 chord?
If a V7-I resolution results in an incomplete tonic triad, which chord tone is missing from the tonic chord?
In a four-part deceptive progression (V7-vi), what happens to the 7th of the V7 chord?
What is the primary reason the 7th of a seventh chord almost always resolves downward?
Which of the following is NOT one of the five most common seventh-chord qualities mentioned in the chapter's introduction?
When resolving a V7 chord, what two chord tones form the tritone that requires careful resolution?
What is the primary function of a V7 chord?
In a three-part V7 chord with the 5th omitted, which chord tones must be present?
What is the consequence of failing to raise the 7th scale degree when forming a dominant seventh chord in a minor key?