When it comes to part-writing in a V7-I cadence, I understand that the leading tone in an outer voice must resolve to the tonic (^7->^1) and that the chordal 7th of the V7 (^4) should resolve down by step to ^3.
So, when writing a melody over this chord change, I usually focus on one of these guidelines. That being said, I am growing tired of the cliche/expected feeling of these obvious (though satisfying) ways to resolve tension in the melody line.
Can you suggest any other possibilities for the soprano line that is satisfying like the ^4-^3 or the ^7-^1 but that has a little more character? Are there any popular embellishments of the typical patterns that I should be aware of? Just wondering how to write something catchy but not tacky. Thanks.