Writing and Resolving V/V to V

Question 1

review

Answer 1

• since we have discussed how to voice and resolve (with good voice leading) a dominant to tonic progression, the only new challenge here is keeping track of the altered notes and their temporary role
• these are just V-I moments, just in a temporary key
• things to remember
• • a leading tone is a leading tone, resolve it up
• – do not double it
• • a seventh is a seventh, resolve it down
• • all doubling rules still apply
• • root position V/V to root position V: Both complete chords (in terms of triads)
• • root position V7/V to root position V: one will have to be incomplete (missing the fifth)
• • V7/V to V7: as long as one is in inversion, both complete
• • V/V to a V7: chromatics happen: #4-natural4-3

Question 2

resolutions

Answer 2

• V/V-V: both complete, leading tone resolves up
• V7/V: incomplete, seventh resolves down, leading tone resolves down. other voices move in contrary motion
• V7/V: both complete, if leading tone is inner voice, it can resolve down, if the resolution is transferred to another voice. this is an exception to the rule
• inversion V7/V: can be complete, but contrary motion is necessary

Question 3

Ii to V/V:

Answer 3

• there is a cross relation (one not in one voice followed by the same letter name but different accidental in a different voice) trap…
• • predominant-secondary dominant-dominant
• • remember that a pitch in one part can be followed by the same pitch altered in another part
• • ii-V/V
• – same chord, different quality
• – avoid the A2
• – one note in one voice, followed by the same letter name but different accidental and in a different voice is BAD
• can be used if:
• • the chromatic movement in same voice. that is good
• • chromatic voice exchange is acceptable
• • bass leap to #4 is acceptable
• avoid A2 form b3 to #4 in minor
• • bad voice leading
• some of the voice leading rules don’t sound terrible but it is there for a vocalist and their pitch accuracy

Question 4

a leading tone is still a leading tone, no matter what the chord, and must always resolve upward to tonic

Answer 4

• true

Question 5

when resolving V/V to V, both chords must be ______

Answer 5

• complete

Question 6

when resolving a V7/V to V, one of the chords will be incomplete, missing the ________

Answer 6

• fifth

Question 7

because of the cross-relation between ii and V/V, we must be wary of the ________ interval while writing in minor keys

Answer 7

• augmented 2nd

Question 8

it is acceptable for the leading tone to resolve to a different voice as long as it takes place in an inner voice

Answer 8

• true