Writing and Resolving V/V to V Flashcards Preview

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Flashcards in Writing and Resolving V/V to V Deck (8)
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1
Q

review

A
  • 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
2
Q

resolutions

A
  • 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
3
Q

Ii to V/V:

A
  • 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
4
Q

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

A
  • true
5
Q

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

A
  • complete
6
Q

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

A
  • fifth
7
Q

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

A
  • augmented 2nd
8
Q

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

A
  • true

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