# After a long time, back to theory with a simple question - Voice leading IV-V



## rbarata

Hello, my friends

After a hiatus in my theory studies, due to some personal problems, I'm back trying to get on the train at the station where I left.

Basically, my question is: How would you connect a IV-V in root position with A-B in the soprano (key: C Maj).
I've tried several solutions but it seems none worked because of the B in the soprano. This B collides with the rules I know for connecting root position chords.

Thanks in advance


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## EdwardBast

Here are three solutions, the first goes to I, the others to VI:


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## rbarata

Can't open the attatchment. Gives an error.


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## EdwardBast

I uploaded it to #2 ^ ^ ^ again as a jpeg. Tell me if that works. (It opens for me.)


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## rbarata

Now I see it...Thanks

A couple of questions... In the first two examples (In fact the same voicing for IV-V) isn't there a direct 5th between alto and tenor? Maybe it's admissible as it's in the inner voices.

In the last example I'm not sure if you doubled the 3rd of the V by mistake (the doubling of th 3rd in the vi I understand).

Thanks again


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## EdwardBast

rbarata said:


> Now I see it...Thanks
> 
> A couple of questions... In the first two examples (In fact the same voicing for IV-V) isn't there a direct 5th between alto and tenor? Maybe it's admissible as it's in the inner voices.
> 
> In the last example I'm not sure if you doubled the 3rd of the V by mistake (the doubling of th 3rd in the vi I understand).
> 
> Thanks again


The interior direct 5th is not a problem - and there really isn't an option. (The problem is the chosen progression ) Direct 5ths stand out when they are between the outer voices, but here it's fine.

In the last example I doubled the third because it sounds better (the melodic motion in the tenor) and because, given the deceptive progression, having the second leading tone leap down doesn't bother me. Ideally, the B in the tenor should have moved to A, but leaving the 5th out in the VI chord, while acceptable, sounded less satisfactory.


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## rbarata

EdwardBast said:


> In the last example I doubled the third because it sounds better (the melodic motion in the tenor) and because, given the deceptive progression, having the second leading tone leap down doesn't bother me. Ideally, the B in the tenor should have moved to A, but leaving the 5th out in the VI chord, while acceptable, sounded less satisfactory.


But I think there's a rule for not doubling the leading tone. Is it acceptable to break it? Or does it depends on the style?


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## EdwardBast

rbarata said:


> But I think there's a rule for not doubling the leading tone. Is it acceptable to break it? Or does it depends on the style?


Yes there is such a rule. Generally it is not acceptable to break it. I made an exception that many would frown upon, so don't do it! I was pushing the boundaries because the situation you presented leaves so few options.


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## rbarata

EdwardBast said:


> Yes there is such a rule. Generally it is not acceptable to break it. I made an exception that many would frown upon, so don't do it! I was pushing the boundaries because the situation you presented leaves so few options.


Yes, the melody I've choosed has a lot of parallels with the bass and it creates a lot of problems such as this one.
Using only root position chords is also highly limitative.

Thanks for your help.


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## EdwardBast

rbarata said:


> Yes, the melody I've choosed has a lot of parallels with the bass and it creates a lot of problems such as this one.
> Using only root position chords is also highly limitative.
> 
> Thanks for your help.


Reread your first sentence, because that is an important lesson. One of the most important principles of good part writing is having contrary motion in the outer parts, or, put as a more general rule: Write good two part counterpoint between soprano and bass, that is, making both parts solid melodically and independent, and the rest is easy.


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## rbarata

EdwardBast said:


> Reread your first sentence, because that is an important lesson. One of the most important principles of good part writing is having contrary motion in the outer parts, or, put as a more general rule: Write good two part counterpoint between soprano and bass, that is, making both parts solid melodically and independent, and the rest is easy.


I reckon this was one of the best lessons I had lately in music theory. It eliminates many issues I had in the past.
Thanks


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