# V-vi difficulties



## rbarata (Nov 3, 2014)

Hello, my friends

I need your help in this resolution (the soprano is given and can't be changed):









It seems impossible to resolve without any errors. I've tried voicing each chord, all of them, in several combinations but there's always a problem. Should I choose another chord or there is an hidden possibility somewhere?

Maybe not the best place to put a deceptive cadence but this is a very usual movement (V-vi) so I suspect I'm not thinking cleary. But I know my soprano line in these two chords is creating difficulties, especially the extremely low F# in the V chord.


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## Mahlerian (Nov 27, 2012)

My best solution for the given voices is to move the tenor up to G#, and the alto down to B. You won't get a complete chord, but it's the only solution that I see without changing the voicing at the beginning, and you are right that your given soprano jumps down low enough to make the movement of tenor and alto very restricted.


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## Vasks (Dec 9, 2013)

I'd take the V chord and double the fifth in the tenor. Doubling the 5th of a major or minor chord is always a second choice when you can't double the root. So then that "C-sharp" in the tenor can jump down a pefect 4th to "G#" of the vi chord.


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## rbarata (Nov 3, 2014)

Thank you both.

Vasks, your solution worked but it goes against the roules for doubling that I was using, which are:

1. Root position triads. Double the root of the chord, which is the same as saying double the bass note.
2. First-inversion triads. Double the soprano, regardless of which voice it represents.
3. Second-inversion triads. Double the bass, which is the same as saying double the fifth of the triad. 

I know this is not black and white and there are always some exceptions, such as this case. Apart from 2nd inversions, when can I double the fitfh?


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## Vasks (Dec 9, 2013)

It's only black & white when you can do it; but as you now know there are times when a given soprano or bass line won't let you follow the black & white rules. This is why you need to know more.

My general rule of thumb about doubling is simply: *Don't double notes that are strong or colorful.* With major & minor chords that's the 3rd (because it determines the quality). With diminished and augmented chords it's both the root and 5th that are strong (because their interval is unstable and must resolve to stability) and of course any chromatic notes are by definition "colorful".


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## Guest (Nov 16, 2014)

Here are a couple of solutions for your V-vi problem with the given soprano :


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## rbarata (Nov 3, 2014)

Thanks for the examples, Talkinghead. I'll analyse them.

About the doubling, I've found another exception for which I' like your comments:

*"Two voices on the same weak degree (II, III, VI), which is neither the fundamental nor the fifth of the chord (except for the second degree, in some cases), weaken the tonal sense of the chord. In most cases this kind of doubling is not acceptable."*

Should I consider this one as an important exception?

During my studies I've found lots of different rules for the same thing. Although all of them are true, I must know which ones are "prioritary" over the others. I guess I can achive this knowledge with practice only.



Vasks said:


> My general rule of thumb about doubling is simply: Don't double notes that are strong or colorful. With major & minor chords that's the 3rd (because it determines the quality).


Well, this is true, obviously. And, looking carefully, your general rules is nothing than a summary of the rules I've told. Except in the case of a first inversion when the third is in the soprano.


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## Richannes Wrahms (Jan 6, 2014)

rbarata said:


> Thank you both.
> 
> Vasks, your solution worked but it goes against the roules for doubling that I was using, which are:
> 
> ...


There are some nice websites for beginners that may help you, given their brief and straightforward approach:



http://www.musictheoryteacher.com said:


> *Some simple principles for good doubling:*
> 
> It is best to have a few simple principles for doubling in chords, rather than remembering a lot of complicated specific rules. In general, you are trying to reinforce the function of chords in the tonality, as well as work with the natural acoustics (overtones) of the notes in the chords, in order to have well blended harmonies. Here are some basic principles:
> 
> ...


Other websites for beginners:

http://music-theory.ascensionsounds.com/music-theory-lessons/
http://legacy.earlham.edu/~tobeyfo/musictheory/index.html


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## rbarata (Nov 3, 2014)

*


rbarata said:



"Two voices on the same weak degree (II, III, VI), which is neither the fundamental nor the fifth of the chord (except for the second degree, in some cases), weaken the tonal sense of the chord. In most cases this kind of doubling is not acceptable."

Click to expand...

*Thanks for the links, Richannes. I'll take a look at them.

About the"rule" I've posted above. Have you ever heard it?


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