voice leading

rt pos, stepwise motion

all upper vx contrary to bass

rt pos, motion by 3rds or 6ths

2 common, 1 by step

when to double 3rd of VI?

-when V-VI or VI-V

-maj + min, ALWAYS in min

when bass + sop move in par. 10ths (min and maj)

rt pos, motion by 4ths or 5ths

-1 common, 2 stepwise

-1 stepwise, 2 by 3rd; all upper vx in same direction

-tertian method

tertian method

-sop. OR ten. leaps a 4th from 3rd of first to 3rd of second chord

-alto common tone

-remaining vx by step

-for rt pos chords moving by 4ths/5ths

6/4 doubling

always double 5th (bass)

6/4 voice leading

never leap into or out of any voice of 6/4 UNLESS:

-arpeggiated 6/4 (rare)

-cad. 6/4: can leap UP INTO 1 or 2 vx, no more. CANNOT LEAP OUT

cad. 6/4 voice leading

-may have UPWARD skip or leap INTO 1 or 2 vx

-all vx must resolve by step or common tone; cant leap out

viio6 doubling/inversions

-normally double 3rd (bass), occasionally 5th

-NEVER root (leading tone)

-dim. triads ALWAYS IN 1ST INV.

viio6 function

-substitute for dominant (V); must resolve to I(6)/i(6)

-almost exclusively used as part of mel/harm idiom

viio6 voice leading

-approach and resolve all vx by step/common tone EXCEPT:

-1-4-3 idiom; leap in sop

-6-7-8 idiom; leap in bass

III/iii exceptional doubling

-III used as part of 8-7-6 idiom to harmonize 7 (leading tone)

-double the third of III, leap a 4th in tenor when resolving

8-7-6 idiom harmonization

I-iii-IV

doubling 1st inversion chords (non-dim)

-double the ROOT or 5TH; usually whatever is in sop. vx is better

-don’t double 3rd (bass note)

iio6 doubling

-normally double the 3rd, sometimes double root

-DON'T double 5th- tendency tone