Click on this meaure to hear the
connection in root movement of a second
Connectings
Chord Whose Roots Are a Second* Apart
* Do not use the inversion (7th) in this connection, because the seventh is an awkward interval melodically.
Four Voices
Click on this meaure to hear the
connection in root movement of a second
2) Exception: V - VI (V - vi) Whichever voice has the leading tone moves upward to the tonic (7-8). After doing this, move the other voices contrary to the bass. This voice leading results in the VI (vi) chord having 1 root, 2 thirds, and 1 fifth.
Click separately on these meaures
to hear correct and the incorrect voice leading
This procedure is necessary because if the basic
rule of moving the upper voices contrary to the bass were followed, the
melodic interval of an augmented 2nd would occur. (see the middle measure
above) In a major key, if the leading tone is in an inner voice,
it may move down by step, producing a major 2nd. However, even in
a major key (in a V - vi progression) it is preferable to take the leading
tone to the tonic. Whether major or minor, if the leading tone is
in the soprano, it must move
upward to the tonic.
In three voices when the root movement is a second, it becomes necessary to go from a complete triad to an incomplete triad, or from an incomplete triad to a complete triad.
Click separately on these meaures
to hear correct and the incorrect voice leading
In the first example above, if the soprano proceeded
to the A producing a complete triad, there would be parallel fifths between
soprano and bass. If the alto then moved from D to E maintaining
an incomplete chord, there would be parallel octaves between bass and alto.
Therefore, expect to alternate between complete and incomplete triads when
the root movement is a second in three voices.