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I-IV-V-I
Doubling and Voice-leading Lines
In this class, we will see theI-IV-V-Ichord pattern,
taken directly from theI-IV-I-V-Iin the precedingopeningpage.
These are the only VLLs possible for this Real Triad pattern in Root Position
that assure proper resolution of the Third in theI-IVandV-Iprogressions,
in VLL 2 (E-F) and VLL 3 (B-C),
as well as the contrary motion with the FB in theIV-Vprogression.
This unusualIV-Vprogression,
by step of an ascending second rather than by fifth,
will be explained in greater detail when we see deceptive triads.
In the meantime, the voice-leading is quite simple.
NOTE the Root of each Triad in line 4 (the FB)
producing the doubling in each Triad (with VLL 3, VLL 2, VLL 1, and VLL 3).
I-II-V-I
Doubling and Voice-leading Lines
In this class, we will also see theI-II-V-Ichord pattern,
quite similar to the precedingI-IV-V-Ipattern,
and whose VLLs are almost the same,
assuring proper resolution of the Third in theII-VandV-Iprogressions,
in VLL 1 (F-G) and VLL 3 (B-C),
as well as the contrary motion with the FB in theI-IIprogression.
This unusualI-IIprogression
by step of an ascending second rather than by fifth,
will also be explained in greater detail when we see deceptive triads,
as well as the close affinity between the chords ofIVandII.
In the meantime, the voice-leading is still quite simple.
with the same contrary motion in theI-IIas in theIV-V.
NOTE the Root of each Triad in line 4 (the FB)
producing the doubling in each Triad (with VLL 3, VLL 2, VLL 1, and VLL 3).
Melody
Here again,VLL 2xmay be used in theV-Icadence of either pattern,
offering new VLL possibilities.
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Exercises
Exercise 1
With theI-V-V-Ipattern in theaand theI-IV-V-Ipattern in thec,
and with the FB (line 4) in the bass voice throughout (C-G-G-C, C-F-G-C) -
immediately recognizable as the complete pattern ofHappy Birthday.
In the soprano voice,
a strong VLL ending on C will be placed in the consequent
and any VLL may be placed in the antecedent.
In the alto and tenor voices, the remaining VLLs will be placed,
in either open or close position.
Transposition to a more appropriate key may be required for vocal performance.
Exercise 2
TheI-II-V-Ipattern, is usually repeated,
rather than combined with another pattern,
with the FB (line 4) in the bass voice throughout (C-D-G-C, C-D-G-C) -
immediately recognizable as the pattern ofLove Me TenderandMy Bonnie.
In the soprano voice,
a strong VLL ending on C will be placed in the consequent
and any VLL may be placed in the antecedent,
they may even both be the same.
In the alto and tenor voices, the remaining VLLs will be placed,
in either open or close position.
Transposition to a more appropriate key may be required for vocal performance.
Performance remains the best form of correction.
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On toClass 4
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