Part II

V-vi

ii7-examples

The vi chord also appears in deceptive cadences: that is, some version of V moving to vi instead of the expected I chord.

If vi is used in a deceptive cadence, the dominant chord must resolve in the regular manner: the leading tone of the key rising and if the full tritone is present, the subdominant falling. To avoid parallel fifths and octaves, any remaining upper pitches fall.

The doubling of the vi chord in a deceptive cadence is thus a result of voice-leading: a doubled third. 


        D - C (s)           F - E (a)
        B - C (a)           D - C (s)
	G - E (sk)          B - C (a)
-----   ------             ------
Bass:   G - A               G - A
C+:     V - vi             V7 - vi