Part III

V of V Voice leading

The voice leading for these chords is similar to the ones already discussed. Think in terms of the temporary key, and resolve any active tones whenever possible.

With the introduction of chromaticism in your writing, however, one must be aware of potential chromatic semitones between chords, which should be kept in the same voice. Not to do so is considered a voice-leading error called a cross relationship.

Approaching V/V chords from I, ii, or vi is quite natural. If IV - V/V, for example, is used it sounds a little stronger because of the cross relatioship between the bass in the first chord and the chromatic semitone in the second chord. It is fine to use this progression, however, as long as the chromaticim in the upper voices is treated carefully. 

        A - A  -  B
        F - F# -  G <- note the F-F# is kept in the same voice
        D - D  -  D 
-----  -------------
Bass:   D -  D  -  G
C+:    ii - V/V -  V


--

       C -   A    -  G 
       G -   D    -  D
       C -   D    -  B
-----  ---------------
Bass:  E -   F#   -  G     
C+:   I6 -  V6/V  -  V


--

       E  -  D  -  D
       C  -  C  -  B
       A  -  F# -  Fnat <- note the F#-Fnat  is kept in the same voice
-----  ----------------              
Bass:  A  -   D  -  G
C+:    vi -  V7/V-  V7
                                             

--


        G  -  C   -  C-B
        C  -  A   -  G-F
        C  -  D   -  E-D
-----  -----------------
Bass:   E  -   F#  -  G
        6      6      8-7
C+:    I  -  V 5/V - V6-5
                      4-3

--


       C    -    C   - B
       F    -    F#  - Fnat <- chromaticism remains in same voice
       D    -    C   - D
-----  -----------------
Bass:  A    -    A   - G 
         4        6       7
C+:    ii3  -  vii /V - V  

--


       C   -    C   -  B  (a)
       A   -    A   -  G    <-  note the doubling used here for V7
       F   -    F#  -  Fnat <- chromaticism remains in same voice
_____  __________________
Bass:  F   -    D   -  G
C+  : IV   -   V7/V -  V7