Members rbarata Posted October 13, 2014 Members Share Posted October 13, 2014 Hello, my friends I need your oppinion about a vi-V progression. If I do it using option 1, I'll get consecutive octaves between bass and alto. [TABLE=width: 144] [TR] [TD=width: 64]Bb[/TD] [TD=width: 64]Bb[/TD] [TD=width: 64]C[/TD] [/TR] [TR] [TD]F[/TD] [TD]G[/TD] [TD]F[/TD] [/TR] [TR] [TD]D[/TD] [TD]D[/TD] [TD]A[/TD] [/TR] [TR] [TD]Bb[/TD] [TD]G[/TD] [TD]F[/TD] [/TR] [TR] [TD] [/TD] [TD] [/TD] [TD] [/TD] [/TR] [TR] [TD=class: xl65]I[/TD] [TD=class: xl65]vi[/TD] [TD=class: xl65]V[/TD] [/TR] [/TABLE] So, two more ways are possible: double the 5th or the 3rd of V. [TABLE=width: 144] [TR] [TD=width: 64]Bb[/TD] [TD=width: 64]Bb[/TD] [TD=width: 64]C[/TD] [/TR] [TR] [TD]F[/TD] [TD]G[/TD] [TD]C[/TD] [/TR] [TR] [TD]D[/TD] [TD]D[/TD] [TD]A[/TD] [/TR] [TR] [TD]Bb[/TD] [TD]G[/TD] [TD]F[/TD] [/TR] [TR] [TD] [/TD] [TD] [/TD] [TD] [/TD] [/TR] [TR] [TD=class: xl63]I[/TD] [TD=class: xl63]vi[/TD] [TD=class: xl63]V[/TD] [/TR] [/TABLE] or [TABLE=width: 144] [TR] [TD=width: 64]Bb[/TD] [TD=width: 64]Bb[/TD] [TD=width: 64]C[/TD] [/TR] [TR] [TD]F[/TD] [TD]G[/TD] [TD]A[/TD] [/TR] [TR] [TD]D[/TD] [TD]D[/TD] [TD]A[/TD] [/TR] [TR] [TD]Bb[/TD] [TD]G[/TD] [TD]F[/TD] [/TR] [TR] [TD] [/TD] [TD] [/TD] [TD] [/TD] [/TR] [TR] [TD=class: xl65]I[/TD] [TD=class: xl65]vi[/TD] [TD=class: xl65]V[/TD] [/TR] [/TABLE] Doubling the 3rd of V is not adviseable because I would be doubling the leading tone. So, the remaining option is to double the 5th. What do you think about it? Is it ok or do I have another option? Once again, the soprano and bass are fixed and can't be changed. Also, 7th chords are not meant to be used. Thank you Link to comment Share on other sites More sharing options...
Members 1001gear Posted October 14, 2014 Members Share Posted October 14, 2014 You could use option 2 and double (unison) the third of the vi chord in the soprano then open back up to a V with doubled roots. Link to comment Share on other sites More sharing options...
Members rbarata Posted October 14, 2014 Author Members Share Posted October 14, 2014 Doubling the third of the vi and keeping the V as it is now (F-A-C-C) causes to have an octave right after a unison so I canhed the V to F-A-F-C (root doubled).My question now is this: which is better in this case? To double the 3rd of the vi or the root of 5th of the V? In my view, it is always better to double the 3rd of the vi because it is a secondary chord and it is somewhat "not so important" as a primary chord. It is always desireable to keep a primary chord in its more stable form (1-3-5) than change it if there's another option. Am I thinking right? Thanks Link to comment Share on other sites More sharing options...
Members 1001gear Posted October 14, 2014 Members Share Posted October 14, 2014 Like this: Bb D F Bb F D Bb Bb F F A C There's a glitch getting back to the original chord but that's not stipulated and the exercise works as far as it is required. Link to comment Share on other sites More sharing options...
Members rbarata Posted October 14, 2014 Author Members Share Posted October 14, 2014 Oh, I see...that one was hiding from me. There's a glitch getting back to the original chord... Do you care to explain this one? Thanks Link to comment Share on other sites More sharing options...
Members 1001gear Posted October 14, 2014 Members Share Posted October 14, 2014 The V chord voiced F F A C can't go back to the original voicing. The A would have to go unison with the soprano leaving 3 roots and a 5th,Bb F Bb Bb 3 roots and a 3rd,Bb D Bb Bb or with more logical leading, 2 roots and 2 thirds,Bb D Bb D Link to comment Share on other sites More sharing options...
Members JonR Posted October 15, 2014 Members Share Posted October 15, 2014 I was going to suggest this: Bb - Bb - CF -- G -- AD -- D -- FBb - G -- F I see the problem of not getting back to the original voicing, because of how the A has to move (as I understand it).But is there any other problem with that one? Link to comment Share on other sites More sharing options...
Members 1001gear Posted October 15, 2014 Members Share Posted October 15, 2014 Yeah that does move to the vi chord in a more orderly fashion. I think there's a rule violation on our V voicing though. There's an octave between bass and tenor. This is a perfectly fine voicing in actual use but per this level of theory, might be a restriction. It's been close to 40 yrs since I was sitting in this classroom. lol Link to comment Share on other sites More sharing options...
Members Sing Better In 3 Days Posted February 15, 2015 Members Share Posted February 15, 2015 Doubling the third of the vi and keeping the V as it is now (F-A-C-C) causes to have an octave right after a unison so I canhed the V to F-A-F-C (root doubled). My question now is this: which is better in this case? To double the 3rd of the vi or the root of 5th of the V? In my view, it is always better to double the 3rd of the vi because it is a secondary chord and it is somewhat "not so important" as a primary chord. It is always desireable to keep a primary chord in its more stable form (1-3-5) than change it if there's another option. Am I thinking right? Thanks DO NOT DOUBLE THE THIRD. Especially if this is choral music. This means that the thirds will have to be perfectly in tune with each other in order to establish the brilliance of the chord. Doubling the 5th is a much bette option if possible. Link to comment Share on other sites More sharing options...
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