It is basically saying that dominant must go to tonic or to the vi chord in a deceptive resolution but what about V - IV? This is a common chord progression too right? So why is it not in my voice leading book?
...It is basically saying that dominant must go to tonic or to the vi chord in a deceptive resolution
That's just basic functional harmony: pre-dominant to dominant to tonic.
Depends on how the book defines "deceptive" cadence or progression, but the dominant moving to any chord not the tonic in a cadence is by some definitions a deceptive cadence.
The book may have an example of a passing
IV chord, like
V IV V. From the functional perspective that would not really be a progression but a prolongation of a
When the functional flow of pre-dominant to dominant to tonic is backwards - like
V IV it can be called a retrogression instead of a progression.
V IV] is a common chord progression too right?
Bars 9-11 of a typical 12 bar blues will go
|V|IV|I| that's pretty common.
Lot's of people get bent out of shape that functional harmony would label that a retrogression, some kind of "wrong" progression. But they also fail to point out that the completion and repetition of the 12 bar form (bars 9-12 and back to bar 1) is very commonly
|V|IV|I|V:|:I which conforms to functional harmonic progression.
If your textbook really does not show an example of
V IV - even an example to show that while rare in common practice music it can be found if you look long and hard enough - it's probably just a matter of the book presenting the most common, idealized style of classical harmony.
Piston's Harmony covers the
V IV progression in two places: one is about avoiding the cross relationship of the tritone, and the other is the irregular resolution of
V7. In a nutshell, to avoid the cross relationship, when the progression is root position
V IV don't put the leading tone of
V in the soprano. And regarding irregular resolution Piston says: "more often the subdominant is found in first inversion." He then gives Mozart K. 279 as an example (no measure number given) in
F: | ii6 I6/4 V7 | IV6 V6/5 I |. The seventh of
V7 can be a held, common tone when it becomes the root of