enter image description here

i giving the situation. image is a resolution of V34

left case of the image is

'D-F' in V going to 'E-E' in I as contrary motion. and from that position, a 'harmonic connection' (any notes shared between two chords should remain in the same voice, and the rest of the voices move the shortest distance possible while avoiding breaking any other rules.) with the ii6's F-D is possible.

but right case of the image is

can't harmonic connection if 'D-F' in V going to 'E-E' in I as contrary motion. so F is going to up.

However, my curiosity here is that if V's 'D-F' goes to the I's 'E-E as contrary motion , can the following progress be made.

E-G-E-C -> D-A-F-A

I think that progression is can be harmonic connection. but as far as I know Secondary chord is can't overlapping Fifth. because 5 in the secondary chord is 3 in the primary chord.

but if is not substitute chord? can overlapping Fifth and Is it possible to proceed as above?

  • I'm having a difficult time understanding your question. Are you able to notate the progression you're asking about and post the image?
    – Aaron
    Aug 3 at 4:51
  • @aaron i don't have image just an example I made by transforming the on the right side of the image in the main text. D-G-F-B(V) -> E-G-E-C(I) -> D-A-F-A(ii)
    – guss2222
    Aug 3 at 5:54
  • I see. So you're wondering if the progression in your comment breaks any rules of harmony or voice leading?
    – Aaron
    Aug 3 at 6:10
  • @aaron yeah, for Exactly, is that situation, can overlapping Fifth if is not substitute chord? that's my question.
    – guss2222
    Aug 3 at 6:18
  • @aaron I thought you were going to answer my questions soon.
    – guss2222
    Aug 4 at 6:29

1 Answer 1


Chord progression: V7-I-ii

The chord progression described, V7-I-ii, contains two problematic aspects:

  • It is the exception to double the third of a major chord — the I chord in this case. Since the third is not functioning as a leading tone, no rules are broken. However, the doubling is avoided, because it gives a hollow sound to the chord, as it does in this instance.
  • There is a hidden fifth moving from I to ii between the soprano and bass parts. This is more problematic that the doubled third, especially since it occurs between outer voices.
  • "Since the third is not functioning as a leading tone, no rules are broken." You mean leading tone in V? And what do you mean ' not functioning as a leading tone' i don't understand.
    – guss2222
    Aug 5 at 7:41
  • And im talking about perfect 5 in ii is a sop and bass.
    – guss2222
    Aug 5 at 7:44
  • @guss2222 Regarding the leading tone: I am speaking of the I chord. The E is doubled, which is unusual, but E is not the leading tone, so it's okay. If the following chord were F major instead of D minor, then E would be a leading tone.
    – Aaron
    Aug 5 at 14:06
  • i understand. and what about another question?
    – guss2222
    Aug 6 at 2:36
  • @guss2222 I updated my post.
    – Aaron
    Aug 6 at 2:37

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