The text describes a progression where a V⁶₅/V is followed by a V⁴₃/IV as a kind of deceptive resolution. What is the main reason this progression 'works' according to the text?
Explanation
Unusual or 'deceptive' harmonic progressions are often made convincing through exceptionally smooth voice leading, which connects the chords logically even when the root movement is unexpected.
Other questions
According to the principles of using secondary leading-tone seventh chords, which chord is specified for use when the triad to be tonicized is minor?
When a major triad is tonicized by a secondary leading-tone seventh chord, which statement is accurate regarding the choice of chord?
What is the first step in the procedure for spelling secondary leading-tone chords?
After finding the root of the chord to be tonicized, what interval must one move to find the root of the secondary leading-tone chord?
What is the root of a vii°⁷/vi chord in Eb major?
What is the first step for recognizing a secondary leading-tone chord in a musical passage?
In the minor mode, which secondary leading-tone seventh chord is noted as an exception that is not used, even though its target (the V chord) is major?
The deceptive progression V(7)–vi is often embellished by inserting a secondary chord. Besides a V(7)/vi, which other secondary function is mentioned as being 'just as common' in this context?
In a circle-of-fifths sequence in C major, what is the vii°⁷/ substitute for a Dm⁷ (ii⁷) chord?
When a series of major-minor seventh chords is used in a circle-of-fifths sequence, what is the typical voice-leading motion of each leading tone?
The text states that a substituted secondary dominant will have the same root as the diatonic chord for which it substitutes. A substituted secondary leading-tone chord, however, will have a root that is what interval higher than the root of the diatonic chord it replaces?
What is the resolution of a vii°⁷/V that is spelled enharmonically in major keys when the V is delayed by a I⁶₄ chord?
A deceptive resolution of a secondary function is described where a V⁷/ chord resolves up to the vi (or VI) of the chord that was being tonicized. What is the analysis for a progression of A⁷ to Bb in the key of F?
What is the relationship between any two major-minor seventh chords whose roots are a minor third apart?
In the analysis of the voice leading for two major-minor seventh chords a minor third apart, what happens to the voices that are not held as common tones?
A diatonic circle-of-fifths sequence in the key of e minor is given as C(VI) – F#°(ii°) – B(V) – Em(i). What chord is listed as a vii°⁷/ substitute for the F#°(ii°) chord?
What does the text identify as a convenient abbreviation that can be used for longer tonicizations?
How many common tones are shared between two major-minor seventh chords whose roots are a tritone apart?
What is the only major triad that is never tonicized by a secondary viiø⁷ chord, according to the chapter summary?
In a circle-of-fifths progression of root position seventh chords in a four-part texture, what must happen with complete and incomplete chords?
Besides the V-vii°⁷/vi-vi progression, what other variant of a deceptive progression using a vii°⁷/vi is mentioned in the summary?
In the circle-of-fifths sequence using V⁷/ substitutions in C major, what is the substitute for the Em⁷ (iii⁷) chord?
Which of these is NOT a function of secondary dominant or secondary leading-tone chords according to the summary?
How many variations on the circle-of-fifths progression are presented in the chart on page 271 by choosing one chord from each of the first three columns?
What is the primary difference between a V(7) chord and a vii°(7) chord in terms of their sonority, as mentioned in the chapter's introduction?
According to the text, which secondary leading-tone chords are considered more common than others?
In resolving a vii°⁷/V or a viiø⁷/V, what consideration regarding doubling is mentioned?
The text states that the functions of certain secondary chords like vii°/III in minor can be made clear only by what?
How many steps are outlined in the procedure for spelling secondary leading-tone chords?
In the summary's discussion of secondary function substitutions, a substituted secondary dominant has the same root as its diatonic counterpart. What is the root relationship for a substituted secondary leading-tone chord?
What type of resolution is it when a V⁶₅/V is followed not by a V, but by a V⁴₃/IV?
The resolution of the vii°⁷/V is sometimes spelled enharmonically in major keys when delayed by a what?
What is the second step in the three-step procedure for recognizing a secondary leading-tone chord?
In the final step of recognizing a secondary leading-tone chord, you check if a major or minor triad built on the note a m2 above the altered chord's root would be what?
How is the viiø⁷/III chord in minor described in the text?
The introduction to Chapter 17 states that V(7) and vii°(7) chords have similar functions. What does the chapter summary say about the resolution of secondary dominants?
In a circle-of-fifths sequence using major-minor seventh chords like in Example 17-8, what happens to the voice leading of the outer voices (soprano and bass)?
What does the text say about the frequency of secondary functions other than V, vii°, and vi?
To spell a vii°⁶/V chord in the key of C major, what would be the bass note?
If you encounter a G#°⁷ chord in the key of C major, what is its most likely analysis as a secondary function?
What is the interval between the root of a vii°⁷/ substitute and the root of the diatonic chord it replaces in a sequence, such as the substitution of G#°⁷ for Am⁷?
What is the general principle regarding the function of V(7) and vii°(7) chords when they are used as secondary functions?
In the discussion of Example 17-7, the progression is described as essentially VI–ii°–V–i with two °7 chord substitutions. This example is in what key?
What reason does the text give for the viiø⁷/V not being used in the minor mode?
To spell a vii°⁴₃/V chord in d minor, what would be the bass note?
The Checkpoint section asks to name the only major triad that is never tonicized by a secondary viiø⁷. What is it?
According to the Checkpoint, what is the interval between the root of a secondary leading-tone chord and the root of the chord being tonicized?
What is the general voice-leading characteristic of smooth progressions involving secondary functions, as noted in the discussion of Example 17-3?
In a circle-of-fifths sequence using seventh chords in a four-part texture with inverted chords, what two types of inversions are said to alternate?