![]() In the next closest category (two half-steps), there are three chords: A minor (the submediant), A-flat major (the borrowed submediant), and F minor (the borrowed subdominant). Before reading on, take a moment to find the IVI between a C major triad and all triads that are diatonic to C major or C minor.* Rank them in order of smoothest voice-leading to least.Īs you can see the smoothest voice-leading possible between a C major triad and a different triad is the one half-step necessary to create E minor, the mediant. This happens because it has two common tones rather than just the one associated with chords that have roots separated by P5. But in a surprise twist, the winner of the smoothest voice-leading in the above progression, was not a standard function progression at all it was the I chord moving to the vi chord to start the progression. ![]() ![]() Both of these resolutions require only three half-steps. The next strongest resolutions were vi to ii and V to I. ![]() When counting the half-steps in the the above progression, you hopefully found that the movement from ii to V was the “weakest” voice-leading and required four half-steps to resolve. Counting the half-steps necessary to resolve the progression.Inverting one of the chords to minimize the distance necessary to resolve the two chords.Writing both chords next to each other in closed position.You can do this between any two chords by: We will call this process Idealized Voice-leading Intervals (IVI). ![]() Which chords have the smoothest voice-leading? Which are the most disjunct? Does this line up with what you would have expected? Idealized Voice-leading Intervals (IVI)Ĭounting the half-steps necessary for resolution in idealized voice-leading will be helpful to us as we explore more advanced harmonic concepts, because it gives us a tool to quantify something that is relatively subjective–what makes good voice-leading. In the simplified progression above, count the half-steps necessary to move between each of the two chords. By quantifying this aspect of voice-leading–the “smoothness” between two chords–we can study how this aspect of voice-leading strengthens a progression. ![]()
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