1. Double the root.
2. Keep all common tones (CT) in the voices in which they originate; move other voices to the closest note in the new chord. Between two chords there will be one common tone if root movement is by fourth or fifth; two if root movement is by third (or sixth).
3. There are no common tones if root movement is by step. In this case all three upper voices move in contrary motion to the bass, each upper voice moving to the closest note in the new chord.

Deceptive Cadence

No common tones b/t V and vi

Leading tone in V moves up to tonic in vi

Resulting vi chord has doubled third instead of root

Normal voice leading creates augmented second

Double the third of VI instead of the root

One doubled third steps down to leading tone

Other two upper voices step up

There is a common tone- but it is not treated as such.

In major: use CT voice leading or all descending pattern

In minor: diminished ii rarely in root position. If it does all three upper voices much move down to V

Directed motion, or movement toward a goal, and harmonic progression therefore implies harmonic movement that is goal directed.

A progression of chords is moving toward a goal and each harmony in the progression can be understood in terms of its place in that motion.

I, IV, V

All have major thirds (hence the capitol numerals)

I- tonic

IV- subdominant

V- dominant

in major, having two notes in common with both tonic and dominant triads, lacks strong function. Can be used to progress to vi

in minor, III is the tonic of the relative major. Alternative to minor tonic important in harmonic activity.

In major and minor, usually pre-dominant

Can substitute for I in a cadence creating a deceptive cadence

Weaker version of the dominant function

Seeks resolution to I

Pre-dominant chords ii and IV move to V

V does not move to ii or IV

V moves to I

The tonic note is in the soprano of the I chord

Most final of all cadences

Cadence on V.

Not a final cadence; creates the need for an answering full cadence.

Third is in the Bass

Intervals present include sixth and third

Since sixth is characteristic to first inversion it is the superscript following the chord.

intervals present are fourth and sixth.

Fourth and sixth are characteristic of second inversion so they are both used.

more likely to double the root or fifth

lighter version of tonic function

not a final cadential goal

Generally doubles the third (bass note) when going to the V

All three upper voices descend to the closest note in the V chord-don't keep the common tone.

In other contexts, ii⁶ may double root or third

Unstable chord in major b/c of similarity to V

Doubling should promote smoothness

In minor, III⁶ is more strongly functional chord and any doubling is possible.