Thanks for this. What about when the V7/V does not go to V? Is that just II7 and a borrowed chord form Lydian or a deceptive cadence or interpolated... a substitution of Idim?
I think that depends on context. Often a V/V resolves deceptively, and not directly to V, yet it still feels (functionally) as though it is V/V (meaning, it could have gone to V logically), then I would still label it a V/V. In cases where this chord is not operating in the context of functional tonal harmony, but instead out of some sort of linear voice leading, then perhaps II7 would be appropriate. It's very contextual.
![How To Arrange Chords into BEAUTIFUL 4-PART HARMONIES [Music Theory - Voice Leading]](http://i.ytimg.com/vi/UkatcvIuF4U/mqdefault.jpg)
![How To Arrange Chords into BEAUTIFUL 4-PART HARMONIES [Music Theory - Voice Leading]](/img/tr.png)
Thanks for this. What about when the V7/V does not go to V? Is that just II7 and a borrowed chord form Lydian or a deceptive cadence or interpolated... a substitution of Idim?
I think that depends on context. Often a V/V resolves deceptively, and not directly to V, yet it still feels (functionally) as though it is V/V (meaning, it could have gone to V logically), then I would still label it a V/V. In cases where this chord is not operating in the context of functional tonal harmony, but instead out of some sort of linear voice leading, then perhaps II7 would be appropriate. It's very contextual.