Secondary Leading-Tone Chord in Deceptive Motion
In a deceptive motion, how does employing a secondary leading-tone chord (vii/vi) to approach the submediant (vi) alter the effect compared to a standard V–vi progression?
A
It changes the quality of the vi chord from minor to major, creating a more satisfying deceptive cadence
B
It creates stronger voice-leading to vi through the raised leading tone, intensifying the deceptive motion
C
It introduces a chromatic alteration that weakens the expectation of resolution to I, making the deception more effective
D
It adds an extra chord to the progression, delaying the resolution and increasing harmonic tension
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