Since the [[subdominant triad]] and [[dominant triad]] share no common tones, all four voices must move when progressing from IV to V. Consequently, [[voice leading]] between the two chords in root position must be approached with caution. As shown in **Example 1**, one runs the risk of creating several instances of [[parallel fifths and octaves]] if all voices move by step in the same direction. **Example 1.** IV → V with parallel fifths and octaves. ![[example IV → V parallel fifths and octaves.png]] In order to avoid parallel fifths and octaves in the IV → V progression, the upper three voices must move in [[contrary motion]] to the bass to the nearest member of the V chord, as shown in **Examples 2–3** below. **Example 2.** IV → V, closed spacing. ![[example IV → V closed spacing.png]] ![[example IV → V closed spacing.mp3]] **Example 3.** IV → V, open spacing. ![[example IV → V open spacing.png]] ![[example IV → V open spacing.mp3]] In the minor mode, an additional complication arises with the progression iv → V, where the tendency tone [[le → sol]] is activated. As shown in **Example 4** below, the third of the iv chord, *le* $(\flat\hat{6})$, resolves downward by step to the root of the V chord, *sol* $(\hat{5})$. **Example 4.** iv → V, minor mode. ![[example IV → V minor mode.png]] ![[example IV → V minor mode.mp3]]