Tagged Questions

The craft of writing multipart music such that all notes are transitioned to in a "smooth" or "harmonious" manner consistent with common practice harmony.

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-1
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0answers
20 views

4 Voice Part 5 to 1, 4 to 5, 4 to 1, complete 7 to 1, incomplete 7 to 1? [closed]

How can you make examples for 4 Voice Part 5 to 1, 4 to 5, 4 to 1, complete 7 to 1, incomplete 7 to 1?
8
votes
2answers
327 views

Common Practice Music Theory - Easier method to memorize 4-part harmony doubling rules?

My main question is in the title above. Chords in Common Practice Style only have three notes, so in 4-part harmony (SATB), one note will be repeated. In music theory, there are a ton of doubling ...
6
votes
2answers
162 views

Voice-leading with three chords in first inversion?

Hey guys just keeping my part writing skills sharp (not flat) for the long summer. I got this out of Assignment 9.4 of Robert W. Ottman's "Elementary Harmony." It's in G♭ major. I was already given ...
5
votes
4answers
375 views

Looking for software that checks for voice leading mistakes in MIDI, MusicXML, or MuseScore formats

I've been learning voice leading with a mixture of on-line classes and some reading. Receiving feedback for exercises can be troublesome sometimes. I was thinking if there is a way to cut that ...
17
votes
6answers
3k views

What is Voice Leading?

In both classical music and jazz, we often encounter the concept of voice leading. What is it?
6
votes
3answers
1k views

How to differentiate between a diminished fifth and an augmented fourth interval?

Both are a tritone appart, both sound the same. How can we differentiate when an interval is an augmented fourth or a diminished fifth? Context: In voice leading we learn that when the spelling of ...
3
votes
3answers
238 views

Is raising the flat 7th scale-degree of a mode to become a leading tone to the final still modal?

So for example, taking mixolydian mode, the third of the vm7 chord (the flat seventh of the mode) is raised to create a V7 chord (as commonly occurs in tonal music in a minor key) which is then ...
8
votes
1answer
1k views

What are the rules for using diminished chords in part writing?

If I use diminished chords such as ii diminished chord from the minor scale then do I according to the rules for proper part writing use the first inversion of ii diminished. What is the reasoning ...
2
votes
1answer
101 views

Octave apart voicing

Strictly speaking, can adjacent voices (aside from tenor and bass) be an octave apart from each other? They can't be more than an octave apart but is it a violation of principle to make them an octave ...
7
votes
3answers
233 views

Are minor sevenths allowed in baroque counterpoint?

Are minor sevenths allowed in baroque counterpoint? I ask because in the first measure of Bach's Invention No. 1 the upper voice and lower voice have an interval of a minor seventh (the upper voice ...
1
vote
1answer
130 views

Diminished Intervals in Voice Leading

I know that augmented intervals within part writing in both minor and major keys is forbidden but what about diminished intervals? For example if I we're in e minor and in 3/4 time and I'm writing a ...
4
votes
1answer
115 views

Are repeated octaves permissable in a fourt part SATB?

I am writing a four part SATB (soprano, alto, tenor, bass) and wanted to know if repeated (that is, successive) octaves are permissible? I know that parallel fifths/octaves are not allowed, but what ...
1
vote
2answers
196 views

Harmonizing melody exercise question with specific parameters

I'm reading the book Harmony for the computer musician and there's an exercise where you need to harmonize 3 notes of a melody in D major, parameters are: you must use the same note length as the ...
9
votes
4answers
953 views

Voice leading confusion

I perfectly understand the theory of voice leading when explained in most theory books about moving voices between chords in the shortest possible manner to give a smooth connection between chords. ...