I recently discovered @greghmerril's program for detecting common errors in traditional four-part harmony.
The following rules of voice leading are checked:
- Vocal Range;
- Spacing Between Voices;
- Parallel Fifths and Octaves;
- Voice Crossing;
- Consecutive Fifths and Octaves by Contrary Motion; and
- Hidden(Direct) Fifths and Octaves.
I am (first of all) very impressed with the program. I am curious, however, what I should be aware of before letting a program influence my progressions. The goal is smooth voice leading, however that may be achieved. In other words, I am not concerned with the principle of it.
I am however, wondering what the human in me should be aware of or notice when I swiftly edit progressions according to the program's suggestions. Might something (don't ask me what) get lost in the process of correcting the progressions? Or, will the progression that has been "program-approved" always sound better than the original, flawed one?
If you wouldn't mind reviewing--the following are two of my progressions after making the program's suggestions. What do you see? Are there any red flags or things that jump out to you as "correct but not right"? I would just like to know what I am getting myself into (this is for my own personal composing as a hobby--not just to complete music theory homeworks).
Response to current answer:
Thank you very much for your response.
I just wanted to mention (if it wasn’t clear) that the two progressions I posted are separate ideas—they don’t go together.
Additionally, I am not specifically trying to emulate the style of Bach, with his fast harmonic rhythm and highly independent voices—I just want to focus on writing progressions that are interesting yet air-tight (so yes—focusing on chords here).
Can you please elaborate on point #1? I am not familiar with the term “contralto”—I’m thinking in terms of SATB.
As for #2, I was under the impression that “accented passing tones” were an acceptable melodic device. That being said, are there certain treatments (be it voicing, surrounding melodic motion etc.) I should be aware of?
For #3, is there something incorrect about the I69? I do not intend for it to be a iii chord. You said “it comes to another problem”?
For #5, what do you mean I shouldn’t have “that treble clef one octave down”?
I refer to the Aldwell & Schachter text. Do you know where I can find a copy of Diether de la Motte’s? I am having trouble finding an English version online.
Thank you again for the response.