Questions tagged [voice-leading]
The craft of writing multipart music such that all notes are transitioned to in a "smooth" or "harmonious" manner consistent with common practice harmony.
92
questions
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4answers
58 views
Why is vi6 (submediant chord in first inversion) rarely used?
I read that vi6 is almost completely absent – is there a reason for this?
0
votes
4answers
100 views
Why is ii6 always used instead of ii?
I've noticed in ii-V-I that it is almost always ii6-V-I or ii6/5-V-I. Why is this the case? Should the descending fifth in the bass of ii-V be a very strong progression?
3
votes
1answer
75 views
Chord Scale Voice leading question for guitarists
I've recently been practicing voice leading chord scales, trying to keep the bass note within a range of 2-3 frets, playing through all the diatonic 7th chords in a scale. So ill start off in say, ...
9
votes
2answers
1k views
Expanding the I-IV progression
I wanted to make the I-IV progression a little more interesting by having the I fall a third to its relative minor, vi, before moving to IV (so, I-vi-IV). I do like the melodramatic I-vi progression, ...
2
votes
3answers
48 views
Voice Leading with Octave Leaps
In a piece I'm working on, the climax of the melody line consists of an upward octave leap followed by another step upward--from G4 to G5 and then to A5. (I realize this is generally discouraged, but ...
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vote
3answers
86 views
Do parallel octaves “count” across multiple voices?
I'm really not sure of a better way to phrase my question.
If the tenor and alto voices are both on a B, and the tenor voice moves down to A, does it count as parallel octaves if the soprano voice ...
5
votes
1answer
189 views
When does one omit the fifth in V7 chord in classical harmony?
The textbooks on classical harmony that I have read (Leo Semlek, "Klassikalise harmoonia lühiõpik" ["A Short Textbook on Classical Harmony"] and "Klassikalise harmoonia õpik" ["A Textbook on Classical ...
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0answers
42 views
Voice leading options for 12 bar blues
Here is a rootless voicing, 12 bar blues from Jerr Coker, Jazz Keyboard...
...it presents the typical A/B voicings. In this case 7/3/13 and 3/7/9. In a roots by descending fifth progress the A and B ...
1
vote
0answers
43 views
Transcribing Take It To The Head By Dj Khaled [closed]
I know you all are pitch-perfect, and can literally discern the note of a hi-hat being played next to white noise so I had some questions about transcribing the highlighted areas on the gyazo links.. ...
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vote
2answers
50 views
Voice leading rules for more than four voices?
When writing songs with more than 4 voices, or with chords which contain more than 4 notes, how would harmonic leading rules apply? Cause quite often it won't be possible to avoid parallel motion in ...
7
votes
3answers
600 views
Can the leading note resolve down?
Would like to ask if the leading tone in chord V (G) could resolve downwards to Eb (fifth of chord I)?
I’ve somehow recall reading that the rule (leading note MUST resolve to tonic) only applies to ...
6
votes
1answer
151 views
Neo-Riemannian Theory, The Minor Plagal Cadence, and Chromatic Voice Leading
In my reading, a criticism that I have heard leveled against Neo-Riemannian theory is that it does not explain the smooth chromatic voice-leading possible in the iv - I instance of the plagal ...
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votes
3answers
160 views
Is there a rule in SATB writing regarding the Soprano & Bass moving in contrary motion?
While writing a melody over a bass line, it is generally advised to have the melody & the bass line moving in contrary motion to each other. I want to know if such a rule also exists when you ...
5
votes
3answers
547 views
Maximum interval between Alto & Tenor, & intervals when writing for SATB
What is the maximum interval permitted between the Alto & Tenor when writing for SATB? I have read it should not be more than a 10th, whereas another source said it should not be more than an 8th. ...
4
votes
1answer
124 views
Tenor part written higher than the Alto part in SATB
I have read that Bach in his chorales wrote the tenor part high (frequently using ledger lines for this). Another source said that the Tenor part would be written higher than the Alto part - for ...
0
votes
3answers
209 views
Does the 7th major scale note resolve more strongly to the lower tonic (note 1) than the higher tonic (note 8)? [closed]
Does the 7 resolve more strongly to the 'lower' tonic (1) than the 'higher' tonic?
I used the word resolve as the octave notes are different despite being the same name.
My ear says going from B ...
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votes
7answers
3k views
How do you voice extended chords?
If I have a Cmaj13 chord, it uses 7 notes. Basically all the notes of the scale. In a previous question, I was told that you rarely play all 7 notes for a 13th chord. So how do you know which ones to ...
5
votes
1answer
104 views
Parallel octaves in left hand chords
In classical / romantic harmony, are parallel octaves allowable in left hand chords? When and why? For example, in Chopin's Nocturne Op. 9 No. 2, right at the beginning, there are parallel G-A-G. ...
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votes
3answers
760 views
Is it wrong to have two voices move from a perfect fifth to a perfect octave?
I had a teacher once tell me that although not forbidden, it is not advisable to have the same two voices move from a perfect fifth to a perfect octave (specifically referring to a four-part chorale ...
2
votes
1answer
133 views
chord voicing to improve overall sound
I have the following phrase:
I like the progression and the tension that builds during the VII and V7. I also like the melody in the top staff, but I am happy to change it if necessary. Here's the ...
11
votes
5answers
2k views
“Only open voicing below middle C!” Really?
Every resource I've seen and person I've talked to has said that putting low voices, usually trombones, in close spacing anywhere below C4 is to be avoided at all costs, due to muddiness. As I arrange,...
3
votes
1answer
84 views
minor ii-7 moving to I-6
In traditional hymn writing, can I move from a ii-7 in root position to the I chord in first inversion in the middle of my hymn, then continue to the V as a half cadence?
2
votes
1answer
96 views
In minor, can the neapolitan sixth chord resolve to the diminished seventh chord on the leading-tone (of the same key)?
What would that look like voice-leading-wise? I'm assuming more or less traditional common-practice harmony rules. Examples from the literature would be much appreciated.
5
votes
1answer
382 views
What’s the voice leading error?
I am looking for a voice leading error or chord construction error in this example but can’t seem to find one. Any pointers would be great!
5
votes
2answers
178 views
Geometric Voice Leading Presentation
I'm coming from a non-academic background and just trying to understand the rules of voice leading for pursuing a future composing career.
I've always found difficulties in understanding this topic on ...
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8answers
2k views
Doubling the third of a root position major chord in four-part harmony
In a manual for four-part harmony that I am reading, it is suggested to avoid doubling the 3rd of a root position major chord, as it sounds harsh. On a minor root position chord however, it is ...
4
votes
3answers
81 views
What does Satb theory say about moving octave C into a perfect fiftth?
On a piano you could play octave C moving to G-D. The high C moves up to D and the lower C moves up to G.
X:1
L:1/2
M:
K:C
%%score B
V:B clef=bass
% 1
[V:B] [C,C] [G,D]
What would four-...
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vote
1answer
697 views
How do I write “piano style” cadences?
I'm currently undertaking the AMEB theory grades. I'm up to grade 4 and am working on different types of cadences but I STILL don't understand how "piano style" (the one with the bass note in the bass ...
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vote
2answers
53 views
is this a part interrupt?
at measure 6 ,
the soprano starts with the G
so shouldn't the alto not go over the G
till the next measure ?
but you could see the alto is getting higher then the G through the measure..
is this a ...
6
votes
4answers
399 views
Do 4-part harmony rules also apply to piano arrangements?
Does rules in 4-part harmony also apply to piano arrangements ?
Like for example no doubling the 3rd note of the chord, or moving in parallel 5, etc.
1
vote
1answer
855 views
4-part Harmony exercise 2
The exercise was to make the tenor alto soprano for the bass note given.
is there any rules I violated ?
any feedbacks will be welcome thanks !
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votes
2answers
228 views
Is there any rule I violated in my 4-part harmony exercise?
The exercise was to make the harmony for the bass notes.
I'm studying with a book by myself so I'm not sure if I am doing this right.
3
votes
4answers
553 views
Parallel fifths and power chords
Don’t power chords, used frequently in rock and pop songs, break the voice leading rule of no parallel fifths? As long as one of the other instruments (second guitar, bass) is playing the thirds of ...
4
votes
2answers
165 views
How should six-four chords be resolved?
In the point deduction section of the AP Music Theory exam guidelines, it says:
The 6th or 4th of a 6 4 chord is unresolved or resolved incorrectly.
What exactly does this entail?
1
vote
1answer
210 views
Can voice overlap occur in different phrases?
Is it possible for voices in one phrase to overlap with voices in another in SATB chorale style?
For example: the alto sings middle C in one phrase and in the next phrase the tenor sings D. This ...
5
votes
2answers
2k views
Are consecutive 3rds allowed in harmony?
In harmony, is it okay if there are consecutive 3rds in ii-V progression in two different bars?
3
votes
1answer
183 views
Do SATB part-writing rules apply during repetition or when additional stanzas are sung?
If you have an SATB piece of music that begins with, say, "DFAD," and ends with "GBDG" (picardy third in this case), and if this piece is repeated (e.g., stanzas in a hymn), would the tenor be ...
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vote
2answers
342 views
Consecutive fourths in melodic motion
Context: My theory book is elaborating on some rules for melodic motion to be applied to the soprano voice when Writing in Four Parts.
In the screenshot below, I'm trying to digest the quote:
Two ...
2
votes
2answers
671 views
Diatonic harmonic function of chord inversions
I'm trying to make my way through the classical harmony, and I'm making good progress, but since my last composition lesson there's been something which is not entirely clear to me.
So my teacher is ...
3
votes
1answer
150 views
Reason for voice-crossing in Mahler's Symphony 1
I was reading through the full score of Mahler's Symphony No. 1 today to see how it's orchestrated and hopefully learn a few things from it.
This particular bar from the first movement interested me:
...
3
votes
1answer
179 views
Is there a standard non-Fux counterpoint method?
The OP for this question refers to a rule for second-species counterpoint which isn't mentioned in Fux's Gradus ad Parnassum. The answer confirms it, and adds yet another rule, referring to "strict ...
1
vote
1answer
80 views
Voice crossings and voice leading measures
In "The Geometry of Music", Dmitri Tymockzo discusses voice crossings in measures of voice leading sizes:
"I consider a measure of voice-leading size to be “reasonable” if it
satisfies two basic ...
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vote
2answers
774 views
What determines if counterpoint is good or bad?
I am currently reading through the Complete Musician and the current subject is second species counterpoint. I've written about 5 or 6 counterpoints so far in first and second species.
That said ...
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vote
5answers
260 views
How can I harmonize this V-I cadence? It causes parallel octaves between bass and soprano
How can I harmonize this cadence? V-I? It causes parallel octaves between bass and soprano
2
votes
2answers
180 views
“Bad” voiceleading in Czerny Op.599
There seems to be a parallel octave between measure 3 and 4. (Marked with red)
The seventh of the dominant seventh chord in measure 3 seems to have a "wrong" resolution. It is supposed to resolve ...
2
votes
3answers
3k views
Voice leading rule hidden fifths/octaves
Good afternoon everyone!
Sometime 2 years ago I started practicing voice leading for 4 voices, but since I had to spend all my time on school I kind of stopped halfway. Since I graduated I've picked ...
2
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2answers
428 views
Voice leading a plagal cadence
I was wondering if the above plagal cadence in Eb major was correct or not. Also, are the stem directions right? And am I right to assume that I had to write it in only 2 part? or is it actually 4 ...
5
votes
4answers
581 views
Is contrary motion a requirement when approaching a cadence?
Do the upper parts in all cadences move in contrary motion to the bass.if I write it like that, am I wrong? Or is it only for adjacent chords?
2
votes
2answers
885 views
Parallel Octaves and Fifths in Jazz?
Do Jazz musicians make any effort to avoid parallel 5ths and octaves?
2
votes
1answer
392 views
Is there a compilation of The Well-Tempered Clavier voice-leading reductions?
Reading about Voice leading on the Wikipedia I came across an example of two reductions of a part of the Preludium in C major (BWV 846a) and was puzzled to know if there is a compilation of those ...
