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.

Filter by
Sorted by
Tagged with
-1
votes
1answer
48 views

When writing an accompaniment, should the melody appear in the soprano of the accompaniment?

In a normal harmony exercise you are given the melody on the treble clef and you are supposed to fill in the other voices. When writing an accompaniment however you are given a melody and need to ...
2
votes
1answer
34 views

Is a voice exchange in 4 part harmony possible with 6ths in the outer voices?

In this harmony exercise I was asked to harmonize an unfigured bassline. In bar 3 I got stuck and opted for a voice exchange but instead of the standard with 3rds in the outer voices I had a skip of a ...
4
votes
2answers
88 views

How low can you go in keyboard style harmony exercises

In chorale style I know you have vocal limits but with keyboard style you can move lower and higher as needed. However, in keyboard style you play the upper 3 voices in the right hand and write them ...
1
vote
2answers
78 views

How to write the progression V iv6 V6 i

I am struggling to make this progression work in the measure marked with the red arrow. The soprano I ended up on at the cadence in measure 4 was ^3. From there I thought the best soprano would be ^2 ^...
3
votes
1answer
163 views

How to harmonize repeated ^3 in the soprano

I have not yet learned the iii chord so my only options for harmonizing the repeated ^3 in the shown exercise is to use I, I6, vi or V64 (because the soprano does not descend to ^2 I am only really ...
0
votes
0answers
42 views

Can VI become iv6 after a deceptive cadence?

In this exercise I was given the melody and I found that this harmonization produces the smoothest voice leading but on the second chord I had to use V7 to go into iv6 because, had I used V , I would ...
1
vote
2answers
67 views

How to harmonize a bassline with a scalar soprano

Here is an exercise I am working on and I can't figure out the second bar that has a bass that goes ^4 ^6 ^5. If I am right, the scalar soprano should start on ^6 and work its way down to ^3 over the ...
4
votes
1answer
63 views

Are big inner voice leaps permissible in the vi - V progression?

I am harmonizing a melody and that ^1 in m. 2 is supposed to be harmonized with a chord other than a tonic so I figured it must be a vi chord. The ^1 ^2 ^3 in the soprano usually works well with vi V ...
1
vote
2answers
56 views

Does the leading tone have to resolve in V-vi and V-VI progressions?

Sometimes, in an ordinary perfect cadence the leading tone doesnt resolve but moves to ^5 if it is in an inner voice. So why does it have to resolve to ^1 in a deceptive cadence or V-VI progression?
1
vote
2answers
48 views

Does the 7th of IV7 need to resolve if it moves to ii7?

My textbook has stressed that 7ths in supertonic and subdominant chords need to be prepared and resolved in the same voice. I am trying to do this in the following progression but since my IV7 doesnt ...
2
votes
1answer
78 views

Can a V6/4 chord come after a V chord?

My harmony book has not covered this kind of progression and annoyingly, it appears in this figured bass which I am supposed to harmonize. I am stuck on this V chord that appears to become a V6/4 (or ...
8
votes
3answers
1k views

How can I distinguish between a full 7th chord and a 7th chord without a 5th in figured bass?

The standard figured bass is usually just a 7 for a 7th chord in root position, right? If this is correct, the 5th and 3rd are assumed. But what about if the 7th chord should omit the 5th and double ...
1
vote
1answer
38 views

Which notes can you double in a IV6 chord built on raised ^6?

In the progression from IV6 to V65 in minor you need to raise both scale degree 6 and 7 but what notes can you double in the IV6 chord? Could the raised note be doubled in the upper parts or is this ...
1
vote
1answer
40 views

How to harmonize ^1 ^2 ^3 with VI V i in minor

I tried my best to harmonize this in minor and the best I could come up with was a VI without a 5th and a doubled 3rd. I am not sure if this is right. And did I write the doubled F correctly in the VI ...
2
votes
2answers
57 views

How to resolve a vii°6 to root position I chord

When resolving a vii°6 chord to I6 I am allowed to resolve the D5 to a P5 but my book makes it clear not to do this if I am resolving the vii°6 to I in root position. Now today I was writing this ...
1
vote
2answers
58 views

How to harmonize ^2 - ^4 - ^3

I have at my disposal I, I6, V and V7 and inversions as well as ii, ii6 and IV to harmonize this melody. I am also allowed to use the cadential 64. I am stuck on the beginning part on how to harmonize ...
1
vote
1answer
55 views

How to write I vii°6 I6 with the outer voices in parallel 10ths

I know that V43 is a better option but the exercise I am doing does not allow me the option of inverted 7 chords. Can someone please correct me if I have made a mistake?
3
votes
1answer
108 views

Under what circumstances can a diminished 5th move to a perfect 5th in voice leading and harmony?

There seems to be some exceptions to when the diminished 5th does not resolve and moves to a perfect 5th. The progression with parallel 10ths I V43 I6 with ^3 ^4 ^5 in the top voice seems to be the ...
1
vote
1answer
48 views

How to resolve a vii°6 when there is a D5 in the upper parts

According to what I have learned, the dissonant interval of an A4 can resolve to a P4 when going from vii°6 to I but if there is a D5 it must resolve properly (a D5 can go to P5 under certain ...
0
votes
1answer
41 views

How to harmonize descending ^2 ^7 ^5 in the soprano in the same bar

If these melody notes appear in a harmony exercise where you are allowed to use only V V7 and I to harmonize a melody would the logic be too harmonize all 3 with V since you are going from the leading ...
1
vote
1answer
52 views

How to harmonize ^4 ^2 after a ii7 chord?

I am busy trying to complete an exercise in which I have to harmonize a soprano melody using supertonic and subdominant harmony where the red stars are marked. I am allowed to use inversions. I got ...
-2
votes
1answer
63 views

Why does VI ii°7 V7 i sound so bad in minor?

I am currently working on subdominant 7th chords. In some exercises I'm asked to voice lead typical subdominant to dominant progressions. Most the progressions I'm asked to write are in major. I'm ...
1
vote
3answers
71 views

How to move from IV7 to V in keyboard style without parallels?

I tried and this is the best that I could come up with. There is a rather big leap between IV7 and V and I was not able to resolve the dissonance :( Is there a solution? The question says ^3 must be ...
1
vote
2answers
47 views

How important is preparing and resolving the 7th of ii7 and iv/IV7 and their inversions in the same voice

Especially in keyboard Style, I am left with very few options for voice leading if I try to prepare and resolve the dissonant 7th of the super tonic and sub-dominant chords in the same voice. How ...
0
votes
0answers
47 views

How to write a back-relating dominant in 4 parts

In this exercise I am asked to harmonize a figured bass and explain the V - ii6 in bar 3 - 4. Since ii chords usually come before dominant chords I paged through my textbook to see what the question ...
2
votes
3answers
85 views

Is a figured bass symbol supposed to show a raised 6th scale degree?

I am harmonizing this figured bass Please look at the E note where the blue arrow is pointing. I have raised this note because otherwise there would be an aug 2nd leap to the F#. Can someone please ...
2
votes
2answers
93 views

Is it ok to change between keyboard style and SATB style harmony notation?

I began a harmony exercise in keyboard style but now my chords are opening up and I am finding it very hard to remain in keyboard style whilst still maintaining the smoothest voice leading. There ...
0
votes
1answer
93 views

Can V65 or V6 move down to V7 or do they usually resolve to I?

I understand that the bass of V65 or V6 wants to move up to I. My text book does have some double neighbor figures where V65 goes to V43 before resolving to I or I6. However, I am unable to find an ...
2
votes
2answers
63 views

Is there a mistake in this four-part composition

In the screenshot provided you'll find 2 times 8 bars of a four-part composition etude. I was given the bass and soprano and am supposed to fill in the middle registers according to some basic ...
3
votes
3answers
286 views

Why is the progression V - IV not in my harmony and voice leading book?

It is basically saying that dominant must go to tonic or to the vi chord in a deceptive resolution but what about V - IV? This is a common chord progression too right? So why is it not in my voice ...
0
votes
2answers
91 views

Why do tendency tones and non-chord tones usually resolve down not up?

Not all the time but in voice leading the dissonances usually resolve down.. suspensions, leading tones, 7ths etc... they always are taught to resolve downwards. Why not up?
0
votes
3answers
60 views

How to write a 4 part progression going from V to VI in minor keys

Apparently the 3rd of the VI needs to be doubled but in this progression I have written the motion from V to VI with the normal doubling and it sounds great to me. I don't understand why they make ...
2
votes
2answers
205 views

Why do 7ths need resolve if the V chord is inverted?

A V65 or ii65 have 3 upper chord tones that all form consonances with the bass so why did the chordal seventh require resolution in voice leading as it did in root position?
1
vote
0answers
68 views

What does a 10 above a figured bass symbol mean?

I am going to guess here and say that the tenor will be a 10th above the bass but not sure.. can someone please confirm? perhaps it means the Soprano is a 10th above?
3
votes
2answers
77 views

Can ii move to V43 over static bass just like IV can move V42?

In my harmony book (by Aldwell and Schachter) the progression from IV to V42 is a common one and gets its own section. But the book makes no mention of using scale degree ^2 in the bass. Is moving to ...
2
votes
1answer
73 views

What are idiomatic ways to harmonize ^5 ^4 ^3?

I have only learned a few chords in my harmony and voice leading book. I, I6, V, V6, ii, ii6, IV and the inversions of V7. I am now trying to harmonize this melody and so far the most idiomatic ...
2
votes
1answer
94 views

How to write 4 part chord progressions when the roots are only a step apart

My textbook instructs me to use contrary motion with the upper parts against the bass when writing chords a step apart. But here in this image you can see I have voiced the chords IV - V so that I can ...
2
votes
3answers
82 views

Why use V43 over vii°6?

It seems that there is a leap of a 4th when moving from I6 to V43. wouldnt a descending bassline with ^2 having a vii°6 be smoother in connecting I6 with I53? Or perhaps there is another good reason ...
4
votes
2answers
401 views

Does V42 only resolve to I6 or can it move to V7 forming a stepwise bass?

If the chordal 7th needs to resolve down by step then I understand why V42 should move to I6 but cant chords be expanded and the dissonant 7th in a 7th chord move to another voice for example from the ...
2
votes
2answers
185 views

Can an expanded dominant precede a cadential 6/4 chord?

My textbook actually says that you should avoid this because it contradicts what the cadential 4 is supposed to do but using the given melody (which I couldnt change) this is the best harmonization I ...
2
votes
2answers
100 views

Why are augmented 2nds not used in 4-part harmony?

Here is just one example, but all throughout my textbook they seem to be saying that it is bad voice leading using aug 2nds. However, I tried to play a lot of the examples and they sound ok on piano. ...
0
votes
1answer
28 views

Are weak - strong relations a valid consideration when writing harmony for a given soprano line?

When writing chord progressions for a given soprano line my textbook says that rhythmic considerations will often determine whether one harmony is better or less good than another. Think of a soprano ...
4
votes
4answers
305 views

Is ii° V i a common progression in common practice harmony?

I am learning all about subdominant triads and my textbook shows most voice leading of I-ii-V progressions using major keys. It says that because of its harsh quality, the ii° chord was not used as ...
5
votes
5answers
507 views

Best way to harmonize cadential 3^ 1^ in the soprano

I am trying to harmonize a melody I wrote and am stuck at the end. I like the 3^ over the bass, but what chord should it be? I64? iii? Also, what other improvements could be made?
2
votes
1answer
36 views

Is it correct voice leading to move the same right hand chord shape down in contrary motion to the bass?

Here is a progression I wrote where you can see the right hand just moves down playing the same chord shape in CM to the bass. Is this good voice leading or is using 2 chords in the right hand with ...
2
votes
3answers
387 views

In voice leading why do tones of resolution have to occur in the same voice?

This part of music theory is very flawed IMO and maybe someone can change my mind but there is all this talk about resolving dissonances when studying voice leading and most textbooks seem to be ...
2
votes
1answer
65 views

Is it ok to move from a dim5 to a p5 when moving from vii6 to I6?

Usually moving from a dim5 to a p5 is not a good idea but in this progression is it ok? You can see the dim5 doesn't resolve in the I6 chord but the voice exchange makes it quite smooth. Is there a ...
9
votes
6answers
2k views

Why does the 7th of a dominant 7th chord have to resolve down in voice leading?

To properly resolve a dominant 7th chord the 7th usually resolves down by step but by doing this I am not able to have a complete tonic chord. See here please: In voice leading that D in the E7 chord ...
3
votes
3answers
69 views

how to harmonize 5,4,3 in the soprano using I V I as the harmony?

Is there a way to do this without parallels? I have tried but can't seem to make it work, and in my textbook the example uses parallel 5ths.
1
vote
1answer
50 views

How to simply voice-lead melody for jazz brass

Hello and thank you for your time! My knowledge in music theory is limited, so excuse me. I don't know where to look for the answer. The goal is simple: harmonize a upper melody with chords stacked ...