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.
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7answers
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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
84 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. ...
2
votes
3answers
620 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 ...
3
votes
1answer
73 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
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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
67 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
68 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
187 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!
4
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2answers
98 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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votes
8answers
748 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
57 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
204 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
49 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 ...
3
votes
3answers
168 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
407 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
137 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.
4
votes
4answers
293 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 ...
2
votes
2answers
102 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
117 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
124 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 ...
0
votes
2answers
188 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 ...
1
vote
2answers
432 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
107 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
121 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
53 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 ...
1
vote
2answers
478 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
185 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
140 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
2k 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
votes
2answers
334 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 ...
4
votes
3answers
329 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
622 views
Parallel Octaves and Fifths in Jazz?
Do Jazz musicians make any effort to avoid parallel 5ths and octaves?
3
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1answer
287 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 ...
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3answers
640 views
What led to the historical predominance of the four-part harmony in Western Music?
Introductory music theory heavily empasizes analysis and writing of music with four-part harmony, putatively the basis for music at the beginning of the common practice. Why did four-part voice ...
3
votes
2answers
1k views
How do “voice-leading”, “part-writing”, “polyphony” and “counterpoint” differ?
What are the differences in meaning and usage between “voice-leading”, “part-writing”, “polyphony” and “counterpoint”?
According to Wikipedia:
Voice-leading is “the term used to describe the linear ...
6
votes
1answer
174 views
What's voice leading and how does it work?
What's is voice leading and how does it work? I'd really appreciate a thorough answer. What I mean by how it works is how is it achieved and what's the basis of it?
2
votes
2answers
292 views
Homophonic Voice Leading (Hymns)
Apologies if this should be obvious (there's a related discussion here) But, I've only recently taken the plunge into learning music theory and an instrument. I've been reading up on harmony and voice-...
4
votes
1answer
159 views
What harmonic devices approach the tonic's root from a semitone above?
Usually, a dominant will have two voices approaching the tonic's root. Most traditionally, the leading melody comes from a semitone below, while the other (generally the bass) simply jumps between the ...
3
votes
3answers
421 views
What is the purpose of voice-crossing here?
I'm starting to work through Fux's Gradus ad Parnassum. For the two-voice, first-species, Phrygian-mode, lower-voice exercise (p. 36 on the first Google result for "Fux Gradus"), Aloys says that he ...
5
votes
1answer
845 views
What is the proper chord interpretation for the intro to Stairway to Heaven?
The opening sequence in Stairway to Heaven is an A minor chord followed by something strange followed by C/G, D/F#, and Fmaj7. I've seen the second chord notated as Am/G#, G#aug, and even Am/maj7/add2....
2
votes
2answers
489 views
Are parallel octaves okay in other styles of music?
In a musical theatre piece is it wrong to have lots of parallel octaves in the voices?
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5answers
2k views
Tonality and Rules
One can find many books on "tonality"during the common practice period. e.g., Piston.
Tonality seems to be definable as the way in which composers express the chromatic scale in a organized way ...
3
votes
2answers
296 views
Voice leading/resolution of consecutive secondary dominant 7ths
What's the proper voice leading procedure when two consecutive secondary dominant seventh chords (with the same root chord) occur before the resolution to the root chord? For example V7/ii -> V42/ii ->...
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5answers
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Is two singing voices occasionaly being unison “allowed”?
I was writing a lower harmony to an existing (rock) lead voice with a given chord progression and there is a point in time, where it seems like the two voices need to sing the very same note. The only ...
4
votes
3answers
663 views
Do the notes of a chord form parallel octaves, even when they are not played simultaneously?
Here is an example of what I'm trying to say
The sample below is in Bb major.
Do the notes of the bass and the alto form parallel octaves?
On the alto voice I'm using delayed resolution.
On the ...
3
votes
2answers
278 views
In Four Part Writing, is an augmented unison interval in a single voice allowed?
I'm composing a traditional four-part part-writing piece with a soprano, alto, tenor and bass. The song progresses from a F Major chord to an A Major chord. In the former chord, the bass is on C, and ...
2
votes
1answer
239 views
Smooth Voicing Leading Explanation
I know what smooth voice leading is, but I'm writing an OS X app that teaches my piano students how to play chords in a gamified way.
Just before they play the first level where they have to play ...
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1answer
8k views
Voice parts singing
What does it mean to sing in unison and in parts...?! For example singing in unison, all voice parts might sing:
do re mi fa so la te do
but in voice parts soprano might sing:
do re mi fa so ...
0
votes
2answers
72 views
Talking with the audience in a show [closed]
How long is most practical for talking to the audience to create interest?
Why talking to the audience is important to create excitement?
When is the best timing in a performance for talking to the ...
