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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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 ...
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0answers
42 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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2answers
45 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 ...
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3answers
375 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 ...
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0answers
67 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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3answers
99 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 ...
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3answers
396 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. ...
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1answer
90 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 ...
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3answers
201 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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7answers
2k 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 ...
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1answer
98 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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3answers
687 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 ...
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1answer
113 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 ...
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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,...
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1answer
77 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?
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1answer
82 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.
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1answer
295 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!
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2answers
130 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
1k 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 ...
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3answers
73 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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1answer
516 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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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 ...
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4answers
326 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.
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1answer
654 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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2answers
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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.
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4answers
432 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 ...
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2answers
145 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?
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1answer
175 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 ...
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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?
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1answer
165 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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2answers
285 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 ...
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2answers
556 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 ...
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1answer
136 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:
...
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1answer
154 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 ...
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1answer
61 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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2answers
672 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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5answers
233 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
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2answers
165 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 ...
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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 ...
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2answers
387 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 ...
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4answers
512 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?
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2answers
766 views
Parallel Octaves and Fifths in Jazz?
Do Jazz musicians make any effort to avoid parallel 5ths and octaves?
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1answer
342 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
989 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 ...
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4answers
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 ...
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1answer
185 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?
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2answers
356 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-...
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1answer
200 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 ...
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3answers
492 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
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1answer
978 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....
