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
2
votes
2answers
49 views

Is functional harmony considered homophonic?

Sorry if this is an obvious question, but I just want to clear this up. As far as I understand about voice leading, there are essentially two main types. Homophony and polyphony. Functional harmony ...
0
votes
4answers
109 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?
2
votes
4answers
59 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?
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, ...
6
votes
1answer
153 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 ...
2
votes
3answers
50 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 ...
1
vote
3answers
90 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
197 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 ...
7
votes
3answers
618 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 ...
1
vote
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.. ...
6
votes
4answers
2k 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 ...
1
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 ...
1
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 ...
6
votes
4answers
4k views

How to harmonize a melody for 4 voices

Recently I've started encountering a multitude of questions that ask for me to harmonize a melody. I've never really seen a question like that before, so I've been a bit lost as to where to start. I ...
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?
3
votes
3answers
163 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
556 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
127 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 ...
4
votes
2answers
166 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?
6
votes
4answers
400 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.
3
votes
4answers
562 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 ...
5
votes
1answer
1k 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....
11
votes
3answers
632 views

Are minor sevenths allowed in baroque counterpoint?

Are minor sevenths allowed in baroque counterpoint? I ask because in the first measure of Bach's Invention No. 1 the upper voice and lower voice have an interval of a minor seventh (the upper voice ...
10
votes
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 ...
11
votes
3answers
20k views

Common Practice Music Theory - Easier method to memorize 4-part harmony doubling rules?

My main question is in the title above. Chords in Common Practice Style only have three notes, so in 4-part harmony (SATB), one note will be repeated. In music theory, there are a ton of doubling ...
5
votes
4answers
3k views

Looking for software that checks for voice leading mistakes in MIDI, MusicXML, or MuseScore formats [closed]

I've been learning voice leading with a mixture of on-line classes and some reading. Receiving feedback for exercises can be troublesome sometimes. I was thinking if there is a way to cut that ...
15
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 ...
1
vote
1answer
213 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 ...
-3
votes
3answers
16k views

Solfa to sing in a chord [closed]

What are the solfeggio notes for each voice part to sing in a chord.? For example playing a C-major, D-minor, A-minor, G-major in the scale of C major, what will tenor, alto and soprano sing in solfa ...
5
votes
1answer
105 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. ...
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 ...
2
votes
3answers
769 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 ...
1
vote
1answer
82 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 ...
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
386 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!
2
votes
2answers
389 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
3answers
82 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-...
1
vote
1answer
712 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 ...
1
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 ...
1
vote
1answer
862 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 !
3
votes
2answers
229 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.
1
vote
1answer
12k 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 ...
3
votes
1answer
183 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 ...
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?