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Is parallel motion between the melody and one " inner voice" within the accompaniment considered bad voice leading?

Earlier in. K 545, I think starting at m. 5, there is a passage of simple scales in the RH. A pianist once told me those scale steps are not the melody. The point of the scales is really figuration to ...
Michael Curtis's user avatar
5 votes

Is parallel motion between the melody and one " inner voice" within the accompaniment considered bad voice leading?

This is not strictly polyphonic music. This piece switches between voice over Alberti bass, Voice against Voice, Voice against two note harmony and Voice against three note harmony quite a bit. And ...
Lazy's user avatar
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2 votes

Is parallel motion between the melody and one " inner voice" within the accompaniment considered bad voice leading?

This is (as you say) melody + accompaniment, not a choral texture with 4 equal voices. Voice leading is not really much of an issue in this style. See my answer in this thread: How does the treatment ...
Laurence's user avatar
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Is parallel motion between the melody and one " inner voice" within the accompaniment considered bad voice leading?

The parallel motion between the melody and an inner voice in Mozart's K545 is not faulty voice leading for several reasons. Voice Leading Context: The parallel motion is between the melody and an ...
user99513's user avatar
1 vote

How to write a deceptive cadence when you use an incomplete V7 chord?

Yep, you've painted yourself into a corner for sure. If you want to keep the dominant-seventh chord sound, replace the alto's A with that G. Move the tenor down to E. This can resolve more easily ...
nuggethead's user avatar
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How to write a deceptive cadence when you use an incomplete V7 chord?

Doubling the fifth in the tenor and alto is obviously the preferable solution to the problem given. A better solution might lie in revoicing the first chord, but that's obviously beyond the scope of ...
phoog's user avatar
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why does V/iii to IV work?

Stepwise motion, aka parsimonious voice leading. In this example, would be better blended if B->A, D#->C and F#->F - try it! :D
Rodrigo B. Furman's user avatar
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why does V/iii to IV work?

The first observation to make is that the chord being called V/iii is a half-step down from I: e.g., if I is C major, then "V/iii" is B major. A second observation, but a subjective one, is ...
Aaron's user avatar
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2 votes

The relation between voices in piano pieces

Just for kicks, I've scored the sonata for SATB, with alto and tenor divisi. Looking at it this was, I think, clarifies where the voices are. Although there are as many as six pitches being sung ...
Aaron's user avatar
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5 votes
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The relation between voices in piano pieces

You should distinguish between contrapuntal style with true voices and actual vocal music and homophonic texture music or non-vocal music. The former will usually have a consistent number of voices, ...
Michael Curtis's user avatar
2 votes

The relation between voices in piano pieces

The number of active voices can change within a piece, just like in a band not all instruments play all the time. It also may happen that a voice enters for a very short time. Think of that musician ...
user1079505's user avatar
3 votes

The relation between voices in piano pieces

Keyboard pieces, even those in a contrapuntal style, often do not adhere to a strict number of voices. Voices may appear or disappear without warning. For example, the left hand of the Aria in Bach'...
phoog's user avatar
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Learning to sing: some songs I can sing straightforwardly, others I really can't – is this normal?

I've noticed it too, and it isn't always a matter of range. A song that follows familiar patterns (melodic, harmonic, rhythmic...) is more intuitive to navigate than one that uses patterns that I'm ...
Divizna's user avatar
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3 votes

What does "prevailing harmony" mean?

We are starting from the premise that the whole thing is "an expansion of a C-major chord over two beats". That's another way of saying 'the prevailing harmony is C major'. It would be ...
Laurence's user avatar
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2 votes

What does "prevailing harmony" mean?

The A and the B could both be considered consonant, as they are p4 and P5 against the bass note, E. However, the B could also be considered dissonant, as it is the leading note in key C, also the ...
Tim's user avatar
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What does "prevailing harmony" mean?

The author does not say that B is a chord tone. He says that B is "consonant with the bass", meaning the E, as the interval of a fifth (E-B) is considered consonant. By "prevailing ...
Aaron's user avatar
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