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Chapter Five Principles of Voice Leading Introduction Composer thinks of several aspects more or less simultaneously o Melody o Harmony o Rhythm Focus on questions relating to the harmonic aspect of tonal music because it is the aspect that most clearly delineates tonal music from other types Basically vocabulary of tonal harmony o Triads o Seventh chord o Harmony Progression o Voice leading Voice leading (part writing): chords are produced by the motions of individual musical lines Counterpoint: refer to the combining of relatively independent musical lines Naturally, the style of voice leading will depend on: o Composer o Musical effect o Performing medium (e.g. large melodic leaps) Study of the voice leading norms The Melodic Line Use the following procedures: o Rhythm Simple Most durations being equal or longer than the duration of the beat Final note should occur on a strong beat o Harmony Every melody note should belong to the chord that is to harmonize it o Contour The melody should be primarily conjunct (stepwise) Single focal point o Leaps Avoid augmented intervals, 7ths,and intervals larger than P8 Diminished intervals may be with an immediate change of direction in stepwise motion Melodic interval larger than P4 is usually best approached and left in the direction opposite to the leap When smaller leaps are used consecutively in the same direction, they should outline a triad o Tendency tones 7th has a strong tendency to move up to 1st except when the melody is descending scalewise from 1st 4th move to 3rd but not with the regularity with which 7th goes to 1st Notating Chords Musical score: shows all the parts of an ensemble arranged one above the other Full score: all or most of the parts are notated on their own individual staves Reduced score: notated at concert pitch on as few staves as possible Voicing a Single Triad The way in which a chord is spaced has a great deal of influence on its aural effect “Muddy” effect (example 5-7) Close structure: less than an octave between soprano and tenor Open structure: an octave or more between soprano and tenor Crossed voices o Do not allow any part to cross above the soprano o Do not allow any part to cross below the bass Spacing o Avoid overly spacious sonorities, keeping adjacent upper parts within an octave No more than an octave between soprano and alto No more than an octave between alto and tenor It is acceptable to have more than an octave between tenor and bass Observe the range of each voicing (refer to Example 5-12) Parallel Motion Five possible relationships between any two voices or parts: o Static: neither part moves o Oblique: only one part moves o Contrary: both move but in opposite directions o Similar: both move in same direction but by different intervals o Parallel: both move in same direction by the same interval When the texture contains more than two voices, they will be more ”pairs” of voices to consider o Three parts: 3 pairs o Four parts: 6 pairs Avoid parallels 5ths and 8ves (example 5-15), parallels 12ths and unisons Composers of tonal music generally followed the convention, dating from around 1450 Regained acceptance in the twentieth century Objectionable parallels: result when two parts that are separated by a P5 or a P8, or by their octave equivalents, move to as new pitch classes that are separated by the same interval Parallel 4ths are acceptable Contrary 5ths and 8ves: also called consecutive 5ths and 8ths by contrary motion were also generally avoided, at least in vocal music Unequal 5ths: result when a P5 is followed by a o5, or the reverse , in the same two voices o Acceptable unless when a o5 – P5 between the bass and another voices Direct (or hidden) 5th or 8ve: Outer parts move in the same direction into a P5 or P8, with a leap in the soprano part (with a leap or a step in the bass) (example 5-20) o Avoidance of parallels of all types were somewhat less strictly maintained in instrumental than in vocal music Final thoughts Use parallel 5ths and 8ves very sparingly , and in such a way that the listener’s attention will not be drawn to them Parallels involving both of the outer parts are especially rare and should be avoided Beethoven was trying to evoke a rustic, unsophisticated atmosphere through the use of the parallels (example 5-22)