Applying harmonic voice leading rules to non-homophonic music?



Asked by: Andres Fsa

What are the rules of voice leading?





The principles of voice leading can be summarize as follows: Keep common tones, Move voices by step, if possible, If you can’t move by step, move by smallest possible interval, Use contrary motion, if possible.

What is voice leading in music theory?

The term “voice leading” refers to the way in which individual voices move from chord to chord. The best voice leading occurs when all individual voices move smoothly. You can achieve this by moving between chords using the same note or moving up or down by a step in the inner voices of the chord, whenever possible.

What to avoid in voice leading?

Avoid parallel fifths and octaves.



They should also avoid hidden consecutives, perfect intervals reached by any two voices moving in the same direction, even if not by the same interval, particularly if the higher of the two voices makes a disjunct motion.

Is voice leading counterpoint?

Voice-leading is the set of rules for writing parts; part-writing is synonymous. These rules are descriptive procedures based on the last thousand years of observing musical practice. Counterpoint is a slightly more general term enclosing the voice-leading rules and some stuff about style.

How do you practice vocal leading?





And add one note between each chord change right. So you have the first chord is f minor 7 to b-flat minor seven just ad pick one note that would lead to that B flat minor.

How do you find non chord tones?

We can fill in a melodic gap. We can ornament a single note we can add an expressive leap we can have a note that arrives early we can have a note that holds on too long.

What are the rules of counterpoint?

The counterpoint must begin and end on a perfect consonance. Contrary motion should dominate. Perfect consonances must be approached by oblique or contrary motion. Imperfect consonances may be approached by any type of motion.

What is a perfect authentic cadence?

To be considered a perfect authentic cadence (PAC), the cadence must meet three requirements. First, V must be used rather than vii o. Second, both chords must be in root position. Finally, the highest note of the I (or i) chord must be the tonic of the scale.

What is cross voicing?

8. Crossed voices — unacceptable (1-point error) Definition: Voicing in which the normal relative position of voices is violated, e.g., if the soprano is below the alto or the bass is above the tenor.



What is contemporary voice leading?

26.1 Voice Leading



Voice leading , also known as part writing, refers to rules about melodic motions of voices involved in harmonic progressions. The primary concerns behind voice leading rules are independence of parts, voicing of chords, and economy of melodic motion for the sake of singable parts.

How do you write in smooth voice leading?

Another option would be to come up here. And that's a bit of a jump we could also come up here. And that's a huge jump not very smooth at all. So our best bet is actually just to go to the root.

How do you voice a chord progression?

The simplest way to change the voicing of a chord is to separate the notes in different octaves. It’s easy if you think of a pianist playing notes with their left and right hands. They could put the root of the chord in a low octave with their left hand, and the other notes in a tight grouping with their right hand.



How do you voice a dominant chord?

A dominant 7th chord has the root, 3rd, 5th and flat-7th of the scale. One common way to voice that would be with the root and flat-7 in the left hand, the 3rd, an extension and the melody note in the right.

How do you practice chord voicings?

How to Practice Chord Voicings. The best way to practice chord voicings (and Jazz in general) is by playing actual songs. Try apply each chord voicing you learn in each of these lessons to a particular Jazz Standard you enjoy. Plus it’s more fun than just playing scales up and down all day!

What is a 2 5 1 chord progression?

Step 5: So a 2-5-1 (aka ii-V-I) is a little building block progression made up of the 2nd, 5th and 1st chords of the diatonic set. So in the case of C major, that means Dm, G, C. It’s an incredibly common songwriting device, and you’ll hear it in all forms and genres of music, not just jazz.

What is the saddest chord?

Even the voice leading is depressing: the F# and A in the D7 chord slump dejectedly down to F and A♭ in the F-minor chord. And the Beatles cadence is weaker because it doesn’t lift up to F# before the descent into minor land.



How do you get soulful chord progressions?

Back down a minor third to F major nine. So try moving around your chords in specific intervals. And see what kind of sounds you find it's a really fun way of coming up with interesting progressions.