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    Voiceleadingsummary PDF

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    martinscribd7
    Rules and guidelines are provided for voice leading when changing chords. The document outlines rules for resolving tendency tones by step, maintaining independence between voices, constructing chords logically, and avoiding problems. It also lists exceptions to the rules and additional guidelines for optimal voice leading.

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    © All Rights Reserved
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    Voiceleadingsummary PDF

    Uploaded by

    martinscribd7
    324 views11 pages
    Rules and guidelines are provided for voice leading when changing chords. The document outlines rules for resolving tendency tones by step, maintaining independence between voices, constructing chords logically, and avoiding problems. It also lists exceptions to the rules and additional guidelines for optimal voice leading.

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    Rules and guidelines are provided for voice leading when changing chords. The document outlines rules for resolving tendency tones by step, maintaining independence between voices, constructing chords logically, and avoiding problems. It also lists exceptions to the rules and additional guidelines for optimal voice leading.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    324 views11 pages

    Voiceleadingsummary PDF

    Uploaded by

    martinscribd7
    Rules and guidelines are provided for voice leading when changing chords. The document outlines rules for resolving tendency tones by step, maintaining independence between voices, constructing chords logically, and avoiding problems. It also lists exceptions to the rules and additional guidelines for optimal voice leading.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
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    The text discusses various rules and guidelines for voice leading when writing four-part harmony, including moving voices as little as possible when changing chords and maintaining the independence of each voice.

    The main rules discussed are to resolve tendency tones by step, avoid parallel octaves/fifths between pairs of voices, and keep adjacent upper voices within an octave of each other.

    Some guidelines for dissonances include preparing the chordal seventh of seventh chords by common tone when possible, approaching it by step if not, and recovering melodic leaps above a third by step in the opposite direction.

    Voice Leading Summary

    Rules cannot be broken, but guidelines may be for aesthetic reasons.

    Move the Voices as Little as Possible When Changing Chords

    Rule 1 Resolve tendency tones by step.


    Generally, the leading tone (1) resolves up
    and the chordal seventh (7) resolves
    down.

    Exception: The leading tone (7) does


    not need to resolve up to 1 when it is
    in an inner voice (we call this a
    frustrated leading tone), or as part
    of the falling line 8-7-6-5 (often used
    with the mediant chord, iii, on 7).

    Exception: The chordal seventh (4) may


    resolve up when outer voices move in
    parallel tenths with the soprano line 3-4-5,
    resulting in a diminished 5th to perfect 5th.
    This is the Parallel 10ths paradigms.
    Guideline 1 In general, retain common
    tones, unless you are using a voice
    exchange, as shown.

    Reminder: Prepare the chordal


    seventh of seventh chords by
    common-tone, when possible.
    (Think of it as a dissonance in
    fourth species counterpoint.) If not
    possible, approach by step.

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    Guideline 2 Move upper
    voices mostly by step,
    avoiding melodic leaps
    involving dissonant intervals.
    If you must leap a dissonance,
    recover it by step in the
    opposite direction.

    Exception: Lowered 2 to 7 (crossing


    a dissonant diminished third) is
    acceptable in the Neapolitan chord
    (bII).

    Reminder: In minor, try to approach raised 7 from above. If you must approach from
    below, raise 6 to avoid a dissonant augmented second.

    3 of 11
    Maintain the Independence and Musical Territory for Each Voice

    Rule 2 A pair of voices cannot move


    from one unison, octave, or perfect
    fifth to another interval of the same
    size in parallel or contrary motion.

    Reminder: Unequal fifths (P5 to d5) are acceptable if the diminished fifth resolves to a
    third (following Rule 1). The reverse (d5 to P5) should be avoided, except in the case of
    outer voice parallel tenths.

    Rule 3 Keep adjacent upper


    voices (S-A and A-T) within an
    octave of each other. (T-B may be
    more than an octave apart.)

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    Guideline 3 Avoid voice crossings and voice overlaps to maximize the independence of
    voices.

    Guideline 4 Avoid direct


    octaves and fifths between
    the soprano and bass.

    Exception: Outer voice direct intervals are acceptable when the soprano moves by step.

    5 of 11
    Construct Chords Logically

    Rule 4 Never double a tendency


    tone (leading tone or chordal
    seventh) or a chromatically altered
    tone. Resolving both voices
    correctly will result in parallel
    octaves.

    Guideline 5 In general, write complete chords. In triads and seventh chords, only the
    chordal fifth may be omitted.

    Exception: Inversions of
    seventh chords must be
    complete.

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    Guideline 6 In general,
    double the root. The next
    best choice is the fifth,
    and as a last resort, the
    third.

    Exception: Deceptive motion (V-vi) will always double the third of vi.

    Exception: Double the third in a viio6 chord to avoid doubling tendency tones.

    7 of 11
    Exception: Always double the bass (chordal fifth) of a six-four chord.

    Exception: Proper resolution of viio7 and its inversions will result in a triad with a
    doubled third.

    8 of 11
    Tips for Avoiding Problems

    Guideline 7 Write the outer voices first. They provide the structural framework.

    Guideline 8 Move the upper voices in contrary motion to the bass.

    Reminder: When the bass


    moves by step between
    root position chords, all
    other voices must move
    contrary to the bass.

    Exception: The bass moves up by step in


    deceptive motion (V-vi), but the leading tone
    usually rises as well, resolving to 1.

    Guideline 9 -Begin part-writing exercises with a complete chord in keyboard style (close
    position in the upper three voices) and remain in keyboard style when possible.

    Guideline 10 If any pair of upper voices leaps simultaneously by more then a third, try
    revoicing a chord to smooth things out.

    9 of 11
    Guideline 11 Subordinate harmonies, such as inversions of V7, usually occur on
    metrically weak beats.

    Guideline 12 Prepare chromaticism by common tone. Failure to do so results in a cross


    relation. When necessary, conceal cross relations between inner voices or between one
    inner and one outer voice.

    Guideline 13 Remember to raise the leading tone (7) in minor on dominant-functioning


    chords (V and viio).

    10 of 11
    Guideline 14 Try to "recover" melodic leaps (intervals greater than a third) by step in the
    opposite direction, especially when leaping a dissonance.

    Guideline 15 Vocal music is the model. When in doubt, make sure you can sing what
    you write.

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