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Voice leading information



    {
      \new PianoStaff <<
        \new Staff <<
            \new Voice \relative c'' {
                \stemUp \clef treble \key e \minor \time 4/4
                \partial4 a4 b8 a g4 fis e8 fis g4 a b \fermata
                }
            \new Voice \relative c' {
                \stemDown
                \partial4 d4 d8 dis e4 dis e8 dis e[ g] fis e dis4
                }
            >>
        \new Staff <<
            \new Voice \relative c' {
                \stemUp \clef bass \key e \minor \time 4/4
                \partial4 a g8 a b4 b b8 a b4 c fis,
                }
            \new Voice \relative c {
                \stemDown
                \partial4 fis4 g8 fis e4 b'8[ a] g fis e d c4 b_\fermata
                }
            >>
    >> }
A phrase in J. S. Bach's four-part chorale, Schau, lieber Gott, wie meine Feind (mm. 5–6). The four voices (SATB) each follow independent melodic lines (with some differences in rhythm) that together create a chord progression ending on a Phrygian half cadence.

Voice leading (or part writing) is the linear progression of individual melodic lines (voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint.[1]

Rigorous concern for voice leading is of greatest importance in common-practice music, although jazz and pop music also demonstrate attention to voice leading to varying degrees. In Jazz Theory, Dariusz Terefenko writes that "[a]t the surface level, jazz voice-leading conventions seem more relaxed than they are in common-practice music."[2] Marc Schonbrun also states that while it is untrue that "popular music has no voice leading in it, [...] the largest amount of popular music is simply conceived with chords as blocks of information, and melodies are layered on top of the chords."[3]

  1. ^ Clendinning, Jane (2011). The Musicians Guide to Theory and Analysis. Norton. p. A73.
  2. ^ Terefenko, Dariusz (2014). Jazz Theory: From Basic to Advanced Study, p. 33. Routledge. ISBN 9781135043018.
  3. ^ Schonbrun, Marc (2011). The Everything Music Theory Book, pp. 149, 174. Adams Media. ISBN 9781440511820.

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that of the Baroque. In the Romantic period, freer voice-leading was gradually developed, leading to the waning of functional use in the post-Romantic...

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vocal range. In 4-part voice leading alto is the second-highest part, sung in choruses by either low women's or high men's voices. In vocal classification...

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the minor scale, ♭, and the raised fourth degree, ♯. With standard voice leading, the chord is followed directly or indirectly by some form of the dominant...

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Theorbo

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the A tuning. The "re-entrant tuning" created new possibilities for voice leading and inspired a new right-hand technique with just thumb, index and middle...

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Extended chord

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several ways (such as V flat 13 in a major key). Following standard voice leading rules: V9 to I or i The third, which will also be the seventh scale...

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were strongly discouraged. This was primarily due to the notion of voice leading in tonal music, in which "one of the basic goals ... is to maintain...

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by a single key so that playing a melody results in parallel voice leading. These voices, losing independence, are fused into one and the parallel chords...

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Thirteenth

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highest voice, and usually resolves down by a 3rd to the tonic I or i. If the V13 is followed by a I9 the 13th may resolve to the 9th. These voice leading guidelines...

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Lead sheet

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symbols above the staff. The lead sheet does not describe the chord voicings, voice leading, bass line or other aspects of the accompaniment. These are specified...

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Melody

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melody (from Greek μελῳδία (melōidía) 'singing, chanting'), also tune, voice or line, is a linear succession of musical tones that the listener perceives...

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been used to compose music for centuries; the procedures used to plot voice-leading in Western counterpoint, for example, can often be reduced to algorithmic...

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Close and open harmony

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both instrumental and vocal arrangements. It can follow the standard voice-leading rules of classical harmony, as in string quartets or Bach chorales,...

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may play a variety of roles, depending on such factors as voicing, modulation, and voice leading. The altered chord's harmony is built on the altered scale...

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Parallel key

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Harmonic parallelism List of major/minor compositions Picardy third Voice leading Benward & Saker (2003). Music in Theory and Practice, Vol. I, p.35....

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or baritone, except for an infrequent note or two to avoid awkward voice leading, in tags or codas, or when some appropriate embellishment can be created...

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