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Voice leading developed as an independent concept when Heinrich Schenker stressed its importance in "free counterpoint", as opposed to strict counterpoint. He wrote: All musical technique is derived from two basic ingredients: voice leading and the progression of scale degrees [i.e. of harmonic roots]. Of the two, voice leading is the earlier ...
In music, voice crossing is the intersection of melodic lines in a composition, leaving a lower voice on a higher pitch than a higher voice (and vice versa). Because this can cause registral confusion and reduce the independence of the voices, [ 1 ] it is sometimes avoided in composition and pedagogical exercises.
An example is ɷ for standard [ʊ]. Several symbols indicating secondary articulation have been dropped altogether, with the idea that they should be indicated with diacritics: ʮ for z̩ʷ is one. In addition, the rare voiceless implosive series ƥ ƭ 𝼉 ƈ ƙ ʠ has been dropped.
Gregg shorthand is a system of shorthand developed by John Robert Gregg in 1888. Distinguished by its phonemic basis, the system prioritizes the sounds of speech over traditional English spelling, enabling rapid writing by employing elliptical figures and lines that bisect them.
4 can be analyzed in two ways: the first labels it as a second-inversion chord, while the second treats it instead as part of a horizontal progression involving voice leading above a stationary bass. In the first designation, the cadential 6 4 chord features the progression: I 6 4-V-I. Most older harmony textbooks use this label, and it can be ...
For example, ⓚ indicates that the segment is judged to probably be [k]. This is effectively a copy-edit mark, and may be elongated into an oval for longer strings of symbols. This was illustrated in the 1997 edition of the chart, where the circle was typeset as ( ̲̅) and longer strings as e.g. (a̲̅a̲̅a̲̅).
Pages in category "Voice leading" The following 3 pages are in this category, out of 3 total. This list may not reflect recent changes. ...
In the example on the top right, we see a series of quartal chords in parallel motion, in which the intervallic relationship between each consecutive chord member, in this case a minor second, is consistent. Each note in the chord falls by one semitone in each step, from F, B ♭, and E ♭ in the first chord to D, G, and C in the last.