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2. Voice leading - Wikipedia

   en.wikipedia.org/wiki/Voice_leading

   The score below shows the first four measures of the C-major prelude from J.S. Bach's The Well-Tempered Clavier, Book 1.Letter (a) presents the original score while (b) and (c) present reductions (simplified versions) intended to clarify the harmony and implied voice leading, respectively.

3. Schenkerian analysis - Wikipedia

   en.wikipedia.org/wiki/Schenkerian_analysis

   Harmony and Voice Leading. Schirmer. 2nd ed. 2008; 3rd ed. (with Allen Cadwallader), 2011. ISBN 0-495-18975-8. Pankhurst, Tom (2008), SchenkerGUIDE: A Brief Handbook and Web Site for Schenkerian Analysis, New York: Routledge. ISBN 0-415-97398-8 – an introduction for those completely new to the subject.

4. Common tone (chord) - Wikipedia

   en.wikipedia.org/wiki/Common_tone_(chord)

   Common tones are a consideration in voice leading and voicing. Abbé Vogler (1749–1814), Weber (1779–1839), Hauptmann (1792–1868), A. B. Marx (1795–1866), and earlier theorists emphasized "common-tone retention and smooth voice leading in...

5. Category:Voice leading - Wikipedia

   en.wikipedia.org/wiki/Category:Voice_leading

   Four-part harmony (8 P) Pages in category "Voice leading" The following 3 pages are in this category, out of 3 total. This list may not reflect recent changes. ...

6. SATB - Wikipedia

   en.wikipedia.org/wiki/SATB

   The letters of the abbreviation are also used by publishers to describe different scorings for soloists and choirs other than four-part harmony. For example, the listing "STB solos, SATB choir" of Bach's Wachet auf, ruft uns die Stimme , BWV 140 , indicates that a performance needs three soloists: soprano, tenor and bass, and a four-part choir ...

7. Neo-Riemannian theory - Wikipedia

   en.wikipedia.org/wiki/Neo-Riemannian_theory

   Later, Cohn pointed out that neo-Riemannian concepts arise naturally when thinking about certain problems in voice leading. [6] [7] For example, two triads (major or minor) share two common tones and can be connected by stepwise voice leading the third voice if and only if they are linked by one of the L, P, R transformations described above. [8]

8. Consecutive fifths - Wikipedia

   en.wikipedia.org/wiki/Consecutive_fifths

   In the course of the 19th century consecutive fifths became more common, arising out of new textures and new conceptions of propriety in voice leading generally. They even became a stylistic feature in the work of some composers, notably Chopin ; and with the early 20th century and the breakdown of common-practice norms the prohibition became ...

9. Leading tone - Wikipedia

   en.wikipedia.org/wiki/Leading_tone

   In a four-part chorale texture, the third of the leading-tone triad is doubled in order to avoid adding emphasis on the tritone created by the root and the fifth. Unlike a dominant chord where the leading tone can be frustrated and not resolve to the tonic if it is in an inner voice, the leading tone in a leading-tone triad must resolve to the ...