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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]
Download QR code; Print/export ... the third and fifth rise a step each and then fall back, ... Harmony and Voice Leading, 3rd Edition [full citation needed
Barbershop harmony is a style of unaccompanied vocal music characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. Each of the four parts has its own role: the lead sings the melody, with the tenor harmonizing above the melody, the bass singing the lowest harmonizing notes, and the baritone completing the chord.
Subordinate harmony is the hierarchical tonality or tonal harmony well known today. Coordinate harmony is the older Medieval and Renaissance tonalité ancienne, "The term is meant to signify that sonorities are linked one after the other without giving rise to the impression of a goal-directed development. A first chord forms a 'progression ...
④ takes a 3rd and 5th. Whenever the ④ ascends to the ⑤, it [④] can take the 6th in addition to the 3rd and 5th. And if ④ descends from ⑤, then stay with the same consonances as for the said ⑤, which become in turn a 2nd, major [=augmented] 4th, and 6th. ⑤ takes a major 3rd and 5th. Give a minor seventh to a ⑤ that returns to ...
The mediator between the horizontal formulation of tonality presented by the Urlinie and the vertical formulation presented by the harmonic degrees is voice leading. [1] The upper voice of a fundamental structure, which is the fundamental line, utilizes the descending direction; the lower voice, which is the bass arpeggiation through the fifth ...
Edward Aldwell and Carl Schachter, Harmony and Voice Leading, Boston, Schirmer, Cengage Learning, 4th edition (with Allen Cadwallader), 2011 (1st edition, 2003). Tom Pankhurst, Schenkerguide. A Brief Handbook and Website for Schenkerian Analysis, New York and London, Routledge, 2008 Schenkerguide website.
The second hidden fifth of the pair is obtained by making the upward maneuver a mirror image of the downward maneuver. These direct fifths are preferable to other less acceptable voice-leading alternatives including doubling the third scale degree at the octave, and limiting the low instrument to the use of only the first and fifth scale degrees.