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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 ...
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]
A Schenkerian Approach, New York, Oxford University Press, 3rd edition, 2011 (1st edition, 1998). Edward Aldwell and Carl Schachter , Harmony and Voice Leading , Boston, Schirmer, Cengage Learning, 4th edition (with Allen Cadwallader), 2011 (1st edition, 2003).
Harmony (German: Harmonielehre, or "Theory of Harmony") is a book published in 1906 by Heinrich Schenker. It is the first installment of Schenker's three-volume treatise on music theory entitled New Musical Theories and Fantasies; the others are Counterpoint and Free Composition. Schenker's name did not appear on the original edition of the ...
The upper voice moves in the opposite direction from the dominant note up to the tonic. The chord names are given, followed where necessary by the inversion in figured bass. For example, 'Cm 6 4 ' refers to a C minor triad in second inversion, and G 4 2 is a G dominant seventh in third inversion.
Alegant, Brian. 2001. "Cross-Partitions as Harmony and Voice Leading in Twelve-Tone Music". Music Theory Spectrum 23, no. 1 (Spring): 1–40. Cohen, Allen Laurence. 2004. Howard Hanson in Theory and Practice. Contributions to the Study of Music and Dance 66. Westport, Conn. and London: Praeger. ISBN 0-313-32135-3. Cohn, Richard. 1992 ...
A clear relationship between harmony and voice-leading. Straus concludes that such conditions do not exist in atonal music and therefore that "atonal prolongation" is impossible; although he is open to the possibility that prolongation is a possibility in other post-tonal music (he gives the example of music composed with the octatonic scale ...
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]
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