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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]
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.
Expository writing is a type of writing where the purpose is to explain or inform the audience about a topic. [13] It is considered one of the four most common rhetorical modes. [14] The purpose of expository writing is to explain and analyze information by presenting an idea, relevant evidence, and appropriate discussion.
In the Schuman example (Three Score Set for Piano), the inversions of the chords suggest a bichordal effect. [ 3 ] 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.
Barbershop harmony has a unique harmonic structure: the melody is in the 2nd tenor or "lead" voice, while the 1st tenor takes the next part up, usually in 3rds, with the baritone and bass voices supporting. The bass line tends to be more rhythmic and covers the root notes of the harmonic progression, providing more "support" and independence ...
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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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 ...