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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 such cadences, the leading tone (the seventh scale degree) must resolve step-wise to the tonic. That is, the voice that plays the leading tone must resolve up to the tonic, and if the chord is a dominant seventh chord, the subdominant should resolve to the mediant. Another concern of four-part writing is tessitura. Since the music is usually ...
The violation of this principle leads to special effects, which are avoided in counterpoint. In organ registers, certain interval combinations and chords are activated by a single key so that playing a melody results in parallel voice leading.
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]
An early example of medieval voice-crossing can be found in what Richard Taruskin (2009, p. 394) calls “English twinsongs.” “These songs, among the earliest polyphonic vernacular settings to survive in any language, employ a more sophisticated sort of voice-leading, through contrary motion and voice crossings.” [16] Edi beo Edi beo
Vocal pedagogy is the study of the art and science of voice instruction. It is used in the teaching of singing and assists in defining what singing is, how singing works, and how singing technique is accomplished.
Most theorists viewed equal temperament as a compromise or a necessary evil. Weitzmann viewed it positively. He looked for acoustical properties of 12-note equal temperament, presumed enharmonic equivalence, and de-emphasized traditional rules of voice leading and treatment of dissonance leading to a theory where any chord can follow another chord.
In European art music, the common practice period was the period of about 250 years during which the tonal system was regarded as the only basis for composition. It began when composers' use of the tonal system had clearly superseded earlier systems, and ended when some composers began using significantly modified versions of the tonal system, and began developing other systems as well.