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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]
The principles of strict counterpoint constitute one of the fundamental components of Schenker's musical theory (see Schenkerian analysis).For Schenker, the study of counterpoint is the study of voice leading; in particular, contrapuntal theory is separate from and independent of harmonic theory, which is concerned with scale-steps (see Harmony).
The initiative for publishing the four-part chorales of Bach was different. Possibly didactic in purpose, the four-part chorales were "miniature masterpieces of harmony and voice leading" with "searching harmonies and busy inner parts".
Play voice 4 ⓘ, 3 ⓘ, 2 ⓘ, & 1 ⓘ separately. Part-writing (or voice leading) is the composition of parts in consideration of harmony and counterpoint. In the context of polyphonic composition the term voice may be used instead of part to denote a single melodic line or textural layer.
In music, parallel harmony, also known as harmonic parallelism, harmonic planing or parallel voice leading, is the parallel movement of two or more melodies (see voice leading). Effects [ edit ]
Edward Aldwell (January 30, 1938 – May 28, 2006) was an American pianist, music theorist and pedagogue.. He was particularly renowned for his Bach interpretations, and he recorded several albums, most notably the complete Well-Tempered Clavier of Bach for Nonesuch, and Bach's French Suites for Hanssler Classics.
Vocal harmony is a style of vocal music in which a consonant note or notes are simultaneously sung as a main melody in a predominantly homophonic texture. Vocal harmonies are used in many subgenres of European art music , including Classical choral music and opera and in the popular styles from many Western cultures ranging from folk songs and ...
Thus LPR transformations are unable to account for the voice-leading efficiency of the IV-iv-I progression, one of the basic routines of nineteenth-century harmony. [9] Note that similar points can be made about common tones: on the Tonnetz, F minor and E ♭ minor are both three steps from C major, even though F minor and C major have one ...