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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.
Rigorous concern for voice leading is of greatest importance in common-practice music, although jazz and pop music also demonstrate attention to voice leading to varying degrees. The style of voice leading will depend on the performing medium; for example, singing a large leap may be harder than playing it on piano.
broad transcriptions; for example in some languages, / e̞ / and / o̞ / maybe described as ɛ̝ and ɔ̝ , also / ə / maybe described as ɘ̞ or ɜ̝ ɪ ʊ a ɒ: without diacritics central vowels: ɪ̈ ʊ̈ ä ɒ̈: broad transcriptions; in some English dialects, / ä / often described as ɑ̈ in English for / ɑ / c or ȼ c or stroked c
Pages in category "Voice leading" The following 3 pages are in this category, out of 3 total. This list may not reflect recent changes. ...
Therefore, passive voice can be marked (e.g. by the most broadly used passive marker: bèi 被 [mentioned above]) or unmarked (see the "Notional passive" section below) in both speech and writing. Those sentences have a passive marker called the long passive, while the ones that do not require a passive marker are called short passive.
Speech pathologists also often use superscripting to indicate that a target sound has not been reached – for example, [ˈtʃɪᵏən] for an instance of the word 'chicken' where the /k/ is incompletely articulated. However, due to the ambiguous meaning of superscripting in the IPA, this is not a convention supported by the ICPLA.
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]
Voice exchange is also used in Schenkerian analysis to refer to a pitch class exchange involving two voices across registers, one of which is usually the bass. In this sense, it is a common secondary structural feature found in the music of a wide variety of composers. [12]