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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.
Voice leading developed as an independent concept when Heinrich Schenker stressed its importance in "free counterpoint", as opposed to strict counterpoint. He wrote: All musical technique is derived from two basic ingredients: voice leading and the progression of scale degrees [i.e. of harmonic roots]. Of the two, voice leading is the earlier ...
An example is ɷ for standard [ʊ]. Several symbols indicating secondary articulation have been dropped altogether, with the idea that they should be indicated with diacritics: ʮ for z̩ʷ is one. In addition, the rare voiceless implosive series ƥ ƭ 𝼉 ƈ ƙ ʠ has been dropped.
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.
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 ...
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 ...
This page was last edited on 23 September 2012, at 03:31 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
These conventions may be convenient for representing various voice onset times. Phonation diacritics may also be prefixed or suffixed to represent relative timing beyond the segment (pre- and post-voicing etc.). The following are examples; in principle, any IPA or extIPA diacritic may be parenthesized or displaced in this manner. [3]
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