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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 (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]
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.
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
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]
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]
The example below shows the seven diatonic triads of C major. The common tones between the tonic triad and the other six triads are highlighted in blue. As Woodruff describes, the tonic triad shares no common tones with either II and VII (consecutive to I), one common tone with IV and V (four and five degrees from I) each, and two common tones ...
In organ registers, certain interval combinations and chords are activated by a single key so that playing a melody results in parallel voice leading. These voices, losing independence, are fused into one and the parallel chords are perceived as single tones with a new timbre.