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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]
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
Voice exchange gradually died out after 1300, due to the gradual separation of voice ranges and the expansion of the ambitus of a composition. [4] However, it occasionally made limited appearances in simple polyphony of the fifteenth and sixteenth centuries and was, for example, common in the upper parts of Baroque trio sonatas. [2]
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]
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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 ...
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 ...