Music Theory

Chapter 5 : Principles of Voice Leading (now the composition begins!)

Principles of Voice Leading

Tonal music consists of triads and seventh chords Harmonic Progression : the ways in which these chords are selected (grammar) and Voice Leading : how they are connected; the ways in which chords are produced by the motions of individual musical lines Counterpoint : combining relatively independent musical lines

The Melodic Line

We will study very simple melodic lines (ch. 5-9) to avoid the complications of ornate melodies Keep in mind the following:
Rhythm Keep the rhythm simple, similar durations, final notes on strong beats Harmony Every melody note should belong to the chord that harmonizes it Contour maintain conjunct (stepwise) motion. Simple, yet clear and interesting with a clear focal point (highest note in melody)
Board notes, then Self-test 5-1

Notating Chords
Musical Score : a tool used by a composer, conductor, or analyst, which shows all parts of an ensemble Full Score : all parts (up to 20+) on individual staves Reduced Score : usually on a grand staff (piano music) When notating chords, it is important to follow a few rules (board notes ex.5-3)

Voicing a Single Triad

Voicing : how a chord is distributed or spaced The way a chord is voiced (space) has a great deal of influence on its aural effect Listen to the following different voicings of a simple G major chord Close structure : less than an octave between soprano and tenor Open structure : an octave or more between soprano and tenor

Analyze the voicing

Voice Leading
In your beginning part-writing exercises, it would be advisable for you to follow two simple conventions concerning spacing:
Crossed voicing : Do not allow any part to cross above the soprano or below the bass because the essential sop/bass counterpoint might become unclear. The alto and tenor lines may cross briefly if there is a musical reason to do so. Spacing : When writing three or more parts, keep upper parts (excluding bass) within an octave. Do not write more than an octave between Sop and Alto or between Alto and Tenor
Self-test 5-2

Principles of Part-writing
Always consider the relationship between a melody and any other voice in the texture

Other unacceptable examples of voiceleading (board notes, 5-11)

Checkpoint
What do we mean by the focal point of a melody? What scale degree is the strongest tendency tone in tonal music? In a four-voice texture, adjacent upper parts should be kept within what interval? Under what circumstances are unequal 5ths unacceptable? What are direct octaves?
Self-test 5-3