What is Voice Leading? How you move from one chord to the next. Rules vary between eras. Bach’s voice leading is different from Debussy’s. Principles of.

Slides:



Advertisements
Similar presentations
Terms By: Katie Romano. A Ambit- the range of pitches Arch-form- symmetric in time & climaxes in the middle Attack- initial growth of sound Avant-garde-
Advertisements

Voice Leading in Four Voices Rich Harris Jr. Root Position When two roots lie a P5 or a P4 apart: –Keep common tone ( tone shared by both triads) and.
Secondary dominants are chords that are altered to sound like dominants (which are the fifth scale degrees of diatonic scales). This means changing minor.
Before We Begin... Hang on to your homework – we’re going to go over Part A, and Part B is part of your assignment tonight. I will give you your “tests”
THE TONIC AND SUBDOMINANT TRIADS IN FIRST INVERSION The I 6 and IV 6 as Embellishing Chords Chapter 11.
Chapter 8.  Voice leading  Linear aspect of music (melodies)  Species counterpoint  Composition in Renaissance style  Cantus Firmus  Fixed melody.
Mr. Jackson AP Music Theory.  Non-chord tones (or non-harmonic tones) are notes that “don’t belong” in a particular chord, creating a temporary “dissonance”
Chapter 14 The Pre-dominant II and II 7 Chords. The Supertonic Family Major mode : supertonic sounds minor and its seventh chords is a minor seventh (m7)
Tone and Voice: A Derivation of the Rules of Voice- Leading from Perceptual Principles DAVID HURON Music Perception 2001, 19, 1-64.
Cadential or Harmonic Prolongation via expansion 2 Basic Phrase Shapes: I-V (half cadence) I-V (7) -I (authentic/full) I- IV- V-
Music and MATLAB Arianne Ferare employ a random walk to generate a musical melody harmonize the melody with randomly generated yet appropriate chords and.
Thursday, October 13,  Music Sharing: Mitchell & Hunter K. (CHS)  Let’s review… Triads (and inversions) 7 th Chords (and inversions) Figured Bass.
Freddie The Freeloader
Baroque-Era Algorithmic Composition Kevin Deisz. 1st Step – Keys Number all of the keys on the piano Everything is in the key of C.
Voice Leading in Four-Part Chorale Writing
Developing a motif QUIZ Start the timer when you press ‘Play’
+ Renaissance Music (Sacred) An introduction. + Renaissance – rebirth ( ) Art, architecture, literature and music share characteristics of the.
Figuring out Songs Happy Birthday. Figuring Out Happy Birthday For any song the key is to have a process and then follow that process. I always first.
MP-102 Lecture 2: Elements of Orchestration. What is orchestration? an arrangement of a piece of music for performance by an orchestra or band. wordnetweb.princeton.edu/perl/webwn.
Before We Begin... Nothing. We will get started shortly.
Before We Begin... Any questions on the homework?.
V OICE L EADING IN F OUR -P ART C HORALE W RITING Chapter 9.
For use with WJEC Performing Arts GCSE Unit 1 and Unit 3 Task 1 Music Technology Creativity in composing.
Dr. James Ogburn Wednesday, 11 February  Thursday, 19 February  15-17:00  Room A212.
Thursday, October 11, 2012 (10–11–12!).  Music Sharing: Haley & Joey (XHS)  Let’s review (and make sure we really know this stuff!) Figured Bass vs.
Journal  Highland Cathedral – Mass band, Breman 2008 
 Chords altered to include the interval of an A6  Unusual unique sound  Italian 6 th  French 6 th  German 6th.
Harmonizing a Melody AP MUSIC THEORY Remember… Utilize Harmonies Harmonic Progression Cadences Counterpoint There is more than one correct answer!
MELODIC WRITING. FINISH THIS MELODY! TO BREAK RULES, YOU HAVE TO LEARN THEM FIRST… Composers often consider many things when they write music- rhythm,
Kostka/Payne – Chapter 5
Chapter 8 Voice leading in two voices Voice leading Term used to describe the linear aspect of musical writing. Term used to describe the linear aspect.
Mr. Jackson AP Music Theory
Chapter 8 Diatonic Harmony
1 Copyright © 2006, 2007 by Ewen Leung Copyright © 2006, 2007 by Ewen Leung Instruction Manual of Harmony 2006.
Dominant seventh chords are diatonic seven chords of the fifth scale degree or V 7 chords. Has a distinct sound from the tritone that forms between the.
Harmony Music is harmony, harmony is perfection, perfection is our dream, and our dream is heaven. - Henri Frederic Amiel.
Before class and/or when you finish the quiz, construct as many of the following scales as you have time for, in bass clef, giving special attention to.
Cadences. Why we need Cadences A cadence is where the music reaches some kind of goal – often accompanied by a rhythmic pause. The music between cadences.
Volume II Chapter 4. Borrowed Chords Chords that are borrowed from the parallel minor key Adds color and variety ii° ii ø ⁷ iv b VI vii°⁷ Progression.
Volume II: Chapter 5 Neapolitan 6 th Chords. Neapolitan 6 th Chord Major triad built on the lowered 2 nd scale degree Meaning of name unknown Some believe.
Before We Begin... I will pass your quizzes back.
Non Chord Tones A note that is either diatonic or chromatic that is not a member of the chord. The note can be an NCT of its duration or it could become.
Triad Brain Teasers 1. Do all triads contain three notes? 2. A Triad can be simplified to a stack of __?___( name interval ). Name all the intervals.
Chapter 8. Why use 1 st Inversion Chords?  To Improve the contour of the bass line  To provide greater variety of pitches in the bass line  To lessen.
Resolving the V7 and its Inversions.  Let’s create a V7 chord by stacking 3rds on scale degree 5.  SATB style, anyone?  What is the quality of the.
Before We Begin... Get ready for your “test” – Figured Bass and Roman Numerals.
Part Writing and Voice Leading THE #1 THING YOU’VE ALWAYS WANTED TO DO ON A TUESDAY.
Species Counterpoint An introduction to the principles of voice leading.
Rules for Root Position Part-Writing
PART WRITING GET READY FOR SOME FUN!. ROOT POSITION PART WRITING RULES AND REGULATIONS Four Part Textures: 1. All members of the triad are usually present.
Tone and Voice: A Derivation of the Rules of Voice-Leading from Perceptual Principles By David Huron Presentation by: Aaron Yang.
Dominant Seventh Chord Chapter 11. Dominant Seventh Chord Built on the 5 th scale degree Major triad with minor seventh Almost as common as dominant triad.
Chapter 16 - Further Expansion of the Basic Phrase: Tonic Expansions, Root Progressions, and the Mediant Triad.
Chapter 16 Secondary Functions 1.
Secondary Dominants Chapter 20.
AP Music Theory Mr. Silvagni
Kostka/Payne – Chapter 5
Four Different Interval Combinations for the Bass Voice
Chorale Harmonization and Figured Bass
Voice Ranges Bass: E2-C4 Tenor: C3-F4 Alto: E3-D5 Soprano: B3-A5
Intervals in Action (Two-Voice Composition)
Non Chord Tones A note that is either diatonic or chromatic that is not a member of the chord. The note can be an NCT of its duration or it could become.
Harmonic Expansions G. DeBenedetti
Vocabulary. Vocabulary SATB Style Notation Range Spacing Voice Crossing Doubling.
Four Part Writing Rule #1: Know thy range, and stay in it!
CHAPTER 9 4-part voice leading
Harmonic Expansions G. DeBenedetti
Chapter 13 Embellishing Tones.
Leading Tone Seventh Chords
Non Chord Tones - Nonharmonic Tones
Presentation transcript:

What is Voice Leading? How you move from one chord to the next. Rules vary between eras. Bach’s voice leading is different from Debussy’s. Principles of voice leading are universal.

Four Principles of Voice Leading 1. Keep common tones. 2. If you can’t keep common tones, move by step. 3. If you can’t move by step, move by the smallest interval possible. 4. A skip of a 5 th or larger will be heard as expressive. Bass voice is an exception to these rules.

Rules? 1. Parallel 5ths, Parallel Octaves, particular to certain eras. Idea: Principles are based on human cognition. Rules are based on cultural fabrications.

One More Principle Leading tone is extremely important in voice leading, especially in the outer voices. It must resolve to the 1 st scale degree.

Up Down Parallel – movement in the same direction, with the same interval Down Similar – movement in the same direction, with different intervals Up Oblique – one voice stays the same while the other moves Down No motion Movement Terms Contrary – movement in opposite directions

DGe F

C ( I )D 4 ( ii ) 2 G 6 ( V ) 5 C ( I ) a 6 ( vi )