1. Before We Begin... Get ready for your “test” – Figured Bass and Roman Numerals

2. Principles of Voice Leading Introduction

3. ▪When composing, composers think of several aspects more or less simultaneously – melody, harmony, rhythm, and so on ▪For the most part, this course concentrates on questions relating to the harmonic aspect of music – It is the aspect that most clearly delineates tonal music from other types

4. Introduction ▪The basic vocabulary of tonal harmony consists of triads and seventh chords ▪Its grammar involves the way these chords are selected (harmonic progression) and connected (voice leading) ▪From now until Christmas break, we’re going to focus on the basics of voice- leading – How does a composer write out a given succession of chords for some combination of performers? – How does he/she decide which direction each vocal or instrumental line should go?

5. Introduction ▪Voice Leading (or part writing) is defined as the way chords are produced by the motions of individual musical lines ▪A closely related term is counterpoint – refers to the combining of relatively independent musical lines ▪The style of voice leading depends on the composer, the musical effect desired, and the performing medium – Example: its easier to perform a large interval on a piano than to have to sing it

6. Introduction ▪There are certain “norms” that most composers follow most of the time – our study concentrates on these “norms” – You have to understand the rules before you can break them ▪Our study will deal with a variety of textures in both vocal and instrumental styles

7. The Melodic Line

8. ▪Our beginning exercises will make use of short and simple melodies in vocal style – In order to avoid, for now, the complications that come with more ornate vocal and instrumental melodies

9. The Melodic Line ▪The following procedures will be followed for the next few months... ▪1. RHYTHMS: keep the rhythm SIMPLE, with most durations equal to or longer than a beat (no subdivisions yet). The final note should always end on a STRONG beat ▪2. HARMONY: every melody note should belong to the chord that is to harmonize it (no non-chord tones!) ▪3. CONTOUR: the melody should be primarily conjunct (stepwise). The shape of the melody should be interesting but clear and simple, with a single focal point (the highest note of the melody.)

10. The Melodic Line ▪Example A. A good example of the points discussed so far ▪Example B Boring contour... Not interesting C: I V I -- IV V I C: I V I IV I V I

11. The Melodic Line ▪Example C ▪Several issues... – Lacks a single focal point: F is the highest note, but it occurs twice – E5 is incorrectly harmonized: A V chord would contain the notes G, B, and D in this key and E is not one of those notes C: I IV V I IV V I

12. The Melodic Line ▪The following procedures will be followed for the next few months... ▪4. LEAPS: – Avoid augmented intervals, 7ths, and intervals larger than an P8. Diminished intervals may be used if the melody changes direction by step immediately afterwards – A melodic interval larger than a P4 is usually best approached and left in the direction OPPOSITE to the leap – When smaller leaps are used consecutively in the same direction, they should outline a triad

13. The Melodic Line ▪The following procedures will be followed for the next few months... ▪5. TENDENCY TONES: – In tonal music, 7 has a strong tendency to go up to 1. An exception to this is the scalewise line descending from 1: 1-7-6-5. – The only other tendency to consider is 4, which often moves down to 3.

14. The Melodic Line ▪Example A – follows all the rules ▪Example B – breaks all of rule 4 as well as rule 5 a: i V I V -- i V i V i a: i - V i V i V i iv i

15. Practice – Critique the Melody ▪Criticize the following melody in terms of the rules for simple melodies. There are FOUR errors. b: i iv V i iv V i --- iv V i

16. Practice – Critique the Melody ▪Criticize the following melody in terms of the rules for simple melodies. There are FOUR errors. Not in iv chord b: i iv V i iv V i --- iv V i

17. Practice – Critique the Melody ▪Criticize the following melody in terms of the rules for simple melodies. There are FOUR errors. Large descending leap should be following by ascending motion b: i iv V i iv V i --- iv V i

18. Practice – Critique the Melody ▪Criticize the following melody in terms of the rules for simple melodies. There are FOUR errors. Large ascending leap should be following by descending motion b: i iv V i iv V i --- iv V i

19. Practice – Critique the Melody ▪Criticize the following melody in terms of the rules for simple melodies. There are FOUR errors. Interval of an +2 b: i iv V i iv V i --- iv V i

20. Assignment ▪Self Test 5-1 – Part A (don’t do part B yet!) – 1. Has 4 errors – 2. Has 3 errors – 3. Has 4 errors

21. Building Melodies ▪On your homework, you’ll also be asked to create melodies given a chord progression. ▪For example - f: iivVietc. ▪First, figure out what notes are part of that chord. Which one you pick is based on the rules lined out. Sometimes, you will need to back up and change some things to make it work. ▪There are several possible correct answers for each. Let’s do one together.

22. Practice - Building Melodies ▪f: iivVi / VI iv V i