Chapter 5 Tonic and Dominant as Tonal Pillars and INtroduction to Voice Leading

Question 1

Three techniques to create voice independence within a four-voice texture

Answer 1

Smoothness, registrar independence, contrapuntal independence.

Question 2

Smoothness

Answer 2

OUr chief concern is for minimal movement of voices. Always try to maintain common tones between chords by either tying or repeating them in a single voice.

Question 3

REgistral Independnece

Answer 3

Each voice must be independent and should be given a consistently comfortable range or tessitura.

Question 4

Contrapuntal Independence

Answer 4

Avoid parallel motion by perfect consonance (unisions, fifths, and octave) between any pair of voices. Move the voices the shortest possible distance when changing chords.

Question 5

Voice-Leading Rules

Answer 5

Move the voices as little as possiblee when changing chords.
Rule 1: REsolve tendancy tones (7, chordal dissonances, or chromatically alterted tones by step. Exceptions: The leading tone, 7, does not need to resolve up to 1 when it is an inner voice, ora s part of the falling line 8-7,-6,5
Maintain teh INdependence and Musical Territory for EAch Voice
Rule 2: A pair of voices cannot move from one unision, octave, or perfect fifth to another interval of the same size in parallel or contrary motion.
Rule 3: Tendancy tones cannot be doubled. They are aurally marked and often require special treatement.
Rule 4: Keep agecent upper voices (S-A and A-T) within an octave of each other

Question 6

Voice Leading Guidelines

Answer 6

Move the Voices as little as possible when changing chords
Guideline 1: REtain common tones, and move upper voices mostly by step.
Guideline 2: Avoid melodic leaps involving dissonant intervals.
Maintain the independence and musical territory for each voice
Guideline 3: Avoid voice crossing adn voice overlapping. A voice overlap occurs when a part leaps above ( or below) a higher( or lower) part’s previous pitch, infringing on that part’s territory, so to speak. A voice crossing on teh other hand, occurs when a part is above or below a higher or lower parts current pitch.
Guideline 4 Avoid direct octaves and fifths between teh soprano and bass
Construct Chords logically
Guideline 5: IN general, write complete chords. If you must write an incomplete chord for teh sake of smooth voice leading or the requirements of dissonance treatment, you omit only the fifth.
Guideline 6: In general, double teh root of a chord. However, you may double the fifth ( and, as a last resort, the third) if it makes the voice leading smoother)
Tips forAvoiding Problems
Guideline 7 Write the outer voice first. Their counterpoint contorls everything.
Guideline 8 Move upper voice in contrary motion (and, if possible, by step) to the bass.
Guideline 9: Begin part-writing excercises with a complete chord in close position, and try to maintain close position as much as possible.
Guideline 10: If any pair of upper voices leaps simultaneously by more than a third, try revoicing a chord to smooth things out.

Question 7

Common Tone

Answer 7

Pitch class that is a member of two or more chords sets. For example, g is in teh chord C and G major.

Question 8

Authentic Cadence

Answer 8

Also known as full Cadence that closes on V-I. Two types of authentic cadences, perfect and imperfect.

Question 9

Perfect authentic cadence

Answer 9

V-I but soprano moves 2-1 or 7-8 while bass moves 5-1.

Question 10

Imperfect Authentic Cadence

Answer 10

Ends V-I but soprano closes on 5 or 3.

Question 11

Contrapuntal Cadence

Answer 11

A type of Imperfect authentic cadence with any bass motion other than V-I.

Question 12

Phrase

Answer 12

A self-contained musical event ending in a cadence.

Question 13

Chordal Dissonance

Answer 13

A dissonant pitch, usually a 7th, added to the triad.