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E-5 Exam > Voice Leading > Flashcards

Voice Leading Flashcards

1
Q

Bass Range SATB

A

F2 - D4

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2
Q

Tenor Range SATB

A

C3 - A4

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3
Q

Alto Range SATB

A

G3 - D5

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4
Q

Soprano Range SATB

A

C4 - A5

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5
Q

Conjunct Motion

A

Half step or whole step, usually done most by the soprano line for clear melodic ideas

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6
Q

Disjunct Motion

A

Leap greater than a whole step, usually done by the bass line, around cadence points and root position texture

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7
Q

Relative Motion

A

The direction that Two or more voices move in a chord progression

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8
Q

Contrary Motion

A

Two voices moving in opposite directions

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9
Q

Parallel Motion

A

Two voices moving the same direction by the same interval, without regard for quality

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10
Q

Similar Motion

A

Two voices moving in the same direction but by different intervals

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11
Q

Oblique Motion

A

One voice moving up or down while the other remains the same

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12
Q

Common Tones

A

Moving between root position triads forms a pattern of common tones. No common tones has upper voices move contrary to the bass note

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13
Q

Avoid this voice movement

A

Parallel Fifths & Octaves

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14
Q

Tendency Tones

A

Harmonically and melodically unstable. Resolves upward or downward. Avoid doubling tendency tones!

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15
Q

Leading tone does what…?

A

Leads UP to the tonic

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16
Q

Acceptable Leaps that don’t interrupt the clarity of the melodic line

A

Major and minor 3rds! Successive 3rds are good for outlining arpeggios

17
Q

4th and 5th should be followed by?

A

Motion in the opposite direction. Sometimes can be followed by stepwise motion in the same direction (leaping in the same direction is only acceptable with arpeggiating a chord)

18
Q

Major and minor 7ths are resolved..?

A

In the opposite direction of the leap

19
Q

Diminished and augmented

A

Typically avoided. Resolve opposite direction of the leap

20
Q

When is it acceptable to do voice crossing?

A

In the inner voices for brief moments, especially in closed position

21
Q

Resolving V7-1 with leading tone

A

Leading tone resolves up to the tonic

22
Q

Resolving V7-I with Subdominant (4)

A

Resolves down by half step to the 3rd of the tonic triad. It is the 7th of the V7 chord.

23
Q

Strongest Diatonic Harmonic Movement

A

Half step motion of the a diminished 5th closing to a major 3rd combined with the root movement of the falling perfect 5th (or rising 4th)

24
Q

Passing Tone

A

(P) can be approached diatonically or chromatically by a step

If it’s on a strong rhythmic position, it is called an accented passing tone.

25
Q

Neighboring Tone

A

(N) a non-chord tone that embellishes a tone chromatically or di tonically by step.,

26
Q

Appoggiatura

A

(A) non-chord tones that are approached by a leap and resolved in the opposite direction by step. (Incomplete neighbor)

27
Q

Escape Tone

A

(E) it is an opposite of the appoggiatura. Approach by step and move to the chord tone by a leap and the opposite direction. (an example of an incomplete neighbor)

28
Q

Escape Tone

A

(E) it is an opposite of the appoggiatura. Approach by step and move to the cord tone by a leap and the opposite direction. (an example of an incomplete neighbor)

29
Q

Neighbor Group

A

(NG) Two nonconsecutive chord tones through its upper and lower neighbor tones, approach by step and return to the original tone

30
Q

Anticipations

A

(ANT) approached by step or leap, chord tones of the upcoming chord, may be tied, sustained, or followed by a rest

31
Q

Suspensions

A

(Sus) hold a chord after other voices have moved on, dissonant or consonant, fall on rhythmical strong positions, occur in any voice

32
Q

Bass Suspensions

A

Also known as a 2-3 suspension

33
Q

Suspension with Change of Bass

A

Bass moves but one chord tone doesn’t

34
Q

Embellished suspension

A

Other notes appear after the suspension before the resolution, can contain chord tones or nonharmonic tones

35
Q

Retardation

A

(R) is like a suspension but resolved up!
(Suspensions resolve down)

36
Q

Pedal Point

A

(Pedal) sustained tone occurring over three or more chords. Must be a nonharmonic tone to at least one chord, usually in the bass

37
Q

Inverted Pedal Point

A

Pedal point found in the soprano voice

38
Q

Internal Pedal Point

A

Pedal point found in the alto or tenor voice

39
Q

Double Pedal Point

A

Occurring in two voices, usually bass and another voice

E-5 Exam (18 decks)

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