Voice Leading

Question 1

Bass Range SATB

Answer 1

F2 - D4

Question 2

Tenor Range SATB

Answer 2

C3 - A4

Question 3

Alto Range SATB

Answer 3

G3 - D5

Question 4

Soprano Range SATB

Answer 4

C4 - A5

Question 5

Conjunct Motion

Answer 5

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

Question 6

Disjunct Motion

Answer 6

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

Question 7

Relative Motion

Answer 7

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

Question 8

Contrary Motion

Answer 8

Two voices moving in opposite directions

Question 9

Parallel Motion

Answer 9

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

Question 10

Similar Motion

Answer 10

Two voices moving in the same direction but by different intervals

Question 11

Oblique Motion

Answer 11

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

Question 12

Common Tones

Answer 12

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

Question 13

Avoid this voice movement

Answer 13

Parallel Fifths & Octaves

Question 14

Tendency Tones

Answer 14

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

Question 15

Leading tone does what…?

Answer 15

Leads UP to the tonic

Question 16

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

Answer 16

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

Question 17

4th and 5th should be followed by?

Answer 17

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)

Question 18

Major and minor 7ths are resolved..?

Answer 18

In the opposite direction of the leap

Question 19

Diminished and augmented

Answer 19

Typically avoided. Resolve opposite direction of the leap

Question 20

When is it acceptable to do voice crossing?

Answer 20

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

Question 21

Resolving V7-1 with leading tone

Answer 21

Leading tone resolves up to the tonic

Question 22

Resolving V7-I with Subdominant (4)

Answer 22

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

Question 23

Strongest Diatonic Harmonic Movement

Answer 23

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)

Question 24

Passing Tone

Answer 24

(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.

Question 25

Neighboring Tone

Answer 25

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

Question 26

Appoggiatura

Answer 26

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

Question 27

Escape Tone

Answer 27

(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)

Question 28

Escape Tone

Answer 28

(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)

Question 29

Neighbor Group

Answer 29

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

Question 30

Anticipations

Answer 30

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

Question 31

Suspensions

Answer 31

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

Question 32

Bass Suspensions

Answer 32

Also known as a 2-3 suspension

Question 33

Suspension with Change of Bass

Answer 33

Bass moves but one chord tone doesn’t

Question 34

Embellished suspension

Answer 34

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

Question 35

Retardation

Answer 35

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

Question 36

Pedal Point

Answer 36

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

Question 37

Inverted Pedal Point

Answer 37

Pedal point found in the soprano voice

Question 38

Internal Pedal Point

Answer 38

Pedal point found in the alto or tenor voice

Question 39

Double Pedal Point

Answer 39

Occurring in two voices, usually bass and another voice