Voice Leading Flashcards
Bass Range SATB
F2 - D4
Tenor Range SATB
C3 - A4
Alto Range SATB
G3 - D5
Soprano Range SATB
C4 - A5
Conjunct Motion
Half step or whole step, usually done most by the soprano line for clear melodic ideas
Disjunct Motion
Leap greater than a whole step, usually done by the bass line, around cadence points and root position texture
Relative Motion
The direction that Two or more voices move in a chord progression
Contrary Motion
Two voices moving in opposite directions
Parallel Motion
Two voices moving the same direction by the same interval, without regard for quality
Similar Motion
Two voices moving in the same direction but by different intervals
Oblique Motion
One voice moving up or down while the other remains the same
Common Tones
Moving between root position triads forms a pattern of common tones. No common tones has upper voices move contrary to the bass note
Avoid this voice movement
Parallel Fifths & Octaves
Tendency Tones
Harmonically and melodically unstable. Resolves upward or downward. Avoid doubling tendency tones!
Leading tone does what…?
Leads UP to the tonic
Acceptable Leaps that don’t interrupt the clarity of the melodic line
Major and minor 3rds! Successive 3rds are good for outlining arpeggios
4th and 5th should be followed by?
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)
Major and minor 7ths are resolved..?
In the opposite direction of the leap
Diminished and augmented
Typically avoided. Resolve opposite direction of the leap
When is it acceptable to do voice crossing?
In the inner voices for brief moments, especially in closed position
Resolving V7-1 with leading tone
Leading tone resolves up to the tonic
Resolving V7-I with Subdominant (4)
Resolves down by half step to the 3rd of the tonic triad. It is the 7th of the V7 chord.
Strongest Diatonic Harmonic Movement
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)
Passing Tone
(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.
Neighboring Tone
(N) a non-chord tone that embellishes a tone chromatically or di tonically by step.,
Appoggiatura
(A) non-chord tones that are approached by a leap and resolved in the opposite direction by step. (Incomplete neighbor)
Escape Tone
(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)
Escape Tone
(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)
Neighbor Group
(NG) Two nonconsecutive chord tones through its upper and lower neighbor tones, approach by step and return to the original tone
Anticipations
(ANT) approached by step or leap, chord tones of the upcoming chord, may be tied, sustained, or followed by a rest
Suspensions
(Sus) hold a chord after other voices have moved on, dissonant or consonant, fall on rhythmical strong positions, occur in any voice
Bass Suspensions
Also known as a 2-3 suspension
Suspension with Change of Bass
Bass moves but one chord tone doesn’t
Embellished suspension
Other notes appear after the suspension before the resolution, can contain chord tones or nonharmonic tones
Retardation
(R) is like a suspension but resolved up!
(Suspensions resolve down)
Pedal Point
(Pedal) sustained tone occurring over three or more chords. Must be a nonharmonic tone to at least one chord, usually in the bass
Inverted Pedal Point
Pedal point found in the soprano voice
Internal Pedal Point
Pedal point found in the alto or tenor voice
Double Pedal Point
Occurring in two voices, usually bass and another voice
