Scribd
Upload
470 views2 pages

Voice Leading for Musicians

The document discusses voice leading rules for choral music. It outlines typical voice ranges from bass to soprano and introduces basic spacing rules between voices. It also describes unbreakable rules around parallel intervals and specific melodic intervals to avoid. General rules guide similar motion between voices and resolution of certain tones. The document concludes with stylistic practices for smooth voice leading when chord roots are a perfect 4th/5th, third, or second apart. Homework assigns exercises from page 205, numbers 1 through 5.

Uploaded by

Vahé Holtian
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
470 views2 pages

Voice Leading for Musicians

The document discusses voice leading rules for choral music. It outlines typical voice ranges from bass to soprano and introduces basic spacing rules between voices. It also describes unbreakable rules around parallel intervals and specific melodic intervals to avoid. General rules guide similar motion between voices and resolution of certain tones. The document concludes with stylistic practices for smooth voice leading when chord roots are a perfect 4th/5th, third, or second apart. Homework assigns exercises from page 205, numbers 1 through 5.

Uploaded by

Vahé Holtian
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

11/24/10 8:30 AM

Voice Leading –
• Introduction
• Voice ranges
o Bass – F to C
o Tenor – D to G
o Alto – G to D
o Soprano – C to G
o As choirs became more skilled, many composers extended
these ranges
o These parts are not only the basis for choral music, but for
orchestral music as well.
• Basic rules concerning voices
o Avoid crossing voices; sometimes justified if it improves
voice leading
o Spacing. The largest interval between S & A and A & T is
one octave. Try to keep the interval between T & B to an
octave and a fifth, but never greater than two octaves.
o Do not overlap voices by more than a whole step
• Unbreakable rules
o Avoid parallel perfect octaves, fifths and unisons.
o Never double the leading tone of the scale.
o Avoid the melodic A2 and A4 in all voices.
• General rules
o In the S and B parts avoid similar motion to a perfect
intervals.
o Use unequal fifths (P5 to d5; d5 to P5) sparingly.
o The leading tone must move upwards to the tonic in the
Soprano or Bass voices
o Melodic diminished and Augmented intervals
 No melodic A2 and A4
 Melodic d5 occasionally appears in the B
 Melodic d4 may be used occasionally in the harmonic
minor (mediant to leading tone)
• Stylistic Practices – Follow these to avoid problems with the
above rules!!!
o Practice 1 – Root position, roots P5 or P4 apart
 Keep common tone, move other voices by step to
nearest chord tone
o Practice 2 – Root position, roots P5 or P4 apart
 Move all three upper voices in similar motion to the
nearest chord tome
o Practice 3 – Root position, roots a third apart
 Keep both common tones and move the remaining
voices by step.
o Practice 4 – Root position, roots a second apart
 Move upper three voices in contrary motion to the
bass to the nearest chord tone of the next chord.
EXCEPTION: V to (vi or VI). Here, double the third in
the VI. Only two voices will move in contrary motion
to the bass.

Homework
• Pg 205 #1 – 5

You might also like